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Jason Reitman's "Juno" is just about the best movie of the year. It is very smart, very funny and very touching; it begins with the pacing of a screwball comedy and ends as a portrait of characters we have come to love. Strange, how during Juno's hip dialogue and cocky bravado, we begin to understand the young woman inside, and we want to hug her.

Has there been a better performance this year than Ellen Page 's creation of Juno? I don't think so. If most actors agree that comedy is harder than drama, then harder still is comedy depending on a quick mind, utter self-confidence, and an ability to stop just short of going too far. Page's presence and timing are extraordinary. I have seen her in only two films, she is only 20, and I think she will be one of the great actors of her time.

But don't let my praise get in the way of sharing how much fun this movie is. It is so very rare to sit with an audience that leans forward with delight and is in step with every turn and surprise of an uncommonly intelligent screenplay. It is so rare to hear laughter that is surprised, unexpected and delighted. So rare to hear it coming during moments of recognition, when characters reflect exactly what we'd be thinking, just a moment before we get around to thinking it. So rare to feel the audience joined into one warm, shared enjoyment. So rare to hear a movie applauded.

Ellen Page plays Juno MacGuff, a 16-year-old girl who decides it is time for her to experience sex and enlists her best friend Paulie ( Michael Cera ) in an experiment he is not too eager to join. Of course she gets pregnant, and after a trip to an abortion clinic that leaves her cold, she decides to have the child. But what to do with it? She believes she's too young to raise it herself. Her best girlfriend Leah (Olivia Thirby) suggests looking at the ads for adoptive parents in the Penny Saver: "They have 'Desperately Seeking Spawn,' right next to the pet ads."

Juno informs her parents in a scene that decisively establishes how original this film is going to be. It does that by giving us almost the only lovable parents in the history of teen comedies: Bren ( Allison Janney ) and Mac (J.K. Simmons). They're older and wiser than most teen parents are ever allowed to be, and warmer and with better instincts and quicker senses of humor. Informed that the sheepish Paulie is the father, Mac turns to his wife and shares an aside that brings down the house. Later, Bren tells him, "You know, of course, it wasn't his idea." How infinitely more human and civilized their response is than all the sad routine "humor" about parents who are enraged at boyfriends.

Mac goes with Juno to meet the would-be adoptive parents, Vanessa and Mark Loring ( Jennifer Garner and Jason Bateman ). They live in one of those houses that look like Martha Stewart finished a second before they arrived. Vanessa is consumed with her desire for a child, and Mark is almost a child himself, showing Juno "my room," where he keeps the residue of his ambition to be a rock star. What he does now, at around 40, is write jingles for commercials.

We follow Juno through all nine months of her pregnancy, which she pretends to treat as mostly an inconvenience. It is uncanny how Page shows us, without seeming to show us, the deeper feelings beneath Juno's wisecracking exterior. The screenplay by first-timer Diablo Cody is a subtle masterpiece of construction, as buried themes slowly emerge, hidden feelings become clear, and we are led, but not too far, into wondering if Mark and Juno might possibly develop unwise feelings about one another.

There are moments of instinctive, lightning comedy: Bren's response to a nurse's attitude during Juno's sonar scan, and her theory about doctors when Juno wants a pain-killer during childbirth. Moments that blindside us with truth, as when Mac and Juno talk about the possibility of true and lasting love. Moments that reveal Paulie as more than he seems. What he says when Juno says he's cool and doesn't even need to try. And the breathtaking scene when Juno and Vanessa run into each other in the mall and the future of everyone is essentially decided. Jennifer Garner glows in that scene.

After three viewings, I feel like I know some scenes by heart, but I don't want to spoil your experience by quoting one-liners and revealing surprises. The film's surprises, in any event, involve not merely the plot but insights into the characters, including feelings that coil along just beneath the surface so that they seem inevitable when they're revealed.

The film has no wrong scenes and no extra scenes, and flows like running water. There are two repeating motifs: the enchanting songs, so simple and true, by Kimya Dawson. And the seasonal appearances of Paulie's high school cross-country team, running past us with dogged consistency, Paulie often bringing up the rear, until his last run ends with Paulie, sweaty in running shorts, racing to Juno's room after her delivery.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Juno (2007)

Rated PG-13 for mature thematic material, sexual content and language

Ellen Page as Juno MacGuff

Michael Cera as Paulie Bleeker

Jason Bateman as Mark Loring

Allison Janney as Bren MacGuff

J.K. Simmons as Mac MacGuff

Directed by

• Jason Reitman
• Diablo Cody

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Entertainment

Why We Should Celebrate 'Juno' For Its Complex Portrayal Of A Teenage Girl

From the instant audiences are introduced to the movie's lead character, it's clear that Juno 's portrayal of teenagers is a little different than most. Swigging from an oversized carton of Sunny D and arguing with a drug store cashier about her third pregnancy test of the day, Juno MacGuff is forthright and confident, but also willfully obnoxious. As the movie progresses, however, we're slowly able to determine that there's more to this 16 year-old girl beyond her overly-hip witticisms and propensity to annoy. Juno offers a complex portrayal of a teenage girl caught between the carefree naivety of childhood and the hellish responsibilities of her burgeoning adulthood. In dealing with her surprise pregnancy, she's forced to navigate a mature road with a childish compass, and she chooses to make that journey almost completely on her own.

" In Juno , the movie is not about pregnancy ," screenwriter Diablo Cody once told The Writers Digest in 2008, "pregnancy is the location." As a result, we see the lead character on a journey to that location, and it's one that's less about teen pregnancy than it is about her encountering how awkward, painful, and difficult the process of becoming an adult is. As a result, Juno's character is portrayed as a multifaceted teenager and one who, though immature, is also incredibly smart and self-sufficient. Juno's pregnancy, though it ushers the narrative along, is more of a reflection of the character's own growing up process, offering a timeline within which we witness her childish naivety mature into the responsibility filled wisdom of adulthood. And we see that portrayed in manners rarely offered to female teenage characters in movies.

For instance, when we see Juno's alarmingly cool disclosure of her pregnancy to her best friend Leah, or her inappropriately playful announcement to the baby's father, Paulie, Juno feels like an immature 16 year-old girl. She even makes an appointment for an abortion using an unreliable novelty phone that barely serves it's purpose. Where the character begins to grow, however, is in how she immediately assumes responsibility for her pregnancy from that point onwards and makes smart decisions regarding it that feel right for her. Regardless of whether Juno 's treatment of abortion is problematic or not, (she feels pressured to opt out of the procedure by a anti-choice school friend protesting outside the clinic) it's emboldening to see a young female character maintaining autonomy over the life of her child, nonetheless.

It's incredibly inspiring, for instance, to see how Juno already has a well-thought out and researched plan in place for herself, and the baby, by the time she's ready to announce her pregnancy to her parents. The character has the foresight to not only settle upon adoption as a solution for her unwanted child, but to have also actively sought out the parents she wants to raise it and to have figured out how they will cover her medical costs. From the start, her need for self-sufficiency in all aspects of her pregnancy is clear. And though she doesn't want to keep the baby, she does want to maintain control over all dealings concerning it until it's birth.

Juno pointedly tells her parents that she wants nothing from them except for "mercy," regarding the pregnancy, and also rejects an offer from Vanessa (the adoptive mother) of additional financial compensation for the child. Juno seems intent on traversing this journey with as much self-reliance and autonomy as possible, and that includes only accepting the bare minimum of support for it. Her confident, direct approach to making these decisions, including rejecting her step-mom's concern that adoption may be tougher than a 16 year-old girl could possibly fathom, is seriously refreshing to see in a teenage character. And it makes the rest of her character arc all the more compelling for it. Because as we check back in with Juno over the course of three changing seasons, we see her undergo some life-altering changes that aren't merely physical.

Though Juno is experiencing a difficult and major life event, she regardless appears on the surface as though she has it all together. She's organized, taking care of herself, and refusing for her pregnancy to change her life too much, and in those respects she seems fairly mature for her age. But then, as suggested by the twee folk soundtrack that softens every scene with an optimistic sweetness, Juno's naivety and immaturity are still active beneath the surface of that facade. And it's exactly these qualities that lead to events which cause her to have a small meltdown on the side of the freeway towards the end of the movie.

There's the way she pushes Paulie away as a boyfriend, despite his clear interest in her, before getting angry at him for attending prom with the girl she recommended he date. And there's also the way that she rejects her step-mom's assertion that Juno can't be friends with Mark (the baby's immature, adoptive father) because he's a married man with boundaries that she's too young to fully understand. Thankfully, Juno figures out that Mark has crossed those boundaries and isn't deserving of her friendship (or her child), and that she's actually madly in love with Paulie. "I just need to know that it's possible that two people can stay happy together forever," she tells her dad after Mark reveals that he's divorcing Vanessa, sounding like a little girl desperate to know that fairy tales aren't fictional.

But, sadly, they are. In real life, those fairy tale endings often require a lot of work, pain, and heartbreak to acquire. And you could argue that Juno's realization of this fact is the true resolution of the movie, more important than her eventually giving birth. Vanessa takes Juno's baby back home and is a proud, beaming mother. But Juno's true gift to Vanessa is in urging her that she can raise the child alone, and without Mark, just as Juno contended with the pregnancy of the child as a single woman, too. In accepting the challenges of life, and knowing that she can now deal with them herself and on her own terms, Juno discovers her own sense of identity and agency as a young woman. And that's a powerful denouement to see on screen when similar movies might have opted to focus singularly on the birth of the child being the main achievement of the plot. In Juno , that wasn't the case.

"I don't know what kind of girl I am," Juno tells her dad at the start of the movie, when he crushingly comments, "I thought you were the kind of girl who knew when to say when." By the end of the movie we can see exactly what sort of girl she is: She's smart, driven, self-sufficient, and most importantly, capable of dealing with life on her own terms and without apology. And just how many female teen movie characters can you say that about?

Juno and Political, Social, and Cultural Ideology Analytical Essay

Introduction.

The film ‘Juno’ is an amalgamation of feminist, political and cultural ideology. These have been depicted through the actions and decisions of a young and inexperienced pregnant teenager called Juno.

The movie is focused on abortion, which is a sensitive issue in US politics. Many critics have categorized the movie as ‘pro-life’ because its main character (Juno) was a pregnant teenager that chose to keep her child. However, it may also be considered as a pro- choice movie because Juno had the option of getting an abortion but chose not to. Consequently, it reflects prevailing sentiments on unplanned pregnancy.

The movie also serves as a commentary on gender roles in the US (Ramos et al. 15). The producer of the film probably had a feminist agenda because she did not represent a stereotypical image of a teenage girl. Juno is a cool and collected woman who acts intelligently when confronted with a huge challenge.

She is not a stereotypical, fun-loving teenage girl that most movies are focused on. Many Juno fans have praised the script writer for being unconventional by creating a symbolic teenage character that others can look up to. Therefore, the movie demonstrates that women do not have to be defined by their circumstances. She illustrated that pregnant teenagers can still be intelligent.

‘Juno’ also reflects the dehumanization of motherhood. As one watches the movie, one soon realizes that the pregnancy is like a problem that must be solved by the main character. Minimal attention has been given to the emotional attachment between mother and child, yet this is an inevitable part of pregnancy. Furthermore, Juno does not even recognize her unborn child as a real person.

This is seen by the fact that she frequently refers to her child as ‘the thing’. The audience is also informed about these sentiments through Juno’s voice-overs. One gets the impression that the child is abstract and displaced from Juno. She is perceived as something to be handed over to another family. Even after carrying the child for nine months and finally giving birth to her, Juno still supports adoption.

There is no bond formed between the natural mother and her child in the movie. After Juno gives away the child, she comments that the baby never really belonged to her or her partner. This illustrates that young mothers in this society are really distanced from their nurturing roles. Nonetheless, the writer does not completely dehumanize Juno; this teenager changes her mind when going to have the abortion and thus illustrates that she is compassionate.

Juno’s hospital technician also reinforces these values at a later segment of the movie. He believes that teenage pregnancies can be poisonous to a child. In fact, one can question the morality of such values. Juno’s family was urging her to give away her child to people who were not even related to them; they were complete strangers with questionable characters.

Mark (the adoptive father) was not sure about his life or his future role as a father. He even left Vanessa (the adoptive mother) at a time when she needed him the most. Furthermore, Mark fancied Juno regardless of her age. The movie maker endorses an adoption. She does not even question the safety and security of that child in the hands of such untrustworthy people. In the movie, parenting is optional and devoid of any emotional underpinnings.

The movie also depicts a certain level of patriarchal dominance (Ramos et al. 56). It seems like women are incapable of raising families on their own. In other words, this society shuns the idea of single motherhood as it is assumed that such women cannot make it. As such, the movie illustrates that men control resources so women (especially young ones) cannot sustain themselves.

The nuclear family appears to be superior to the extended family. None of the grandparents in the movie are considered for adoption. Her parents also prefer not to support Juno’s child. Paulie (Juno’s boyfriend) never tells his mother about the issue. Juno liaises with her parents to keep this matter away from Paulie’s mother who may have been interested in the adoption.

One can also trace elements of capitalism in the movie. Vanessa is seen as the ideal parent to this child because she has the material backing to take care of her. Since she can afford all luxurious items, then she is portrayed as the preferred candidate for motherhood. Vanessa talked about nesting or the need to prepare a nursery for one’s child. Therefore, it is this wealth that appears to be superior to any other form of care that a child can receive.

The movie writer disregards important concepts such as nutrition; essential nutrients can only be found in the biological mother’s milk. In addition, because a child develops in his or her biological mother’s womb then he or she must become attached to the sound and the voice of his or her mother. These concerns seem to have minimal consequences in the movie as material needs supersede all other needs.

The movie discounts mother to child affection through the main character’s attitude to her child. It endorses pro-life ideology and challenges traditional feminine roles by showing that pregnant teenagers can be intelligent and strong. It affirms capitalist and patriarchal dominance as seen through endorsement of the adoptive parents. Lastly, the movie reinforces nuclear family values since no member of the extended family is considered for the adoption. Most of the ideologies in the movie simply reflect conventional American values.

Ramos, Chris, Mayeda David & Pasko Lisa. Celluloid dreams: how film shapes America . NY: Kendall hunt publishing, 2010

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IvyPanda. (2023, December 20). Juno and Political, Social, and Cultural Ideology. https://ivypanda.com/essays/juno-and-political-social-and-cultural-ideology/

"Juno and Political, Social, and Cultural Ideology." IvyPanda , 20 Dec. 2023, ivypanda.com/essays/juno-and-political-social-and-cultural-ideology/.

IvyPanda . (2023) 'Juno and Political, Social, and Cultural Ideology'. 20 December.

IvyPanda . 2023. "Juno and Political, Social, and Cultural Ideology." December 20, 2023. https://ivypanda.com/essays/juno-and-political-social-and-cultural-ideology/.

1. IvyPanda . "Juno and Political, Social, and Cultural Ideology." December 20, 2023. https://ivypanda.com/essays/juno-and-political-social-and-cultural-ideology/.

Bibliography

IvyPanda . "Juno and Political, Social, and Cultural Ideology." December 20, 2023. https://ivypanda.com/essays/juno-and-political-social-and-cultural-ideology/.

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Home — Essay Samples — Entertainment — Didactic and Ethical Question Raised in the Film Juno

Didactic and Ethical Question Raised in The Film Juno

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Published: Jun 29, 2018

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The “Juno” Movie Under Communication Analysis

My reaction to this film, emotive scene on the movie, effective communication as a nurse, interpersonal interactions in the film, emotions of the characters, therapeutic communication, reference list.

The film Juno revolves around a teenager, Juno, who gets pregnant at the tender age of sixteen. Juno and his boyfriend, Paulie, at first decide to terminate the pregnancy. However, after visiting an abortion clinic, her friend’s protests and the deplorable condition of the clinic make Juno change her mind and decide to give up the baby for adoption after birth (Reitman, 2008). This new twist forms the basis where the rest of the movie is centered. With the help of a friend, Leah, Juno seeks an ideal couple to adopt her child. She finally settles on a childless couple, Mark and Vanessa, who wants a child. The movie brings out the challenges, ethical dilemmas, and emotional conflicts that Juno had to go through due to teenage pregnancy.

In this movie, it is clear that instances of communication including interpersonal communication and conflicts can elicit emotional reactions from the audience. Personally, my overall reaction after watching this movie was negative. The plot and conversations seemed unrealistic and saddening. In particular, the parents’ acceptance of the pregnancy and her adoption decision left me wondering if issues of teenage pregnancy should be handled lightly. Juno is an adolescent and at first, she sees her parents as “clueless and insensitive” (Deering & Cody, 2002, p.39) to her situation, thus forcing her to trust her friend, Leah, more than them. I was surprised at the lack of trust and the poor communication between Juno and her parents about adolescent issues such as substance abuse, sexuality, and abortion. Juno’s parents did not accord her a chance to talk and “disclose about her sexual activity” (Deering & Cody, 2002, p.39), which may have contributed to her present predicament. In addition, the lack of effective parental communication may have contributed to her early pregnancy and her decision to procure an abortion.

Most teenagers, who fall pregnant at an early age, suffer from embarrassment and often decide to terminate the pregnancy as they are unsure how their parents will react. However, in Juno , the parents are supportive and they even assist Juno to access antenatal services. Her friends also object to her decision to terminate the pregnancy and encourage her to give up the child for adoption.

While her decision may be considered a positive moral choice, the movie presents a broader picture of how external factors influence a child’s psychological development. It describes how upbringing and societal values play out in the lives of young people. In my opinion, Juno was not left to make a moral decision regarding the pregnancy. In particular, I felt that the parents’ openness and willingness to support her was a reflection of societal influences on moral decision-making. In addition, I felt that the moral dilemma that Juno found herself in was partly caused by the perceptions that people have on issues of abortion.

Although the plot largely seems unrealistic, its emotional aspect makes it believable. I was particularly moved by Juno’s vulnerability on learning that she is pregnant. She faces many challenges as a young pregnant girl. On several occasions in the movie, Juno says that her classmates made fun of her stomach and even talked ill of her in her absence. However, Juno, at first does not seem to mind their actions, but later she becomes dejected and unhappy. She even accuses Paulie, her boyfriend, of not supporting her and being ashamed of impregnating her. Her outburst reveals that she is vulnerable and unhappy.

After watching this scene, I was also filled with feelings of pity and sympathy for Juno, who is forced to carry adulthood responsibility on her teenage shoulders. This scene moved me as I thought that Juno was just a teenager who had been forced into an adult situation, which she was unprepared to face. Even though Juno’s demeanor reflected her as a young adult, her outbursts and dress code reveal her as an adolescent who has been forced into an adult situation. As Deering and Cody (2002) put it when adolescents feel misunderstood by adults, they become dejected and hostile, behaviors that lead to poor decisions. In this movie, when Juno goes to purchase a pregnancy test kit, she also buys a licorice rope and when calling the abortion clinic, she is seen using a hamburger-like phone. These cues show that Juno is emotionally a teenager despite her pregnancy. She needs support and reassurance from her parents to help her handle the challenges of teenage pregnancy.

The scene mentioned above revolves around the child development process is a complex societal landscape. Juno is just an adolescent confronted with the adulthood challenges of early pregnancy (Reitman, 2008). Understanding the factors involved in adolescent development and psychology is important for me as a nurse particularly on adolescent healthcare. Nurses are advised to establish a good rapport and trust with the adolescent patient to “elicit his or her participation” and make him or her “feel in control” (Deering & Cody, 2002, p.40). To achieve this goal, nurses should hold a private talk with the adolescent, being non-judgmental and specifying the confidentiality limits so that he or she feels in control of the conversation.

Adolescents’ interactions and relationships with other people play a major role in their development. In the movie, Juno is raised by her father, with limited communication between them, hence her independent and rebellious behavior. In addition, Juno’s views on relationships are shaped by her father’s relationship with a woman whom he later marries hence becoming her stepmother. In the scene described above, independent and rebellious attitude is revealed in Juno’s decision to go through the pregnancy despite the many challenges she faces. In addition, she does not consult her parents regarding her decision to terminate the pregnancy or her adoption plans.

Additionally, adolescent health encompasses issues such as teenage pregnancy and drug abuse. Interaction with societal values and customs influences one’s perceptions of these issues (Hendry & Kloep, 2002). In the scene, early sex and teenage pregnancy seem to be culturally acceptable as Juno does not hide her pregnancy or discontinue learning, but she seems unperturbed by her situation. Culture is one form of verbal communication and its salient attributes are revealed through language, dressing code, and societal perspectives (Hendry & Kloep, 2002). In the Western culture, sexuality and associated issues of teenage sex, abortion, family planning, and divorce are largely socially acceptable. Thus, understanding the cultural context of teenage sex and pregnancy would help formulate a culturally appropriate plan of care for the client. Moreover, advice on foster care versus adoption would help adolescent mothers make informed decisions about the kind of care they would want for their child. It is apparent that Juno is misadvised, as she even demands that Paulie supports her even though they are both teenagers. Moreover, Juno is misguided in her choice of the adoptive parents as she later learns that a single parent, just like her, would raise her child. Conventionally, an adolescent needs to grow and mature before taking up parental responsibilities. Understanding the cultural environment that adolescents interact with will help me, as a nurse, to communicate effectively with adolescents through active listening and advice a teenager on teenage issues of early pregnancy and substance abuse. In this way, I will be able to promote aspects of teens’ health such as safety and healthy development.

Adolescent issues are multi-dimensional and thus they need a holistic care. From a nursing perspective, clear communication is essential in understanding adolescent health problems and providing holistic care. It comprises four elements, viz. (1) context, whereby the nurse asks contextual questions related to the medical problem; (2) listening, whereby the nurse allows the adolescent to express his feelings freely; (3) empowerment, whereby the adolescent plays an active role in his or her health plans; (4) advice and reassurance regarding self-care (Arnold & Boggs, 2011, p.40). As a nurse, I believe that to communicate and counsel adolescents effectively, one has to understand the cognitive, biological, social, and emotional changes associated with puberty. In the scene, Juno develops a separate identity from her father, as she confides in her peers and Paulie rather than her father. The scene also brings to fore issues of teenage sexuality, abortion and relationships. Juno’s relationship with Paulie resulted to an early pregnancy, hence placing her in a difficult and vulnerable situation.

The lack of effective communication with her parents or any adult aggravated this situation. When dealing with an adolescent client, nurses should note subtle non-verbal communication cues, which are essential in understanding him or her and in building good nurse-patient relationships (Arnold & Boggs, 2011). The patient’s use of silence, body language, attention and touch as well as facial expressions, are important in improving the therapeutic relationship. On the part of the nurse, allowing silences and employing discernible non-verbal behaviors to reinforce verbal messages is important in therapy (Arnold & Boggs, 2011). In addition, aspects of body language such as gestures, touch, facial expressions (smiles or frowns) and eye contact are important non-verbal communication cues of a competent nurse. In my view, as we communicate with adolescent clients, as much as we should be keen to note non-verbal messages given by the client, we should be aware of our own non-verbal cues as they also affect client responses.

Interpersonal interactions in the film reveal many communication cues employed by the characters in the film. The first interaction I would like to talk of involves the interaction between Juno and Paulie, which involves sad facial expressions that show emotions. As stated by Arnold & Boggs (2011), a facial expression serves as “a barometer of another person’s feelings, approachability, motivations and mood” (p.41). Juno appears concerned and stressed in her interactions with others. Her angry outburst when she tells Juno that he is fortunate for he has no ‘evidence’ of premarital sex reveals her as an angry and stressed girl.

On his part, Paulie’s interaction with her is full of nonverbal cues. For example, in the scene where Juno informs him that she is pregnant, his facial expression reveals that he is shocked and scared. Paulie smiles but his glare shows that he, obviously, is not prepared to be a father at his age. After giving the child to Vanessa, Juno and Paulie are seen dancing and singing together. They show happiness and romance after the difficult time they have gone through. In their interactions, Juno and Paulie use facial expressions to communicate their emotions and intentions effectively.

Another interaction I observed in the film is between Juno and Mark, Vanessa’s husband. At a certain point in the movie, Mark and Juno develop a close friendship, but Mark has some intentions that are unknown to Juno. The two are seen hanging out when Vanessa is away. In the final scenes, in the middle of a dance, Mark reveals his intentions to leave his wife. The ensuing argument ends their close friendship. Here, Mark’s non-verbal communication cues are ineffective in communicating his intentions.

The first scene that I would like to discuss, which involved an emotional response, is where Juno makes the decision to give up her child for adoption. She appears courageous and determined to go through the challenging pregnancy period and seems not to mind the consequences of the pregnancy on her life. The way teen pregnancy is treated lightly seems unrealistic to me. The impact of Juno’s pregnancy on her life is downplayed in this movie. In addition, Juno’s brave decision fails to show the emotional struggle that any mother undergoes when deciding to give up her child to foster homes or for adoption. It also ignores the health challenges including nausea and sudden mood changes that pregnant women go through in the course of their pregnancy. As a healthcare professional, I personally would counsel Juno on pregnancy options and support her throughout the pregnancy. I would inform her of the complications associated with teenage pregnancy due to physical immaturity and emotional distress and advise her on the available healthcare services for her. In addition, I would advise her on social issues like the stigma associated with teenage pregnancy and educate her family and friends to be understanding and give her support.

The second scene I would like to discuss involves Juno’s interaction with her parents. On revealing that she is pregnant, her father does not seem to care and even walks away (Reitman, 2008). A parent would appear concerned and devastated by such news. His reaction reflects reduced interaction and shifting family dynamics after re-marrying Juno’s stepmother. I believe that constant interaction with parents is an essential part of adolescent development. Therefore, child/parent relationships play a role in preventing delinquency, indiscipline, and anti-social behavior in adolescents (Hendry & Kloep, 2002). As a healthcare professional, I would advise Juno’s parents to be caring and supportive towards their daughter as a positive parent/child relationship is important in adolescent development.

One important lesson that I have learnt from the movie relates to challenges associated with emerging adulthood and teenage pregnancies. Juno is at the peak of her adolescence, but she falls pregnant before reaching adulthood. The influence of parental/family relationships on her life is apparent based on the decisions she is forced to make. The film provides a broader perspective on psychological and physical development of an adolescent when faced with social and cultural issues. Therefore, adolescent health and teen pregnancy should be handled in a holistic manner. The complex nature of issues surrounding teenage pregnancy requires healthcare professionals to learn to communicate with teenagers in a way that recognizes the societal and cultural values as well as adolescent psychological development. This communication should involve sex education, healthcare options for pregnant adolescents, adoption/foster care options, and abortion.

Arnold, E., & Boggs, K. (2011). Interpersonal Relationships: Professional Communication Skills for Nurses. St. Louis, MO: Sauders.

Deering, C., & Cody, J. (2002). Communicating with children and adolescents.  American Journal of Nursing, 102 (3), 34-41.

Hendry, L., & Kloep, M. (2002). Life development: Resources, challenges and risk . Oxford, UK: The Alden Press.

Reitman, J. (Executive Producer). (2008). Juno [DVD]. Los Angeles, CA: 20 th Century.

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Ethical Matters in the Film Juno Anonymous College

The 2007 movie Juno raises many ethical issues through the perspective of Juno, a sixteen-year-old girl who becomes pregnant in high school. The movie is based around the moral struggles she faces during the pregnancy, as well as how she handles other characters intervening and imposing their personal beliefs upon her. Being so young, Juno receives an abundance of advice from her parents, friends, and adoptive parents who all believe they know what is best for her. However, she is at an age where she has developed her own set of values, and she intends to continue to be guided by them. Battling between living by her own ideals and allowing others to help guide her, Juno faces an abundance of internal conflicts during her pregnancy, which illuminates a large amount of ethical concerns and principles in the film.

The film is based around the already-controversial idea of teen pregnancy, which raises an ethical matter in itself. Although Juno can physically have a child, it can be argued that she, and other teen mothers, have not yet developed a mature emotional state capable of handling the process of motherhood. Juno often mentions how she is not quite sure who she is as a person, and that she is still “just a kid.” Because of...

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Ryan phillippe & kate beckinsale lead thriller ‘the patient’, first look revealed — cannes market, constantin production ‘good luck, have fun, don’t die’, starring sam rockwell, haley lu richardson, michael peña, zazie beetz & juno temple, kicks off production in south africa.

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Roger Corman: a career in pictures

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Best known for his low-budget Edgar Allan Poe adaptations, Corman also produced over 400 films and helped kickstart the careers of Jack Nicholson, Nicholas Roeg, Peter Fonda, James Cameron and Martin Scorsese

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Revisiting the Stars of ‘The Truman Show’: where are they Now?

This essay about ‘The Truman Show’ revisits the careers of the film’s main actors as the movie approaches its 25th anniversary. It highlights how stars like Jim Carrey and Laura Linney have diversified their roles and achieved significant acclaim in both film and television, reflecting on how the film was not only a pivotal cinematic moment but also a springboard for its cast to explore varied themes in their subsequent careers.

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“The Truman Show,” a seminal film from 1998 directed by Peter Weir, brilliantly explored the themes of surveillance, freedom, and reality, captivating audiences with its prescient narrative. As the film nears its quarter-century anniversary, it’s intriguing to revisit the careers of its stars and see where they are now.

Jim Carrey, who played the unwitting protagonist, Truman Burbank, has had a diverse career trajectory following his role in the film. Known initially for his slapstick comedy in movies like “Ace Ventura: Pet Detective” and “Dumb and Dumber,” Carrey took a turn towards more serious roles starting with “The Truman Show.

” This film marked a pivotal shift, showcasing his ability to handle depth and sensitivity. Since then, Carrey has starred in a variety of films, including the critically acclaimed “Eternal Sunshine of the Spotless Mind” and the thriller “23.” In recent years, Carrey has also ventured into television, starring in the Showtime series “Kidding,” and explored his passion for art, with his political cartoons gaining significant attention. His performances continue to draw interest, showing his versatility and enduring appeal in Hollywood.

Laura Linney, who played Meryl, Truman’s on-screen wife, has also flourished in her acting career post-“The Truman Show.” Linney has become a familiar face in both film and television, known for her nuanced portrayals in complex dramas. Her performances in movies like “You Can Count on Me” and “The Savages” have been particularly lauded, earning her multiple Academy Award nominations. On television, Linney has starred in the critically acclaimed series “The Big C” and Netflix’s “Ozark,” for which she has received several Emmy nominations. Her ability to portray a wide range of characters convincingly has made her one of the most respected actresses in the industry.

Noah Emmerich, who played Truman’s best friend Marlon, has consistently worked in both film and television since his role in “The Truman Show.” Emmerich has often been cast in roles as a dependable supporting actor, bringing authenticity and gravitas to every performance. Notable television roles include his portrayal of FBI agent Stan Beeman on the FX series “The Americans,” which earned him critical praise. He has also appeared in movies such as “Super 8” and “Pride and Glory,” and continues to be a solid presence in the acting world.

Natascha McElhone, who starred as Truman’s true love interest Sylvia, has maintained a steady career in film and television. Following “The Truman Show,” McElhone starred in films like “Solaris” and continued her television career with significant roles in series like “Californication” and “Designated Survivor.” Her performances often draw on a deep emotional well, bringing an intense presence to her roles.

Ed Harris, who played the enigmatic creator of the show, Christof, has continued to be a force in both film and theater. Harris’s intense performances and versatility have kept him at the forefront of the industry, with roles in movies such as “A Beautiful Mind” and “Gravity.” His portrayal of the Man in Black in the HBO series “Westworld” has been particularly notable, earning him several award nominations. Harris also continues to contribute to the theater community, demonstrating his passion for acting in all forms.

As we look back on “The Truman Show,” it’s clear that the film was not only a pivotal moment in cinema but also a launching pad for its stars, who continue to impact the film and television industries in significant ways. Their careers reflect the enduring legacy of the film, as they explore themes of reality, humanity, and personal freedom—echoes of the very issues “The Truman Show” so poignantly explored. The journey of its stars from then to now serves as a reminder of the film’s lasting influence on both audiences and the actors whose careers it helped shape.

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