Coupling Tv Show Quotes

She's your lobster. C'mon you guys. It's a known fact that lobsters fall in love and mate for life. You can actually see old lobster couples, walking around their tank, you know, holding claws". ...

Our lack of community is intensely painful. A TV talk show is not community. A couple of hours in a church pew each Sabbath is not community. A multinational corporation is neither a human nor a community, and in the sweatshops, defiled agribusiness fields, genetic mutation labs, ecological dead zones, the inhumanity is showing. Without genuine spiritual community, life becomes a struggle so lonely and grim that even Hillary Clinton has admitted "it takes a village".

I’ve heard it said that the secret to a happy marriage is to simply talk a lot with your partner. One study showed that happily married couples talked with each other five more hours per week than couples that aren’t happy. If people are busy taking care of their possessions, quarreling over them, spending time in separate rooms, or watching a lot of TV, they’re naturally going to have less time for conversations.

The little room was a forest of equipment now. A couple of months had passed since Eagle had been cloned. Rasala had named the two new prototypes Tartis and Gallifrey, after the home planet and time machine of Dr. Who, the protagonist of a science fiction show on public TV. The two new machines were the first to run with the normal, full-speed 220-nanosecond clock. Like Dr. Who, Rasala explained, the purpose of these new prototypes was “to conquer time.” Mag tapes were spinning. There were disk drives everywhere.

And Grandma spooned in some beans. “We need one of them psychics,” Grandma said. “I saw on television where you can call them up, and they know everything. They find dead people all the time. I saw a couple of them on a talk show, and they were saying how they help the police with these serial murder cases. I was watching that show, and I was thinking that if I was a serial murderer I’d chop the bodies up in little pieces so those psychics wouldn’t have such an easy job of it. Or maybe I’d drain all the blood out of the body and collect it in a big bucket. Then I’d bury a chicken, and I’d take the victim’s blood and make a trail to the chicken. Then the psychic wouldn’t know what to make of it when the police dug up a chicken.” Grandma helped herself to the gravy boat and poured gravy over her pot roast. “Do you think that’d work?” Everyone but Grandma paused with forks in midair.

How to describe the things we see onscreen, experiences we have that are not ours? After so many hours (days, weeks, years) of watching TV—the morning talk shows, the daily soaps, the nightly news and then into prime time (The Bachelor, Game of Thrones, The Voice)—after a decade of studying the viral videos of late-night hosts and Funny or Die clips emailed by friends, how are we to tell the difference between them, if the experience of watching them is the same? To watch the Twin Towers fall and on the same device in the same room then watch a marathon of Everybody Loves Raymond. To Netflix an episode of The Care Bears with your children, and then later that night (after the kids are in bed) search for amateur couples who’ve filmed themselves breaking the laws of several states. To videoconference from your work computer with Jan and Michael from the Akron office (about the new time-sheet protocols), then click (against your better instincts) on an embedded link to a jihadi beheading video. How do we separate these things in our brains when the experience of watching them—sitting or standing before the screen, perhaps eating a bowl of cereal, either alone or with others, but, in any case, always with part of us still rooted in our own daily slog (distracted by deadlines, trying to decide what to wear on a date later)—is the same? Watching, by definition, is different from doing.

Come to think of it, I could not even think of a movie or TV shows where they had a baby die, with the sole exception of a couple of episodes of “Little House on the Prairie” and perhaps soaps. I was beginning to understand this was truly “the” unspeakable loss, “the” invisible loss, a loss so great nobody wanted to talk about it; a loss so inconceivable and so horrible that many people declared it as being the most overwhelmingly painful experience of their life; the death of which they were least prepared for. I was beginning to understand. My grief was colossal and all-encompassing. No loss is more difficult to accept and feels more unnatural and less understood

Cats, of course, are easier to make fun of. The cutest cat is still a freak. Where
dogs are sympathetic, almost tragic, figures, cats are pure comedy. Dogs are your
buddies, cats are entertainment They're like a TV show. There's nothing funnier than when a cat falls off of something. When a dog falls down a couple of stairs, you rush to it and console it. But when a cat does it, it's funny—you point at it and laugh (which they don't like, incidentally).

The casting of the brash United States Army Air Force officer Colonel Robert E. Hogan and the pompous German Luftwaffe officer Colonel Wilhelm Klink was inspired. For this series—a comedy with the serious backdrop of war—to succeed, the lead players had to be the perfect fit. The dynamic portrayal of this military odd couple had to be articulate, accurate, and precise. For the show to work, for the concept to be accepted, for one of the most outlandish premises in television history to be believed, the actors signed to play the two leading characters not only had to bring these extreme individuals to life with broad, fictional strokes, they had to make them real in the details.

The Dangers of Dating There is a new phenomenon that has hit our society. It is called dating, and everyone is doing it. Dating has turned into a huge money-maker. Now, we have television shows dedicated to dating. We have internet dating sites, speed dating, and music that encourages it all over the world. Unfortunately, the Bible doesn’t say anything about dating. I realize there are many happily married couples whose marriages are a result of dating, but I want you to understand that there is great danger in dating. I’m not referring to courting or a betrothal. I’m referring to worldly dating, which consists of premarital sex, deep emotional connections, a great deal of kissing, and heavy petting, etc. This system of dating is recreational in nature, and it has no real purpose besides fulfilling lust, loneliness, and perversion. Never forget that it’s satan who convinces us to fill a legitimate need, illegitimately. Nonetheless, let’s examine some of these dangers now.

No,” she said. “But I know two guys named Moynahan.” And then she winked and walked away. Chang said, “Now she’s really your best friend forever. I don’t think she likes the Moynahans.” Reacher said, “I don’t see why anyone would.” “Someone must. We should assume they have their own best friends forever. We should expect a reaction.” “But not yet. They both took a hit. It’s going to be like having the flu for a couple of days. Not like on a television show, where they get over it during the commercial messages.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

I had tracked down a little cafe in the next village, with a television set that was going to show the World Cup Final on the Saturday. I arrived there mid-morning when it was still deserted, had a couple of beers, ordered a sensational conejo au Franco, and then sat, drinking coffee, and watching the room fill up. With Germans. I was expecting plenty of locals and a sprinkling of tourists, even in an obscure little outpost like this, but not half the population of Dortmund. In fact, I came to the slow realisation as they poured in and sat around me . . . that I was the only Englishman there. They were very friendly, but there were many of them, and all my exits were cut off. What strategy could I employ? It was too late to pretend that I was German. I’d greeted the early arrivals with ‘Guten Tag! Ich liebe Deutschland’, but within a few seconds found myself conversing in English, in which they were all fluent. Perhaps, I hoped, they would think that I was an English-speaker but not actually English. A Rhodesian, possibly, or a Canadian, there just out of curiosity, to try to pick up the rules of this so-called ‘Beautiful Game’. But I knew that I lacked the self-control to fake an attitude of benevolent detachment while watching what was arguably the most important event since the Crucifixion, so I plumped for the role of the ultra-sporting, frightfully decent Upper-Class Twit, and consequently found myself shouting ‘Oh, well played, Germany!’ when Helmut Haller opened the scoring in the twelfth minute, and managing to restrain myself, when Geoff Hurst equalised, to ‘Good show! Bit lucky though!’ My fixed grin and easy manner did not betray the writhing contortions of my hands and legs beneath the table, however, and when Martin Peters put us ahead twelve minutes from the end, I clapped a little too violently; I tried to compensate with ‘Come on Germany! Give us a game!’ but that seemed to strike the wrong note. The most testing moment, though, came in the last minute of normal time when Uwe Seeler fouled Jackie Charlton, and the pig-dog dolt of a Swiss referee, finally revealing his Nazi credentials, had the gall to penalise England, and then ignored Schnellinger’s blatant handball, allowing a Prussian swine named Weber to draw the game. I sat there applauding warmly, as a horde of fat, arrogant, sausage-eating Krauts capered around me, spilling beer and celebrating their racial superiority.

Vi greeted Stevie mush as Janelle had, with an incomprehensible string of affection. "I can't believe it," they said. They turned to Janelle. There were greeting kisses at breakfast now, like a couple from TV. Nate tore his waffle slowly as the pair leaned cozily into one another. "You know we're cute," Janelle said to him. "Cuteness is my favorite," he said. "It's good for when you write romances in your book, right?" Stevie said. "I don;'t write romance. I write about finding dragons and breaking magic rocks in half." "The real magic rocks are the friends we make along the way," Stevie replied. "Right?" "He's happy for us," Janelle said. "This is how he shows it." Nate looked up at all of them, dark shadows under his eyes. "This is why I prefer books to people." "We love you too," Janelle said.

What is the trick for writing dialogue? That you are not running a wiretap for the FBI. I used to have a boyfriend who was an assistant District Attorney in narcotics in New York and he used to have to read wiretaps. And he would bring them home, three feet high, two women who were watching television in their separate apartments, saying, “I need Pampers! Do you have Pampers? Did you see what he just did on that show?” Four thousand pages. They were girlfriends of suspects and it was a real cautionary tale in how you don’t want people to go on and on. And dialogue is nothing at all like how people talk. Dialogue, hopefully, if you’re doing it well, is a couple of well-chosen kernels that stand in for conversation, that represent conversation. Conversation is very boring. Even interesting conversations.

The firm’s fourth partner, Jeff Nussbaum, had carved out a niche writing jokes for public figures. It was he who taught me about the delicate balance all public-sector humorists hope to strike. Writing something funny for a politician, I learned, is like designing something stunning for Marlon Brando past his prime. The qualifier is everything. At first I didn’t understand this. In June, President Obama’s speechwriters asked Jeff to pitch jokes for an upcoming appearance at the Radio and Television Correspondents’ Dinner. I sent him a few ideas, including one about the president and First Lady’s recent trip to see a Broadway show: “My critics are upset it cost taxpayer dollars to fly me and Michelle to New York for date night. But let me be clear. That wasn’t spending. It was stimulus.” Unsurprisingly, my line about stimulating America’s first couple didn’t make it into the script. But others did. The morning after the speech, I watched on YouTube as President Obama turned to NBC reporter Chuck Todd. “Chuck embodies the best of both worlds: he has the rapid-fire style of a television correspondent, and the facial hair of a radio correspondent.” That was my joke! I grabbed the scroll bar and watched again. The line wasn’t genius. The applause was largely polite. Still, I was dumbfounded. A thought entered my brain, and then, just a few days later, exited the mouth of the president of the United States. This was magic. Still, even then, I had no illusions of becoming a presidential speechwriter. When friends asked if I hoped to work in the White House, I told them Obama had more than enough writers already. I meant it.

You know why angry protesters target stores and banks? You know why protesters in Seattle and New York shut down major roadways last night? Because white America does not care if a police officer murders a young man in broad daylight, but white America howls with outrage if you interfere with the lifeblood of commerce. It’s the only way to get a response out of the mainstream media, and it’s the only way to get the suburbs to even notice that something is wrong. (Notice the media in Seattle really only started paying serious attention when Macklemore, the most commercial artist this city has produced in a couple decades, showed up at the protests. Same idea.) When you’re hurt, you want someone to notice, to help. Experience tells protesters that candlelight vigils disappear into the void. Speeches go unheard. But if you break the windows of a convenience store? Those TV news vans will show up in a split-second, their enormous antennas flying high in the sky. People—powerful people, rich people—will pay attention.

As I became older, I was given many masks to wear. I could be a laborer laying railroad tracks across the continent, with long hair in a queue to be pulled by pranksters; a gardener trimming the shrubs while secretly planting a bomb; a saboteur before the day of infamy at Pearl Harbor, signaling the Imperial Fleet; a kamikaze pilot donning his headband somberly, screaming 'Banzai' on my way to my death; a peasant with a broad-brimmed straw hat in a rice paddy on the other side of the world, stooped over to toil in the water; an obedient servant in the parlor, a houseboy too dignified for my own good; a washerman in the basement laundry, removing stains using an ancient secret; a tyrant intent on imposing my despotism on the democratic world, opposed by the free and the brave; a party cadre alongside many others, all of us clad in coordinated Mao jackets; a sniper camouflaged in the trees of the jungle, training my gunsights on G.I. Joe; a child running with a body burning from napalm, captured in an unforgettable photo; an enemy shot in the head or slaughtered by the villageful; one of the grooms in a mass wedding of couples, having met my mate the day before through our cult leader; an orphan in the last airlift out of a collapsed capital, ready to be adopted into the good life; a black belt martial artist breaking cinderblocks with his head, in an advertisement for Ginsu brand knives with the slogan 'but wait--there's more' as the commercial segued to show another free gift; a chef serving up dog stew, a trick on the unsuspecting diner; a bad driver swerving into the next lane, exactly as could be expected; a horny exchange student here for a year, eager to date the blonde cheerleader; a tourist visiting, clicking away with his camera, posing my family in front of the monuments and statues; a ping pong champion, wearing white tube socks pulled up too high and batting the ball with a wicked spin; a violin prodigy impressing the audience at Carnegie Hall, before taking a polite bow; a teen computer scientist, ready to make millions on an initial public offering before the company stock crashes; a gangster in sunglasses and a tight suit, embroiled in a turf war with the Sicilian mob; an urban greengrocer selling lunch by the pound, rudely returning change over the counter to the black patrons; a businessman with a briefcase of cash bribing a congressman, a corrupting influence on the electoral process; a salaryman on my way to work, crammed into the commuter train and loyal to the company; a shady doctor, trained in a foreign tradition with anatomical diagrams of the human body mapping the flow of life energy through a multitude of colored points; a calculus graduate student with thick glasses and a bad haircut, serving as a teaching assistant with an incomprehensible accent, scribbling on the chalkboard; an automobile enthusiast who customizes an imported car with a supercharged engine and Japanese decals in the rear window, cruising the boulevard looking for a drag race; a illegal alien crowded into the cargo hold of a smuggler's ship, defying death only to crowd into a New York City tenement and work as a slave in a sweatshop. My mother and my girl cousins were Madame Butterfly from the mail order bride catalog, dying in their service to the masculinity of the West, and the dragon lady in a kimono, taking vengeance for her sisters. They became the television newscaster, look-alikes with their flawlessly permed hair. Through these indelible images, I grew up. But when I looked in the mirror, I could not believe my own reflection because it was not like what I saw around me. Over the years, the world opened up. It has become a dizzying kaleidoscope of cultural fragments, arranged and rearranged without plan or order.

I open the box, and there are notes. Notes and notes and notes. Peter’s notes. Peter’s notes I threw away. “I found them when I was emptying your trash,” she says. Hastily she adds, “I only read a couple. And then I saved them because I could tell they were important.” I touch one that Peter folded into an airplane. “Kitty…you know Peter and I aren’t getting back together, right?” Kitty grabs the bowl of popcorn and says, “Just read them.” Then she goes into the living room and turns on the TV. I close the hatbox and take it with me upstairs. When I am in my room, I sit on the floor and spread them out around me. A lot of the notes just say things like “Meet you at your locker after school” and Can I borrow your chemistry notes from yesterday?” I find the spiderweb one from Halloween, and it makes me smile. Another one says, “Can you take the bus home today? I want to surprise Kitty and pick her up from school so she can show me and my car off to her friends.” “Thanks for coming to the estate sale with me this weekend. You made the day fun. I owe you one.” “Don’t forget to pack a Korean yogurt for me!” “If you make Josh’s dumb white-chocolate cranberry cookies and not my fruitcake ones, it’s over.” I laugh out loud. And then, the one I read over and over: “You look pretty today. I like you in blue.” I’ve never gotten a love letter before. But reading these notes like this, one after the other, it feels like I have. It’s like…it’s like there’s only ever been Peter. Like everyone else that came before him, they were all to prepare me for this. I think I see the difference now, between loving someone from afar and loving someone up close. When you see them up close, you see the real them, but they also get to see the real you. And Peter does. He sees me, and I see him. Love is scary: it changes; it can go away. That’s part of the risk. I don’t want to be scared anymore. I want to be brave, like Margot. It’s almost a new year, after all.

party, and because I’m a sportswriter, some hostesses confuse me with the witty scribes they remember from old TV shows, Oscar Madison in The Odd Couple, maybe. Anyway, we’re invited to some nice gigs. I am not a party person,

One of our housekeepers called him Eddie Haskell. We’d never seen that old TV show Leave It to Beaver, but years later when I saw a couple of reruns on late-night TV, I realized that our housekeeper really hadn’t liked Roger. Eddie Haskell was an unctuous, conniving brown-noser. He was the two-faced character who’d politely compliment Mrs. Cleaver on her lovely dress while instigating some evil prank that would inevitably get her son, the Beaver, in trouble.

CHOOSING CONTENTMENT All that we have comes from God: our spouses, children, families, friends and jobs. That includes our houses, property, furnishings, cars, clothes, family heirlooms and all other personal belongings. God gives us these good gifts for our use and enjoyment. There is nothing wrong with these things, but sometimes our attitudes toward our things can cause problems for us. Throughout history, people have had the desire to get more stuff. But in our culture today, the media shows us how much we don’t have. Because we are exposed to people in different social standings, we can compare what we have to what others have. In previous generations, people compared what they had with their family or neighbors (who probably had similar things); today we have TV shows that portray the lives and belongings of the megarich. When we begin to focus on what others have, we become obsessed with material things. We are tempted to live beyond our means. We become stressed as we work harder and longer in order to buy more stuff. It is easy to wonder why others have more than we do, especially if we’re struggling to keep up with payments on our house, cars and loans. We say, “Other people are just like us, but they have so much more than we do. It’s not fair! Why doesn’t God bless us like he does them? Why should we always have money problems?” Maybe we become upset with our spouse and insist that we should do better than we are doing, or that our children should have the same opportunities that other children have. Jealousy, anger and ambition can eat away at a marriage when we think we should have more than we do. But the stuff we want may not be what God has allotted to us. He has promised that he will provide all that we need but not necessarily all that we want. So one tough spiritual lesson we need to learn as married couples is to shape our wants to match God’s allotment, not the other way around, and to choose, like Paul, to be content whatever our circumstances (see Philippians 4:11). Finding contentment with God’s allotment to us helps ease the stress of getting and spending. It lightens the load of acquiring more and more. And it may help us to grow together as a couple as we learn to enjoy each other’s company without the pressure of reaching for bigger and better toys, vacations, houses or recreational vehicles. When we begin to treasure each other, our hearts will be there also.

There’s a spirit of freedom in Portland you can’t find many other places. Austin has it a little, and Boulder has it. Nashville is glowing with it. It’s not just a hippie thing either. It’s something other, a feeling everybody else in the country is being corralled into buying just a few kinds of clothes, a couple of different records and watching the same television shows, while in these rare cities, these bastions of freedom, people have turned off their televisions to realize there are more than binary options for us to choose from. We don’t have to be either conservative or liberal or religious or atheist or divided into this or that categories. We can be ourselves, a conglomerate of nuanced beliefs and opinions.

Persistence, however, is an action that goes hand in hand with self-discipline—you can’t be persistently consistent if you don’t have the self-discipline necessary to stay on track. Life is full of temptations and it’s even more difficult to resist them as an entrepreneur who works from home and chooses their own schedule. Can you skip watching the premiere of your favorite TV show to work a couple extra hours instead? Are you willing to turn down a night out with friends to do some last-minute work before your paycheck is submitted? Self-discipline is a skill that you need to develop (if you haven’t already),

Now, Daniel and I propped ourselves up with pillows in his bed, our legs stretched out in front of us, passing the lo mein and dumpling cartons back and forth, digging into them with chopsticks while we heckled the married couple with more money than sense on the television. “Really?” I yelled. “You have a quarter of a million dollars to renovate a Philadelphia row house, and that’s the cheap garbage tile you pick for the bathroom?” “They have to make up for the money they spent replacing those hardwood floors somehow.” Daniel crunched into an eggroll. I tsked and shook my head. “They could have refinished the original ones for half that, easily.” “Oh, yeah?” He bumped my shoulder with his. “Refinish a lot of floors, do you?” “I watch a lot of TV where other people refinish a lot of floors. I think that makes me an expert.” He considered that. “Close enough. I’ll accept that.” I slurped up one more bite of noodles while the couple on the screen bickered about the color of the shower tile. Their marriage wasn’t going to last beyond the renovation of that house. “I wonder what it’s like,” I finally said. “I think the green would have looked better, but that’s not the hill I want to die on.” “No . . .” I passed the lo mein carton to him. “I mean having a space like that. My place would fit in their kitchen, you know? I watch shows like this and wonder what it would be like to live that kind of life. Where you have an amazing space like that, and the money to make it exactly what you want.

State wants the alleged techniques, presumably.” “I’ve been wondering about that,” Norman said. “I wonder if we do want them.” “How do you mean?” “It’s a bit difficult to explain … Look, have you been following television at all since you came home?” “Occasionally, but since the Yatakang news broke I’ve been much too busy to catch more than an occasional news bulletin.” “So have I, but—well, I guess I’m more familiar with the way trends get started here nowadays, so I can extrapolate from the couple or three programmes I have had time for.” Norman’s gaze moved over Elihu’s head to the far corner of the room. “Engrelay Satelserv blankets most of Africa, doesn’t it?” “The whole continent, I’d say. There are English-speaking people in every country on Earth nowadays, except possibly for China.” “So you’re acquainted with Mr. and Mrs. Everywhere?” “Yes, of course—these two who always appear in station identification slots, doing exotic and romantic things.” “Did you have a personalised set at any time, with your own identity matted into the Everywhere image?” “Lord, no! It costs—what? About five thousand bucks, isn’t it?” “About that. I haven’t got one either; the basic fee is for couple service, and being a bachelor I’ve never bothered. I just have the standard brownnose identity on my set.” He hesitated. “And—to be absolutely frank—a Scandahoovian one for the shiggy half of the pair. But I’ve watched friends’ sets plenty of times where they had the full service, and I tell you it’s eerie. There’s something absolutely unique and indescribable about seeing your own face and hearing your own voice, matted into the basic signal. There you are wearing clothes you’ve never owned, doing things you’ve never done in places you’ve never been, and it has the immediacy of real life because nowadays television is the real world. You catch? We’re aware of the scale of the planet, so we don’t accept that our own circumscribed horizons constitute reality. Much more real is what’s relayed to us by the TV.” “I can well understand that,” Elihu nodded. “And of course I’ve seen this on other people’s sets too. Also I agree entirely about what we regard as real. But I thought we were talking about the Yatakangi claim?” “I still am,” Norman said. “Do you have a homimage attachment on your set? No, obviously not. I do. This does the same thing except with your environment; when they—let’s see … Ah yes! When they put up something like the splitscreen cuts they use to introduce SCANALYZER, one of the cuts is always what they call the ‘digging’ cut, and shows Mr. and Mrs. Everywhere sitting in your home wearing your faces watching the same programme you’re about to watch. You know this one?” “I don’t think they have this service in Africa yet,” Elihu said. “I know the bit you mean, but it always shows a sort of idealised dream-home full of luxy gadgetry.” “That used to be what they did here,” Norman said. “Only nowadays practically every American home is full of luxy gadgetry. You know Chad’s definition of the New Poor? People who are too far behind with time-payments on next year’s model to make the down-payment on the one for the year after?” Elihu chuckled, then grew grave. “That’s too nearly literal to be funny,” he said. “Prophet’s beard, it certainly is! I found time to look over some of Chad’s books after Guinevere’s party, and … Well, having met him I was inclined to think he was a conceited blowhard, but now I think he’s entitled to every scrap of vanity he likes to put on.

Throughout the day, partners would make requests for connection, what Gottman calls “bids.” For example, say that the husband is a bird enthusiast and notices a goldfinch fly across the yard. He might say to his wife, “Look at that beautiful bird outside!” He’s not just commenting on the bird here: He’s requesting a response from his wife—a sign of interest or support—hoping they’ll connect, however momentarily, over the bird. The wife now has a choice. She can respond by either “turning toward” or “turning away” from her husband, as Gottman puts it. Though the bird-bid might seem minor and silly, it can actually reveal a lot about the health of the relationship. The husband thought the bird was important enough to bring it up in conversation and the question is whether his wife recognizes and respects that. People who turned toward their partners in the study responded by engaging the bidder, showing interest and support in the bid. Those who didn’t—those who turned away—would not respond or respond minimally and continue doing whatever they were doing, like watching TV or reading the paper. Sometimes they would respond with overt hostility, saying something like, “Stop interrupting me, I’m reading.” These bidding interactions had profound effects on marital well-being. Couples who had divorced after a six-year follow-up had “turn-toward bids” 33 percent of the time. Only three in 10 of their bids for emotional connection were met with intimacy. The couples who were still together after six years had “turn-toward bids” 87 percent of the time. Nine times out of 10, they were meeting their partner’s emotional needs.

Great. If nothing else, those two should make for an excellent reboot of The Odd Couple franchise.” “The what now?” Dionne sighed. “The Odd Couple,” she repeated. “It was a film? And a TV show, come to think of it.” She shook her head. “You really do make me feel old.” “Sorry,” said Zoya. “Hey, Dionne? What was it like in the good old days, when the internet ran off steam and the only way you could send an email was to print it out and staple it to a pigeon?

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

Note: I'm going to be talking about working on the television show The Office for a couple chapters now. If you're not interested in the office and purchased this book because you're a big fan of Charmed, SoulPancake, or double reed instruments, I suggest you either skip ahead or cut these chapters out of the book with a pair of cuticle scissors

Chocolate is a girl's best friend.' 'Consequently, I am going to polish off this entire chocolate pie, as well as sit here and cry, yes just sitting in my white tank top, and light pink comfy old short shorts, with the black drawstring in the fronts, tied, into a big floppy bow.' 'I sit looking at the TV, hugging my teddy bear. Tonight's movie lineup is 'Shawshank,' 'Misery,' 'The Notebook,' and 'A Walk to Remember.' While my black mascara from the day runs down my cheeks.' 'Life is not a fairytale, so maybe I can go next year. I know the prom is not going to happen either, yet I want to go at least once in my life. Yet, some get to go to prom, and dance for five years running. They go all four high school years.' 'Plus, they get asked for their date, which is still in school after they're out, even though they have gone many times before.' 'Then someone like me never gets the chance; that is not fair! I am not jealous; I just want to have the same opportunities, the photos, and the involvements.' 'I could envision in my mind the couples swaying to the music.' 'I could picture the bodies pressed against one another. With their hands laced with desire, all the girls having their poofy dresses pushed down by their partner's closeness, as they look so in love.' 'I know is just dumb dances, but I want to go. Why am I such a hopeless romantic? I could visualize the passionate kissing.' 'I can see the room and how it would be decorated, but all I have is the vision of it. That is all I have! Yeah, I think I know how Carrie White feels too, well maybe not like that, but close. I might get through that one tonight too because I am not going to sleep anywise.' 'So why not be scared shitless! Ha, that reminds me of another one, he- he.' 'I am sure that this night, which they had, would never be forgotten about! I will not forget it either. It must have- been an amazing night which is shared, with that one special person.' 'That singular someone, who only wants to be with you! I think about all the photographs I will never have. All the memories that can never be completed and all the time lost that can never be regained.' 'The next morning, I have to go through the same repetition over again. Something's changed slightly but not much; I must ride on the yellow wagon of pain and misery. Yet do I want to today?' 'I do not want to go after the night that I put in. I was feeling vulnerable, moody, and a little twitchy.' 'I do not feel like listening to the ramblings of my educators. Yet knowing if I do not show up at the hellhole doors, I would be asked a million questions, like why I did not show up, the next day I arrived there.

Not surprisingly, the exchange of wives from couples who are often polar opposites has led to the show’s fair share of scandals. An Oklahoma man sued the show for misrepresentation and distress when his “wife” turned out to be a gay man. A man on the UK version of the show committed suicide after being humiliated when his sexual practices were made public. A participant who lost his job and received death threats after being labeled “the worst husband in America” accused the producers of manufacturing a character for him to play. He claimed that, under duress of constant cameras and the threat that he was not being entertaining enough, they persuaded him to amp up his hostility toward his swapped wife. Another participant, who was a teenager when her show aired, sued the show, claiming that she was represented in such a false light on air that she suffered bullying at school that ruined

Not surprisingly, the exchange of wives from couples who are often polar opposites has led to the show’s fair share of scandals. An Oklahoma man sued the show for misrepresentation and distress when his “wife” turned out to be a gay man. A man on the UK version of the show committed suicide after being humiliated when his sexual practices were made public. A participant who lost his job and received death threats after being labeled “the worst husband in America” accused the producers of manufacturing a character for him to play. He claimed that, under duress of constant cameras and the threat that he was not being entertaining enough, they persuaded him to amp up his hostility toward his swapped wife. Another participant, who was a teenager when her show aired, sued the show, claiming that she was represented in such a false light on air that she suffered bullying at school that ruined her confidence. The lawsuit was settled for an undisclosed sum.

if we use electrodes to study its oddly intelligent brain, we can replicate a pack of cloned genius dogs to do our bidding.” Everyone in the room smiled along with their leader. They followed his gaze to the TV monitor, now showing a photo of Wolfe with his arm around a young woman, and talking to a smiling black couple, while the dog sat at their feet. If any of those people happened to witness Jake Wolfe’s murder, they’d be killed too. He turned to Gisela and demanded, “Is the laboratory completion on schedule?” “Yes, it’s ready now, awaiting the scientists.” She tapped the remote and played a video. Attached to the mansion, in what appeared to be a five-car garage, a secret laboratory had been prepared for two epidemiologists Belken intended to kidnap. They would be forced to mutate the 1918 influenza pathogen into an even deadlier strain to be used as an aerosolized microbe weapon sprayed from ships or planes onto targeted cities. Their other task, equally important, would be to develop a new flu shot to immunize against the threat. There were murmurs of approval around the table. Belken nodded, hearing their flattering remarks. “Any report on our team kidnapping the targets?

But moving toward security is not only about tackling problems in your relationship; it’s also about having fun together. Find ways to enjoy your time together as a couple—a walk in the park, a movie and dinner, watching a TV show that you both like—and make time to be physically close.

break?" She stared back at him, but speaking was beyond her. She was so taken aback by the concern and care he couldn't hide. This was just one more aspect of his personality that she was seeing, whether he wanted her to see it or not. She sucked in a ragged breath. She had one thought and one thought only. She was falling in love with the Neanderthal. **** During the evening and night, Logan fed her soup and made her drink Gatorade and lots of water. Lauren knew he'd called someone, she suspected it was his mother, because she'd heard him talking on the phone. After that, he timed her medicine and alternated between giving her ibuprofen and acetaminophen. He took care of her, and she left any worries she might have had to him. Since the following day was Friday, she already knew she wasn't going in to work, and so did her immediate boss. It had been more than obvious when Lauren had left with chills and a fever and he had called out, "See you Monday." She knew he didn't want her spreading what she had all over the office. So Lauren alternated between sleeping through the evening and night, and being taken care of by Logan. All she had to do on her own was pick her way to the bathroom, and a couple of times, she hadn't even had to do that. He'd lifted her up when she'd swayed a little too much for his liking, and deposited her in the bathroom and closed the door. He'd been there waiting for her, ready to carry her back after she opened the door. They watched some television together, and at about midnight, he carried her through to the bedroom and held her as she slept. Lauren couldn't ever remember having had so much fun being sick. She reveled in his care; she luxuriated in the undivided attention he was showing her. Nothing anyone had ever done for her had ever felt so . . . compelling. The next morning when she realized that he wasn't going to go to work, she rebelled against that. "I'm okay. I'm going to live. Please go to work." He frowned in obvious agitation. "Your fever might flare up again." "I just took the ibuprofen. I'll take some more meds in a couple of hours, okay?" He watched her as if debating the idea. "I think you still need me." God, yes, she needed him. "I'll be fine." She watched him warily, a thousand emotions bouncing around in her head. "You can come back after work if you want." He leaned in and kissed her on the forehead. "That's a given, baby." **** Lauren went back to work on Monday but was slow to fully get her strength back. Two weeks later, however, she was full steam ahead. She'd laid low at work, put a lot of stuff on the back burner as she recovered from what she guessed was a mild case of the flu. Then one day, feeling much better, she took a look at her upcoming calendar and almost flipped out. She had a full schedule packed into the next ten days or so, starting with an out of town trip. Logan took her out to dinner that evening, and after they'd eaten and she'd delayed as long as she could, she lowered the boom on him. After she told him about the trip, he turned in his seat to stare down at her. He said nothing for a moment, as if not trusting himself to speak. The waiter walked by, and Logan motioned for the check with a jerk of his hand. Every motion of his body indicated his heightened stress level. "Logan, you're overreacting," Lauren chided softly. "Am I?" he asked, staring across the restaurant, out the windows, looking everywhere else but not at her while he drummed his fingers on the table. "Yes. It's no big deal, really, I'll be home before you know it," she tried to soothe. "I don't think you understand," he said flatly as he turned to look at her. Oh, Lauren was pretty sure she did understand and told him so in no uncertain terms. "I

At one point when I was in the middle of the first season, I asked myself why I would want to watch a conservative Democrat destroy teachers’ unions and have joyless sex with a woman who looks like a very young teenager. I still had not answered the question when Claire pushed things to the next level in a scene so intensely creepy that it might count as the most revolting thing I have ever witnessed on television. A longtime member of the couple’s Secret Service security detail is dying of cancer, and Claire goes to visit him alone. On his deathbed, he reveals that he was always secretly in love with her and thought that Frank wasn’t good enough for her. Her response is almost incomprehensible in its cruelty—she mocks and taunts him for thinking he could ever attain a woman like her, and then puts her hand down his pants and begins to give him a handjob, all the while saying, in true perverse style, “This is what you wanted, right?” Surely Claire doesn’t have to emotionally destroy a man who is dying of cancer—and yet perhaps in a way she does, because she uses it as a way of convincing herself that Frank really is the right man for her. Not only could an average, hardworking, sentimental man never satisfy her, but she would destroy him. By contrast, Frank not only can take her abuse, but actively thrives on it, as she does on his. Few images of marriage as a true partnership of equals are as convincing as this constant power struggle between two perverse creeps. Claire is not the first wife in the “high-quality TV drama” genre to administer a humiliating handjob. In fact, she is not even the first wife to administer a humiliating handjob to a man who is dying of cancer. That distinction belongs to Skyler White of Breaking Bad, who does the honors in the show’s pilot. It is intended as a birthday treat for her husband Walt, who is presumably sexually deprived due to his wife’s advanced pregnancy, and so in contrast to Claire’s, it would count as a generous gesture if not for the fact that Skyler continues to work on her laptop the entire time, barely even acknowledging Walt’s presence in the room. In her own way, Skyler is performing her dominance just as much as Claire was with her cancer patient, but Skyler’s detachment from the act makes it somehow even creepier than Claire’s.

Later, in 1962, when Vance agreed to rejoin Ball as her TV second banana on the forthcoming The Lucy Show, she made a strong stipulation: she must never again be paired with Frawley. “I loathed William Frawley and the feeling was mutual,” she recalled. “Whenever I received a new [I Love Lucy] script, I raced through it, praying that there wouldn’t be a scene where we had to be in bed together.

Day had fucked up big time. This was all his fault, all because he couldn’t keep his nosy ass out of other peoples private business. Day rushed to God’s side. “I’ll help you ba—” Day didn’t know how, but God had found enough strength after that beating to push him so hard that he flew into the dresser, knocking it and all of the items that were on top of it to the floor, including the television. Day rolled a few feet, the dresser just missing falling on top of him. “Cash, what the fuck!” Day cursed. He rolled to his side and winced at the sharp pain in his ribs from coming into contact with the dresser. “I was trying to help you get into bed.” “Get the fuck out, Leo.” God’s face was an unyielding mask. For the first time in four long years, Day couldn’t read what the hell was going through God’s mind. Day stood slowly. “God, I only called him because I needed to go—” “It doesn’t matter why you did it! You had no right! You have no clue what you just did!” God yelled. “Now get out!” “Cashel, please. Just hear me out,” Day pleaded. His eyes begged for God to see the sincerity in them. He really didn’t mean for any of this to happen. “Baby, I swear. I didn’t know any of this was happening between you and your family. You should’ve told me. Why was he calling you a murderer?” No matter what, Day couldn’t turn off his detective side. Day watched God squeeze his eyes shut. He went down on one knee and clutched his chest when the hard coughing started again. God’s eyes were full of water and pain. Day timidly eased over to God’s side but God cut his eyes at him, daring him to come any closer. Day had to fight the moisture in his own eyes. “I just want to help you into bed.” “Day, if you don’t get the fuck out of my house, I’m going to show you why he called me a murderer,” God said through clenched teeth. Day couldn’t stop the gasp that escaped his lips, or the pain that radiated through his chest, as if his rib cage had been torn open and his heart ripped out and thrown underneath the bed. Day kept his eyes on God as he knelt to pick up the dresser, then the television. God watched him as well. Day didn’t say anything as the rogue tear fell down his face without his permission. Day went around to the opposite side of the bed and pulled a pen and piece of scrap paper from the drawer, still watching God carefully. He really didn’t like the look on his best friend’s face. He’d seen the look before, but he’d never had it leveled on him. Day scribbled a couple of phone numbers on the paper.

LORNE MICHAELS: I taught at an art school in Toronto, I was teaching improvisations, the conceptual art movement which was being talked about and on the edge of things in the early seventies. Where that and entertainment met was what Andy Kaufman was doing. It wasn’t just that he lip-synched to “Mighty Mouse”; it was that he only did that one part in it, that one line, and stood around for the rest. It was very conceptual, and it instantly signaled to the brighter part of the audience that that was the kind of show we were going to do. And they weren’t getting that anywhere else on television. In the first couple years, Andy must have been on close to ten times. One night he even read from The Great Gatsby. In the beginning I had Penn and Teller on a few times, because that was the DNA, but I couldn’t do that now. The pure variety show part of it is over. It’s a straight comedy show now.

--Birthday Star Atlas-- "Wildest dream, Miss Emily, Then the coldly dawning suspicion— Always at the loss—come day Large black birds overtaking men who sleep in ditches. A whiff of winter in the air. Sovereign blue, Blue that stands for intellectual clarity Over a street deserted except for a far off dog, A police car, a light at the vanishing point For the children to solve on the blackboard today— Blind children at the school you and I know about. Their gray nightgowns creased by the north wind; Their fingernails bitten from time immemorial. We're in a long line outside a dead letter office. We're dustmice under a conjugal bed carved with exotic fishes and monkeys. We're in a slow drifting coalbarge huddled around the television set Which has a wire coat-hanger for an antenna. A quick view (by satellite) of the polar regions Maternally tucked in for the long night. Then some sort of interference—parallel lines Like the ivory-boned needles of your grandmother knitting our fates together. All things ambigious and lovely in their ambiguity, Like the nebulae in my new star atlas— Pale ovals where the ancestral portraits have been taken down. The gods with their goatees and their faint smiles In company of their bombshell spouses, Naked and statuesque as if entering a death camp. They smile, too, stroke the Triton wrapped around the mantle clock When they are not showing the whites of their eyes in theatrical ecstasy. Nostalgias for the theological vaudeville. A false springtime cleverly painted on cardboard For the couple in the last row to sigh over While holding hands which unknown to them Flutter like bird-shaped scissors . . . Emily, the birthday atlas! I kept turning its pages awed And delighted by the size of the unimaginable; The great nowhere, the everlasting nothing— Pure and serene doggedness For the hell of it—and love, Our nightly stroll the color of silence and time.

My best friend looks at me and downs the shot of bourbon in his glass. His eyes are red and rheumy, a look of misery etched upon his face. Trey sniffs loudly and slams his glass down on the bar, drawing the attention of a few of the people sitting around us. “I loved her, man,”he says. I nod and pat him on the shoulder. “I know you did, man.”We're sitting at the bar in the Yellow Rose Lounge, a quiet place where people can go to have a drink and conversation. Furnished in dark woods, with soft, dim lighting, it's more peaceful than your average watering hole. The music is kept low enough that you don't have to shout to be heard, and the flat panel televisions showing highlights from various games are kept on mute. The Yellow Rose is a lounge that caters to business professionals and people who want to have a quiet drink, a mellow conversation, or be alone with their thoughts. There are plenty of bars in Austin that cater to the hellraisers and I've been known to patronize those places now and then. But, it's also nice to have a place like the Yellow Rose for times when I need some quiet solitude. Or, when I need help nursing a friend through a bad, bitter breakup. The bartender pours Trey another shot –which he immediately downs. “Might as well leave the bottle,”I say. The bartender pauses and gives me a considering look, knowing he shouldn't leave a bottle with customers. I think it's a law or something. Reaching into my pocket, I drop a couple of hundreds down on the bar, which seems to relieve him of his inner-conflict. He quickly scoops up the cash, sets the bottle down, and strolls down to the other end of the bar. I pour Trey another shot, which he downs almost instantly and then holds his glass up for another. Not wanting to see him pass out or die from alcohol poisoning, I know I need to pace him. I set the bottle back down on the bar in front of me and turn to my friend.

My best friend looks at me and downs the shot of bourbon in his glass. His eyes are red and rheumy, a look of misery etched upon his face. Trey sniffs loudly and slams his glass down on the bar, drawing the attention of a few of the people sitting around us. “I loved her, man,” he says. I nod and pat him on the shoulder. “I know you did, man.” We're sitting at the bar in the Yellow Rose Lounge , a quiet place where people can go to have a drink and conversation. Furnished in dark woods, with soft, dim lighting, it's more peaceful than your average watering hole. The music is kept low enough that you don't have to shout to be heard, and the flat panel televisions showing highlights from various games are kept on mute. The Yellow Rose is a lounge that caters to business professionals and people who want to have a quiet drink, a mellow conversation, or be alone with their thoughts. There are plenty of bars in Austin that cater to the hellraisers and I've been known to patronize those places now and then. But, it's also nice to have a place like the Yellow Rose for times when I need some quiet solitude. Or, when I need help nursing a friend through a bad, bitter breakup. The bartender pours Trey another shot –which he immediately downs. “Might as well leave the bottle,” I say. The bartender pauses and gives me a considering look, knowing he shouldn't leave a bottle with customers. I think it's a law or something. Reaching into my pocket, I drop a couple of hundreds down on the bar, which seems to relieve him of his inner-conflict. He quickly scoops up the cash, sets the bottle down, and strolls down to the other end of the bar. I pour Trey another shot, which he downs almost instantly and then holds his glass up for another. Not wanting to see him pass out or die from alcohol poisoning, I know I need to pace him. I set the bottle back down on the bar in front of me and turn to my friend.

Phoebe Waller-Bridge thanks him and says: ‘It’s going bloody great, Russell!’, she continues ‘Last year has been insane. I’ve loved every part of it. […] I’m always asking myself, ‘How would I feel if this went away?’ about various aspects of it all. I think the things I’d be truly gutted to lose are my creative freedom, my collaborators and a couple of really nice coats. Anything else is just a perk.’ We might not all write award-winning TV shows, but every one of us can own our successes when they’re pointed out to us. It’s also infectious. When you watch someone own their successes, you feel compelled to do the same. Therefore, by being positive about yourself, you are probably inspiring someone else in the process.

Our next Happy Couple home was a mansion in LA, where I spent one entire day showering in each of the five different bathrooms while the show captured

Our next Happy Couple home was a mansion in LA, where I spent one entire day showering in each of the five different bathrooms while the show captured B-roll footage of me lathering up.

Full disclosure. I’m a guy weaned on the reruns of 1970’s and 80’s action/adventure TV shows. You couple that with a pretty white trash upbringing that, when not down at the comic book shop and learning about the art of Jack Cole and obscure Italian crime movies from Von Rudy, translated into an inordinate amount of time spent hanging around Lemons Speedway unsupervised while my mother looked for love, and you’ll see that my convincing a broken down daredevil stuntman drinking buddy of my mom’s named No Eyes Majewsky into teaching me how to pull out of a parking space like Jim Rockford and then raise hell on four wheels seemed like the most natural thing in the world.

Makers of the hit reality TV show, Bigg Boss have announced the details of their upcoming season 12. The show will now have couples for participants, Bigg Boss has seen a major drop in viewers which is why the makers have decided to bring something new to the table. Announcing the auditions for the upcoming season, Indian TV channel Colors TV tweeted: While the tweet did not explicitly mention what kind of couples the show is looking for, reports suggest that the makers are looking for romantic couples. A report by The Indian Express quoted a source, mentioning, “Bigg Boss is one of the most watched shows across the world and the show-runners make an effort to bring something new for its viewers every year. While the partner angle was played during the ninth season themed – Double Trouble – this would be special, as for the first time, contestants will get to participate with their loved ones.” With the new format of the show, fans were also concerned if Salman Khan will be hosting the show this time as well as the actor was recently involved in a court case. However, it’s been confirmed that the 52-year-old actor will be returning to the Bigg Boss stage for season 12. Colors TV believes that despite busy schedules, Salman has always been on time for his Bigg Boss shoots. In addition, he has also added much needed star value to the show. Apart from Bigg Boss 12, Salman has a game show, Dus Ka Dum lined up as well, which will be premiering in July 2018.

My best friend looks at me and downs the shot of bourbon in his glass. His eyes are red and rheumy, a look of misery etched upon his face. Trey sniffs loudly and slams his glass down on the bar, drawing the attention of a few of the people sitting around us. “I loved her, man,” he says. I nod and pat him on the shoulder. “I know you did, man.” We're sitting at the bar in the Yellow Rose Lounge, a quiet place where people can go to have a drink and conversation. Furnished in dark woods, with soft, dim lighting, it's more peaceful than your average watering hole. The music is kept low enough that you don't have to shout to be heard, and the flat panel televisions showing highlights from various games are kept on mute. The Yellow Rose is a lounge that caters to business professionals and people who want to have a quiet drink, a mellow conversation, or be alone with their thoughts. There are plenty of bars in Austin that cater to the hellraisers and I've been known to patronize those places now and then. But, it's also nice to have a place like the Yellow Rose for times when I need some quiet solitude. Or, when I need help nursing a friend through a bad, bitter breakup. The bartender pours Trey another shot – which he immediately downs. “Might as well leave the bottle,” I say. The bartender pauses and gives me a considering look, knowing he shouldn't leave a bottle with customers. I think it's a law or something. Reaching into my pocket, I drop a couple of hundreds down on the bar, which seems to relieve him of his inner-conflict. He quickly scoops up the cash, sets the bottle down, and strolls down to the other end of the bar. I pour Trey another shot, which he downs almost instantly and then holds his glass up for another. Not wanting to see him pass out or die from alcohol poisoning, I know I need to pace him. I set the bottle back down on the bar in front of me and turn to my friend

Michael Jordan: cut from his high school basketball team. Steven Spielberg: rejected from film school three times. Walt Disney: fired by the editor of a newspaper for lacking ideas and imagination. Albert Einstein: He learned to speak at a late age and performed poorly in school. John Grisham: first novel was rejected by sixteen agents and twelve publishing houses. J.K. Rowling: was a divorced, single mother on welfare while writing Harry Potter. Stephen King: his first book “Carrie” was rejected 30 times. He threw it in the trash. His wife retrieved it from the trash and encouraged him to try again. Oprah Winfrey: fired from her television reporting job as “not suitable for television.” The Beatles: told by a record company that they have “no future in show business”.

When you multitask, you are not focused on the most important thing that you need to do. Rather, you are focusing on many other things that don’t matter at that time. For example, you are constantly checking your email or your messages when you should be completely focused on getting the job done. Unless there is an email or message which represents a life and death situation, it can wait. If you receive messages that do not refer to anything truly important at the moment, then you can let them sit there and wait. By living in the present, in the here and the now, you are able to focus on what you really need to get done and not what you want to do. Sure, you might be tempted to kick back and watch a couple of episodes of your favorite TV show.

Tips for Play Turn it off Turn off the TV and the electronics! Imagination is an essential ingredient for play to have its positive effects. Create an enriching environment Studies show that a sensory-rich environment coupled with play facilitates cortical growth in the brain. Having a variety of materials around that can stimulate all of the senses—visual, auditory, tactile, and so on—enhances brain development during play. Use art Children’s brains grow when they make art. Therefore, don’t show them how to do it—just put out the art supplies and let them create spontaneously. Let them explore outside Get them outside as much as possible to play in nature—the woods, the park, the beach, wherever. Try to find safe areas where you aren’t afraid to let them be free and explore the environment. These are places they can really use their imaginations and have fun. Mix children of different ages