Famous Drama Quotes

Positive. In other news, Marcie's throwing a Halloween party here at the farmhouse." Patch smiled. "Grey - Millar family drama?" "The theme is famous couples from history. Could she be any less original? Worse, she's roped my mom into this. They went shopping for decorations today. For three whole hours. It's like they're suddenly best friends." I picked up another apple slice and made a face at it. "Marcie is ruining everything. I wanted Scott to go with Vee, but Marcie already convinced him to go with her." Patch's smile widened. I aimed my best sulky look at him. "This isn't funny. Marcie is destroying my life. Whose side are you on anyway?" Patch raised his hands in surrender. "I'm staying out of this.

Jennifer’s eyes begin to water again. “Don’t let anything bad happen to him, Dr. Sampson. My husband is a famous lawyer. He sues doctors when they screw up.” “Jennifer!” Zack exclaims, embarrassed.

Love drama, just not my own. - Sam Zalutsky

Some people start to live when they die

Perhaps the twentieth-century Senator is not called upon to risk his entire future on one basic issue in the manner of Edmund Ross or Thomas Hart Benton. Perhaps our modern acts of political courage do not arouse the public in the manner that crushed the career of Sam Houston and John Quincy Adams. Still, when we realize that a newspaper that chooses to denounce a Senator today can reach many thousand times as many voters as could be reached by all of Daniel Webster’s famous and articulate detractors put together, these stories of twentieth-century political courage have a drama, an excitement—and an inspiration—all their own.

I was familiar with the little mating rituals of getting to know each other, of dragging out the stories from childhood, summer camp, and high school, the famous humiliations, and the adorable things you said as a child, the familial dramas—of having a portrait of yourself, all the while making yourself out to be a little brighter, a little more deep than deep down you knew you actually were. And though I hadn’t had more than three or four relationships, I already knew that each time the thrill of telling another the story of yourself wore off a little more, each time you threw yourself into it a little less, and grew more distrustful of an intimacy that always, in the end, failed to pass into true understanding.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

Often a whole life is devoted to this substitute. As long as the true need is not felt and understood, the struggle for the symbol of love will continue. It is for this very reason that an aging, world-famous photographer who had received many international awards could say to an interviewer, “I’ve never felt what I have done was good enough.” And he does not question why he has felt this way. Apparently, it has never occurred to him that the depression he reports could be related to his fusion with the demands of his parents.

We have already shown by references to the contemporary drama that the plea of custom is not sufficient to explain Shakespeare’s attitude to the lower classes, but if we widen our survey to the entire field of English letters in his day, we shall see that he was running counter to all the best traditions of our literature. From the time of Piers Plowman down, the peasant had stood high with the great writers of poetry and prose alike. Chaucer’s famous circle of story-tellers at the Tabard Inn in Southwark was eminently democratic.

Oh, M. de Villefort," cried a beautiful creature, daughter to the Comte de Salvieux, and the cherished friend of Mademoiselle de Saint-Meran, "do try and get up some famous trial while we are at Marseille. I never was in a law-court; I am told it is so very amusing!" "Amusing, certainly," replied the young man, "inasmuch as, instead of shedding tears as at the fictitious tale of woe produced at a theatre, you behold in a law-court a case of real and genuine distress - a drama of life. The prisoner whom you there see pale, agitated, and alarmed, instead of - as is the case when a curtain falls on a tragedy - going home to sup peacefully with his family, and then retiring to rest, that he may recommence his mimic woes on the morrow, - is removed from your sight merely to be reconducted to his prison and delivered up to the executioner. I leave you to judge how far your nerves are calculated to bear you through such a scene. Of this, however, be assured, that should any favorable opportunity present itself, I will not fail to offer you the choice of being present.

Margaret: And why so many allusions have been made to Rainbow Hill lately. You know what Rainbow Hill is? Place that's famous for treatin' alcoholics an' dope fiends in the movies! Brick: I'm not in the movies. Margaret: No, and you don't take dope. Otherwise you're a perfect candidate for Rainbow Hill, Baby, and that's where they aim to ship you - over my dead body!

For it is a fact that a man can be profoundly out of step with his times. A man may have been born in a city famous for its idiosyncratic culture and yet, the very habits, fashions, and ideas that exalt that city in the eyes of the world may make no sense to him at all. As he proceeds through life, he looks about in a state of confusion, understanding neither the inclinations nor the aspirations of his peers. For such a fellow, forget any chance of romance or professional success; those are the provenance of men in step with their times. Instead, for this fellow the options will be to bray like a mule or find what solace he can from overlooked volumes discovered in overlooked bookshops. And when his roommate stumbles home at two in the morning, he has little choice but to listen in silent mystification as he is recounted the latest dramas from the city’s salons.

In four separate fires in the 1990s, twenty-three elite wildland firefighters refused orders to drop their tools and perished beside them. Even when Rhoades eventually dropped his chainsaw, he felt like he was doing something unnatural. Weick found similar phenomena in Navy seamen who ignored orders to remove steel-toed shoes when abandoning a ship, and drowned or punched holes in life rafts; fighter pilots in disabled planes refusing orders to eject; and Karl Wallenda, the world-famous high-wire performer, who fell 120 feet to his death when he teetered and grabbed first at his balance pole rather than the wire beneath him. He momentarily lost the pole while falling, and grabbed it again in the air. “Dropping one’s tools is a proxy for unlearning, for adaptation, for flexibility,” Weick wrote. “It is the very unwillingness of people to drop their tools that turns some of these dramas into tragedies.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Mary chimed in: “The Dee of Shakespeare’s time was famous, a sorcerer with political allies all over Europe. He did horoscopes to advise the Queen about her enemies.” “Thanks to the little runt sounding off to the press, I’m well aware of Dr John Dee,” snarled Robbin’ Robin. “Did you know our Billy Dee says he can conjure spirits from the Parliaments as far back as his namesake in the 1560s? That’s how the PM won the damn election. Dead politicians popped up at Dee’s command. They begged my colleagues to vote for my rival ‘to save the nation’.” Robbin’ Robin did the air quotes that so irritated Mary.

Albert Einstein, considered the most influential person of the 20th century, was four years old before he could speak and seven before he could read. His parents thought he was retarded. He spoke haltingly until age nine. He was advised by a teacher to drop out of grade school: “You’ll never amount to anything, Einstein.” Isaac Newton, the scientist who invented modern-day physics, did poorly in math. Patricia Polacco, a prolific children’s author and illustrator, didn’t learn to read until she was 14. Henry Ford, who developed the famous Model-T car and started Ford Motor Company, barely made it through high school. Lucille Ball, famous comedian and star of I Love Lucy, was once dismissed from drama school for being too quiet and shy. Pablo Picasso, one of the great artists of all time, was pulled out of school at age 10 because he was doing so poorly. A tutor hired by Pablo’s father gave up on Pablo. Ludwig van Beethoven was one of the world’s great composers. His music teacher once said of him, “As a composer, he is hopeless.” Wernher von Braun, the world-renowned mathematician, flunked ninth-grade algebra. Agatha Christie, the world’s best-known mystery writer and all-time bestselling author other than William Shakespeare of any genre, struggled to learn to read because of dyslexia. Winston Churchill, famous English prime minister, failed the sixth grade.

Freud’s incest theory describes certain fantasies that accompany the regression of libido and are especially characteristic of the personal unconscious as found in hysterical patients. Up to a point they are infantile-sexual fantasies which show very clearly just where the hysterical attitude is defective and why it is so incongruous. They reveal the shadow. Obviously the language used by this compensation will be dramatic and exaggerated. The theory derived from it exactly matches the hysterical attitude that causes the patient to be neurotic. One should not, therefore, take this mode of expression quite as seriously as Freud himself took it. It is just as unconvincing as the ostensibly sexual traumata of hysterics. The neurotic sexual theory is further discomfited by the fact that the last act of the drama consists in a return to the mother’s body. This is usually effected not through the natural channels but through the mouth, through being devoured and swallowed (pl. LXII), thereby giving rise to an even more infantile theory which has been elaborated by Otto Rank. All these allegories are mere makeshifts. The real point is that the regression goes back to the deeper layer of the nutritive function, which is anterior to sexuality, and there clothes itself in the experiences of infancy. In other words, the sexual language of regression changes, on retreating still further back, into metaphors derived from the nutritive and digestive functions, and which cannot be taken as anything more than a façon de parler. The so-called Oedipus complex with its famous incest tendency changes at this level into a “Jonah-and-the-Whale” complex, which has any number of variants, for instance the witch who eats children, the wolf, the ogre, the dragon, and so on. Fear of incest turns into fear of being devoured by the mother. The regressing libido apparently desexualizes itself by retreating back step by step to the presexual stage of earliest infancy. Even there it does not make a halt, but in a manner of speaking continues right back to the intra-uterine, pre-natal condition and, leaving the sphere of personal psychology altogether, irrupts into the collective psyche where Jonah saw the “mysteries” (“représentations collectives”) in the whale’s belly. The libido thus reaches a kind of inchoate condition in which, like Theseus and Peirithous on their journey to the underworld, it may easily stick fast. But it can also tear itself loose from the maternal embrace and return to the surface with new possibilities of life.

For it is a fact that man can be profoundly out of step with his times. A man may have been born in a city famous for its idiosyncratic culture and yet, the very habits, fashions, and ideas that exalt that city in the eyes of the world may make no sense to him at all. As he proceeds through life, he looks about in a state of confusion, understanding neither the inclinations nor the aspirations of his peers. For such a fellow, forget any chance of romance or professional success; those are the provenance of men in step with their times. Instead, for this fellow the options will be to bray like a mule or find what solace he can from overlooked volumes discovered in overlooked bookshops. And when his roommate stumbles home at two in the morning, he has little choice but to listen in silent mystification as he is recounted the latest dramas from the city’s salons. But events can unfold in such a manner that overnight the man out of step finds himself in the right place at the right time. The fashions and attitudes that had seemed to alien to him are suddenly swept aside and supplanted by fashions and attitudes in perfect sympathy with his deepest sentiments. Then, like a lone sailor adrift for years on alien seas, he wakes one night to discover familiar constellations overhead. And when this occurs--this extraordinary realignment of the stars--the man so long out of step with his times experiences a supreme lucidity. Suddenly all that has passed comes into focus as a necessary course of events, and all that promises to unfold has the clearest rhyme and reason.

For it is a fact that man can be profoundly out of step with his times. A man may have been born in a city famous for its idiosyncratic culture and yet, the very habits, fashions, and ideas that exalt that city in the eyes of the world may make no sense to him at all. As he proceeds through life, he looks about in a state of confusion, understanding neither the inclinations nor the aspirations of his peers. For such a fellow, forget any chance of romance or professional success; those are the provenance of men in step with their times. Instead, for this fellow the options will be to bray like a mule or find what solace he can from overlooked volumes discovered in overlooked bookshops. And when his roommate stumbles home at two in the morning, he has little choice but to listen in silent mystification as he is recounted the latest dramas from the city’s salons. But events can unfold in such a manner that overnight the man out of step finds himself in the right place at the right time. The fashions and attitudes that had seemed so alien to him are suddenly swept aside and supplanted by fashions and attitudes in perfect sympathy with his deepest sentiments. Then, like a lone sailor adrift for years on alien seas, he wakes one night to discover familiar constellations overhead. And when this occurs - this extraordinary realignment of the stars - the man so long out of step with his times experiences a supreme lucidity. Suddenly all that has passed comes into focus as a necessary course of events, and all that promises to unfold has the clearest rhyme and reason.

Perhaps it starts when we see someone else doing what we want to do. Maybe you’re in an entry-level role after being a high-level volunteer with experience and tenure and it’s frustrating to feel devalued or unseen. Paul is teaching us in these scriptures not to do anything for promotion or recognition, but to put our heads down and work the soil under our feet. One wilderness at a time, one shipwreck at a time. The phone may never ring, the part may never be yours, the lights may stay dim, but God sees everything done in the secret place. He loves the secret place. If our expectation is fame, we won’t recognize the beautiful roles we’re given or the stories we’ve been woven into that are far more precious than scripts. To get off this island, to stop getting stuck, serve where you are, don’t wait for a better role or a more attractive bride. Every role in the Kingdom of God is filled with adventure, holy romance, drama, and an ending that will make only one Name known. Jesus. He is the Famous One. When we finally get to this point in ministry where we are giving people less of us and more of him, that’s how we begin figuring a way off this island.

THERE WAS ANOTHER, much bigger risk we took that first season. Based on a literal back-of-a-napkin pitch at a restaurant in Hollywood, ABC’s head of drama had given the go-ahead to a pilot from David Lynch, by then famous for his cult films Eraserhead and Blue Velvet, and the screenwriter and novelist Mark Frost. It was a surreal, meandering drama about the murder of a prom queen, Laura Palmer, in the fictional Pacific Northwest town of Twin Peaks. David directed the two-hour pilot, which I vividly remember watching for the first time and thinking, This is unlike anything I’ve ever seen and we have to do this.

Meanwhile, I was kind of detached, despite the terrible pain. I was watching all the drama unfold. Later they told me I was in shock, but I remember enjoying the ride to the hospital because I never thought I’d ride in an ambulance with the sirens wailing. It was one of those things I had always wanted to do when I was growing up. When we got there, they told me there were news crews outside, so I asked for my glove. There’s a famous shot of me waving from the stretcher with my glove on.

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.

How beautiful it is and how easily it can be broken” is a quote from the stage directions to a play by Tennessee Willliams, a great American drama about the victimization of a fragile girl who is tragically in love with beautiful, breakable things: the famous glass menagerie that gives the play its title, and which of course provides a richly useful symbol for the themes of delicacy and brittleness, of the lovely illusions that can give purpose to our lives and the hard necessities that can shatter them.

A strange and discordant mix of roles followed. I liked one film I did, The Humbling, because I did it with Barry Levinson. It was based on the novel by Philip Roth, who I met at a party in New York. I found Roth there, sitting in a chair, and he was very serious when he looked at me. I said, “Hi, Mr. Roth. I’m Al Pacino.” He had a look on his face that was haunting. In a cold, impassive voice, he said, “I. Know. Who you are.” I just thought to myself, Well, I’m famous. He’s seen me in films. Maybe he saw The Godfather, I don’t know. But I loved his writing and was a real fan, so I kept spouting to him. I said, “I’m doing a film of your book The Humbling. And it’s very funny.” In that same funereal voice as before, he said, “It’s. Not. Funny.” I said, “No, I know, it’s not really funny. But to get through the drama, sometimes you need a little funny.” Again, he said, “It’s. Not. Funny.” I said, “Sure. Okay. You’re right. It’s not funny.” And I backed out of the room into the street.

Before the two days of exams, I slept just a few hours nightly, for the number of books to be read was insane and I made a maximum effort. After all, how could I dare disappoint my family? How could I disappoint Max, who paid my tuition? Yet, I don't know how I accomplished it. I was like caught in a whirlpool and kept going, going. I remember, one night, my Mother woke up at 4 a.m. and asked me why I was up so early, yet I had not gone to sleep yet. I had to finish a novel every day, no matter how long it took. Some impressions about Columbia. The dean, who advised me what courses to take, was none other than Prof. Oscar Hamilton, a famous Shakespearean scholar. He took time to talk to me about my interests and my former studies. I told him about my abiding interest in the theater and thus he recommended me to take the Drama course taught by Joseph Wood Krutch. He was, by that time, an influential drama critic and a most admired professor. At the first lecture I realized what a gold mine I had struck. A big lecture hall was completely filled, half were probably not his students. People just flocked to hear him.

Neurosis is today a widespread problem because of the disappearance of convincing dramas of heroic apotheosis of man. The subject is summed up succinctly in Pinel's famous observation on how the Salpetriere mental hospital got cleared out at the time of the French Revolution. All the neurotics found a ready-made drama of self-transcending action and heroic identity. It was as simple as that.

Lorenzino's Apology for the murder made him famous, a celebrity killer of the Renaissance. Queen Marguerite of Navarre wrote a story about Alessandro's assassination. Versions of the tale featured on the London stage. It let itself to the genre of Jacobean revenge drama.

I arrived from Hong Kong part way through second form, and even then, when we were all still shrimps (shrimps, for this new casebook, is what we call the little lower-form girls), Daisy was already famous throughout Deepdean School. She rode horses, was part of the lacrosse team, and was a member of the Drama Society. The Big Girls took notice of her, and by May the entire school knew that the Head Girl herself had called Daisy a ‘good sport’.

Without conflict, it’s hard to have – it’s hard to have drama. I mean one of the things – famous lines about literature - the French writer Henry de Montherlant said about happiness that’s almost impossible to write about. Happiness writes in white ink on a white page. You know it doesn’t show up. If people are happy, there’s no story, you know. These people are happy we are told. The end. You know, because what else is there to say? The hardest thing I think of all is to write about happiness.

Solon and Pisistratus were very fond of one another. We are told they entered into a love affair when Pisistratus was a good-looking lad in his teens. Despite a wide gap of thirty years between them, this is not implausible. Solon was highly sexed, if we may judge from his poetry, where he writes of the delights of falling in love “with a boy in the lovely flower of youth,/Desiring his thighs and sweet mouth.” However, it would be wrong to believe that either man was necessarily, in our modern sense, gay. This is because from the eighth century onwards the Greek upper classes established and maintained a system of pederasty as a form of higher education. A fully grown adult male, usually in his twenties, would look out for a boy in his mid-teens and become his protector and guide. His task was to see him through from adolescence into adulthood and to act as a kind of moral tutor. Sex was not compulsory, but it was under certain strictly defined conditions allowed. The older man was the active lover/partner or erastes and the teenager was the loved one, or eromenos. Buggery was absolutely out of bounds and brought shame on any boy who allowed it to be done to him. It could have the most serious consequences, as the fate of Periander showed. This famous tyrant of Corinth in the seventh century unwisely teased his eromenos in the presence of other people with the question: “Aren’t you pregnant yet?” The boy was so upset by the insult that he killed Periander. A popular and acceptable technique for achieving orgasm was intercrural sex: both participants stood up and the erastes inserted his erect penis between the thighs of the eromenos and rubbed it to and fro. The youth was not meant to enjoy his lover’s attentions or show signs of arousal; rather, he was making a disinterested gift of himself to someone he admired. The great Athenian writer of tragic dramas, Aeschylus, wrote a play about the love between the two Greek heroes, Achilles and Patroclus. It was called The Myrmidons, after the warriors whom Achilles commanded during the Trojan War. Achilles is presented as the erastes, and reproaches his lover, in rather roundabout terms, for declining an intercrural proposition.

AT THE END of the eighteenth century London was well into the mad, technology-driven expansion that would only stop with the establishment of the Metropolitan Green Belt in the 1940s. Since then, developers have gnashed their teeth and looked enviously back on a time when a man armed only with his own wits and a massive inherited estate could shape the very fabric of the capital. Times like when the fifth Duke of Bedford found his country house surrounded on three sides by Regency London, and decided there was nothing for it but to dig up the old back garden and rake in a ton of cash. He enlisted the legendary architect and developer James Burton, who had a thing for elegant squares, the newfangled long windows in the French style, and vestigial balconies with wrought iron decorative railings. The only carbuncle on the road to progress was the weird group of gentlemen who’d taken to meeting in the faux medieval tower that an earlier duke caused to be built to add some drama to his garden. These gentlemen were in the nature of a secret society, although they seemed well favored by certain members of court—particularly Queen Charlotte. In return for being allowed to demolish the tower, James Burton agreed to incorporate a magnificent mansion into the terrace along the southern side of the square. It would be built after the style of White’s—the famous gentlemen’s club—and include a demonstration room, library, dining hall, reading room, and accommodation for visiting members. The central atrium was so impressive it’s thought to have inspired Sir Charles Barry in his design of the more famous Reform Club forty years later. And so the Folly was born. And all of this at below market cost.

Silence is a collective abbreviation for a whole array of musical absences: the absence of sound, sounds never made, the absence of those who should have made them, sounds too quiet to be heard, sounds delayed or postponed indefinitely. Silence is the opposite of music, but it is also its lifeblood -- the breaths between the phrases, the drama, the anticipation, and the quality of the breathless hush between final note and applause. Music embraces calm silences, pregnant silences, animated or aggressive silences. Musical silence can be temporal, gestural, or spatial. In some cases, such as John Cage's famously curated silence, '4 Minutes 33 Seconds,' silence even -becomes- music. Without sound there cannot be silence, and vice versa.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests. (He

When admitting you are wrong, you gain back the control others took away from you when making you lose it. That's why you must say sorry. It represents a change of attitude but not really a change of personality; The changes on the personality come later on, when, by controlling yourself better, you don't express anger. Because saying sorry means nothing but anger means a lot. You should not want to be an angry person. When you get angry, those who make you angry, win; They win control over your emotional state, your thoughts, your words and your behaviors. They may then accuse you of always being angry and never apologizing, but that's not where you should focus your attention. The main point here, is that you’re living on the basis of instinctive reaction and not awareness or consciousness. So, when you say sorry, you are acknowledging that there is no excuse for losing control over yourself. You should not be sorry for being angry. That's an emotion; and you can't feel sorry for feeling. When you’re angry, you are feeling. When you insult, however, you are losing, yourself, your self-control, your self-respect, and even your capacity to use what you know. More knowledge, makes you more aware, more frustrated, having more and higher expectations on others, and more angry too, more often as well. But that's your problem! No other people's problem! They are just being themselves. Most people really think they are perfect as they are, and that the problems they experience are all outside themselves. And by realizing that, you say sorry as if saying sorry for not being who you really are. And when doing it, you get back the control another person took away from you. It is actually not good when someone needs to say sorry too often to someone else, especially if it’s always the same individual. But that someone else often likes it, as it makes them feel superior. That’s because their ego needs that. They have low self-esteem. Most people do! And that’s why most people's behavior is wired to their ego. Their likes and dislikes are connected to a sense of self-importance and a desperate need to feel important, which they project on their idols, the famous and most popular among them. They admire what they seek the most. When they think they are not important, they offend, to get aggression, which is a desperate need for attention; and to feel like victims of life, which is a deeper state of need, in this case, related to sympathy; and they then blame the other for what he does, for his reactions; and when that other says sorry, they think they have power over that insane cycle in which they now live, and in which they incorporate anyone else, and which they now perfectly master. Their pride is built on arrogance, an arrogance emerged out of ignorance, ignorance composed from delusional cycles within a big illusion; but an illusion that makes sense to them, as if they were succeeding at merging truth with lie, darkness with light. Because the arrogant, the abusive and the violent are desperate. God made them blind after witnessing their crimes against moral and ethics - His own laws. And they want to see again, and feel the same pleasure they once felt when witnessing the true colors of the world during childhood. The arrogant want to reaffirm their sanity by acting insanely because they know no other way. And when you say sorry, you are saying to them that you don't belong there, to their world, and that you are sorry for playing their games. That drama belongs to them only, and not you. And yet, people interpret the same paradox as they choose. That is their experience of truth and how they put sense on a life without any. And when so much nonsense becomes popular, we call it common sense. When common sense becomes a reality, we call it science. And when science is able to theorize common sense, we call it wisdom. Then, we wonder why the wisdom of those we name wise, does not help.

The house was quieter than usual, the sounds muffled and soft. It made her throat ache: The darkness, the kitchen, the single light. It felt like she was watching a movie of her life from an earlier era. Before Mom left, before all the trouble. Guilt twinged in Madi’s stomach. Before I took off and left Dad to deal with Sarah alone.

Sarah. She was one reason things in Madi’s life couldn’t change. Her schedule linked her to Madi as much as any grade, school, or group of friends. Her sister was a hashtag that couldn’t be altered. Madi couldn’t even be upset with her for it.

That moment when your parents mess up... and suddenly you’re the ‘go-to’ adult in the family.

There once lived, at a series of temporary addresses across the United States of America, a travelling man of Indian origin, advancing years and retreating mental powers, who, on account of his love for mindless television, had spent far too much of his life in the yellow light of tawdry motel rooms watching an excess of it, and had suffered a peculiar form of brain damage as a result. He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

I’d say it’s time for introductions. Of course, you know who I am! I am the legendary lord of the dead. And I had the pleasure of meeting Circe in the Place Between before Lucinda demanded I take her away. I take it you’re the famous Primrose and Hazel? Come, isn’t anyone going to offer me some tea? The hospitality in these lands is legendary, and I think I could use some after all that drama.

Shortly after Colonel Rogers’ death a story ran in the American Weekly, a paper that typically sensationalized the dramas in the lives of the rich and famous,

David Mamet says it well in his famous memo (Google it): “Everyone in creation is screaming at us to make the show clear. We are tasked with, it seems, cramming a shitload of information into a little bit of time. Our friends, the penguins [industry execs], think that we, therefore, are employed to communicate information—and, so, at times, it seems to us. But note: the audience will not tune in to watch information. You wouldn’t, I wouldn’t. No one would or will. The audience will only tune in and stay tuned to watch drama.

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