In the film Central Station, a woman named Dora unknowingly puts a child in danger in exchange for money she spends on a new TV. Dora’s story takes on symbolic significance when Singer maps out a key similarity between her situation and that of the wealthy: Both face a choice between helping a child and enjoying material possessions. Singer positions his discussion of Dora’s situation at the beginning of his article, since it serves both as a striking introduction to the topic and as a provoking thought experiment. However, Singer acknowledges that the parallels he draws are not a perfect analog: He admits that “there are several differences between the two situations that could support different moral judgments about them” (61). That might seem counterproductive, but by contrasting Dora to his readers, at least initially, Singer lures those readers into passing judgment on Dora—a judgment that he soon reflects onto those who fail to donate.

Singer hopes readers will have a version of Dora’s experience as they encounter his text. Significantly, Singer suggests that Dora may have known the truth “all along,” but she doesn’t experience a change of heart until her neighbor’s “plain speaking” touches her heart (60). After “a troubled night,” Dora decides to “take the boy back” (60).