As showcased by The Hunger Games, contradictions appear to be a staple of Suzanne Collins' writing. The plot of the novel is a paradox in itself: a gruesome death match between starving children provides "tasteful" entertainment for the wealthy citizens of The Capitol. Looking deeper into the text, the contrasts between what can be expected and what transpires reveal themselves often, specifically during Katniss Everdeen's interview with Caesar Flickerman. On pages 128-129 ("As the audience oohs and ahs  a subtle thumbs up"), a plethora of contrasts between characters and ideas are exposed. By looking at the interactions between Katniss, the Gamemakers, Cinna, and Caesar, we can see the lies and deception that ensure the success in the Capitol's celebration of the Hunger Games. This is important because the theme of appearance versus reality is echoed as a major motif throughout the novel.
 
In her pre-Hunger Games interview with Caesar Flickerman, Katniss reveals a side of herself that she never has shown to anyone, not even herself. This may lie in the fact that during her dialogue with Caesar, she isn't being completely genuine. She realizes that she has a game to win; and she can't win unless she plays. In order to gain an advantage over her fellow tributes, she must impress the general public of the Capitol. After she charms the audience by twirling around the stage in her fiery dress, she starts giggling, which she claimed she had done "never in my lifetime" (128). The real Katniss Everdeen does not giggle, but she has to make sponsors fall in love and is willing to be whoever they want her to be. Residents of the Capitol would not believe that the playful girl making jokes with Caesar Flickerman is the headstrong and somewhat cold Katniss the reader has come to know. She continues to deceive the crowd with her newfound bubbly personality by bantering light-heartedly with Caesar throughout the rest of her interview.
 
Katniss is not the only one who is not being completely honest during this scene of the novel. The Gamemakers must also take part in the fraudulence that is the Hunger Games. When Caesar comments on Katniss' training score of eleven, the cameras find them in the crowd "chuckling and nodding" along with Katniss like they're old friends (128).  The reader knows that Katniss angered many of the Gamemakers during her training session with her radical display. But, to keep the residents of the Capitol at peace about the Tributes' inevitable slaughter, the Gamemakers keep up the illusion of an amiable relationship between them. It makes it easy to forget that they are the ones plotting the most exciting way for Katniss and the other Tributes to die.
 
Caesar Flickerman sustains the charade more than anyone else in this passage. As the Capitol spectators select their favorites and become attached to the Tributes, it is Caesar's duty to assure their safety. The facade of the Games relies on Flickerman's radiating positivity that could make one believe that all of the kids will return home. Collins obviously chose her words very carefully when writing Caesar's role as somewhat of a guardian to the tributes. When Katniss nearly falls off the stage after twirling around in her dress, "Caesar wraps a protective arm" around her (128). The use of the word "protective" is ironic because he can't really protect Katniss from the atrocity that awaits her in the arena. This idea is repeated when Caesar reassures the crowd, "She's safe with me" (128). In reality, Katniss will never really be safe again.

The only refuge Katniss finds after arriving at the Capitol lies in the arms of Cinna, her assigned stylist and temporary security blanket. Even though Katniss was introduced as naturally cynical, she recognizes from the start that she can trust Cinna and does wholeheartedly. Throughout her interview, Katniss looks to him for support and encouragement.  While showing off her dress, Cinna makes "the tiniest circular motion with his finger" that signals Katniss to twirl for the crowd (128). She flawlessly executes his instructions, and the audience reaction is enough to know Cinna is acting in her best interest. Katniss' newfound faith in others is inconsistent with the idea that she has become more independent while preparing for the Games. From the reader's perspective, she actually appears to be more vulnerable and in need of the comfort that Cinna offers her. When Caesar implores about Prim, Katniss is petrified and focuses on Cinna again. He's the only one in the Capitol she would actually want to share her love of Prim with and he knows this, as shown by the deepest sympathy on his face. Even at the end of her interview, she looks to Cinna for reassurance and he gives her a subtle thumbs up (129). The confidence that Katniss finds in herself when she looks to Cinna gives the audience a picture of a strong tribute, even though she has never been more nervous in her life.

The Hunger Games provides an example of extreme propaganda. Even though most of the outlying Districts don't buy it, the people of the Capitol look past how barbaric the Games are and only see harmless entertainment. The producers of the Hunger Games do a fantastic job at masking the massive heartbreak that accompanies the brutal death of with each individual Tribute. To Capitol viewers, it is just a game and these kids aren't real. The dehumanization of the Tributes when they enter the arena make it all seem like an insignificant scuffle between wild animals. This just goes to show that you can't believe everything the media tells you.

