Favor Movie Quotes

Boys are idiots. Girls are idiots, too, of course, but boys are a special kind of idiot. A girl, for instance, will vote for a boy in an election, or go to a movie that's about a boy, or buy a book that features a boy hero (or villain). Boys are much less likely to return the favor. They can't wrap their feeble minds around the idea that this girl might have anything in common with them. It's like they can't recognize girls as human beings.

I love you. I’ve loved you for 9 years; I’ve just been too arrogant and scared to realize it, and…well, now I’m just scared. So, I realize this comes at a very inopportune time, but I really have this gigantic favor to ask of you. Choose me. Marry me. Oh that sounds like 3 favors doesn’t it

If I were the Devil . . . I mean, if I were the Prince of Darkness, I would of course, want to engulf the whole earth in darkness. I would have a third of its real estate and four-fifths of its population, but I would not be happy until I had seized the ripest apple on the tree, so I should set about however necessary to take over the United States. I would begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: “Do as you please.” “Do as you please.” To the young, I would whisper, “The Bible is a myth.” I would convince them that man created God instead of the other way around. I would confide that what is bad is good, and what is good is “square”. In the ears of the young marrieds, I would whisper that work is debasing, that cocktail parties are good for you. I would caution them not to be extreme in religion, in patriotism, in moral conduct. And the old, I would teach to pray. I would teach them to say after me: “Our Father, which art in Washington” . . . If I were the devil, I’d educate authors in how to make lurid literature exciting so that anything else would appear dull an uninteresting. I’d threaten T.V. with dirtier movies and vice versa. And then, if I were the devil, I’d get organized. I’d infiltrate unions and urge more loafing and less work, because idle hands usually work for me. I’d peddle narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. And I’d tranquilize the rest with pills. If I were the devil, I would encourage schools to refine yound intellects but neglect to discipline emotions . . . let those run wild. I would designate an athiest to front for me before the highest courts in the land and I would get preachers to say “she’s right.” With flattery and promises of power, I could get the courts to rule what I construe as against God and in favor of pornography, and thus, I would evict God from the courthouse, and then from the school house, and then from the houses of Congress and then, in His own churches I would substitute psychology for religion, and I would deify science because that way men would become smart enough to create super weapons but not wise enough to control them. If I were Satan, I’d make the symbol of Easter an egg, and the symbol of Christmas, a bottle. If I were the devil, I would take from those who have and I would give to those who wanted, until I had killed the incentive of the ambitious. And then, my police state would force everybody back to work. Then, I could separate families, putting children in uniform, women in coal mines, and objectors in slave camps. In other words, if I were Satan, I’d just keep on doing what he’s doing. (Speech was broadcast by ABC Radio commentator Paul Harvey on April 3, 1965)

When Suzie introduced Helen, she told the audience that one of the best things about books is that they are an interactive art form: that while the author may describe in some detail how a character looks, it is the reader's imagination that completes the image, making it his or her own. "That's why we so often don't like movies made from books, right?" Suzie said. "We don't like someone else's interpretation of what we see so clearly." She talked, too, about how books educate and inspire, and how they soothe the soul-"like comfort food without the calories," she said. She talked about the tactile joys of reading, the feel of a page beneath one's fingers; the elegance of typeface on a page. She talked about how people complain that they don't have time to read, and reminded them that if they gave up half an hour of television a day in favor of reading, they could finish twenty-five books a year. "Books don't take time away from us," she said. "They give it back. In this age of abstraction, of multitasking, of speed for speed's sake, they reintroduce us to the elegance-and the relief!-of real, tick-tock time.

I'm about to as you a favor." And I'm about to tell you no." "It's not a make-out scene. Though I'd be willing to rehearse that." "Still, no." "Dig deep into that cold, callous heart of yours, Frankie." "It's Finley" "Dig deep and find some kindness." He held out his script. "I've a need for someone to read the part of Selena." "Selena the mutating vampire duchess? The woman who eats frogs, whose lower body is covered in scales because her mom had a fling with a merman?" "I knew you were a fan." Dumber movies ever.

No author was immune from having his own ideas and words quoted back to him favorably. Authors were, at heart, no matter how much they blustered or how suavely they carried themselves, insecure creatures with sensitive egos, as delicate in the constitution as movie stars, only much poorer and less glamorous.

I want you to do me a favor. I want you to hit me as hard as you can." I looked around and said, okay. Okay, I say, but outside in the parking lot. So we went outside, and I asked if Tyler wanted it in the face or in the stomach. Tyler said, "Surprise me." I said I had never hit anybody. Tyle said, "So go crazy, man." I said, close your eye. Tyler said, "No." Like every guy on his first night at fight club, I breathed in and swung my fist in a roundhouse at Tyler's jaw like in every cowboy movie we'd ever seen, and me, my fist connected with the side of Tyler's neck.

It’s not an opinion. It’s an offer,” the man clarified and chuckled, “the offer you can’t refuse.” “That only works in the movies.” Domenico’s lips kicked up in a smile. “You know, Mr. Gallo, my father used to tell me, ‘Have as much as you need to have and no more.’ I believe I already have what I need. I appreciate your offer, but I run legal businesses, and I plan to continue playing it straight.

We gossip about God in all sorts of ways. When we tell people that they have to wear the right clothes to church, or listen to the right music, or not see certain movies to be a good Christian, we make God petty and small. When we say that He favors one group of people over another, we make God mean and heartless.

Weddings are friendship deal breakers if the friendship is weak. There are too many favors, too many tasks, too much required devotion and Aqua Net for imposters like me. I tried to make eye contact with Francine, to give her a knowing good-bye smile like a ghost of a loved one in a movie. It was no usue, I decided to cut my final pink wire. There would be no more yearly "happy birthdays" and certainly no more bonding with the girl in the duct tape dress. That ship had sailed.

the one thing in my favor was that i was kind of a love expert. i didnt have a degree and i hadnt taken any classes, but id watched thousands of hours of romantic comedies in my life

-Prayer In My Life- Every person has his own ideas of the act of praying for God's guidance, tolerance and mercy to fulfill his duties and responsibilities. My own concept of prayer is not a plea for special favors, nor as a quick palliation for wrongs knowingly committed. A prayer, it seems to me, implies a promise as well as a request; at the highest level, prayer not only is supplication for strength and guidance, but also becomes an affirmation of life and thus a reverent praise of God. Deeds rather than words express my concept of the part religion should play in everyday life. I have watched constantly that in our movie work the highest moral and spiritual standards are upheld, whether it deals with fable or with stories of living action. This religious concern for the form and content of our films goes back 40 years to the rugged financial period in Kansas City when I was struggling to establish a film company and produce animated fairy tales. Thus, whatever success I have had in bringing clean, informative entertainment to people of all ages, I attribute in great part to my Congregational upbringing and lifelong habit of prayer. To me, today at age 61, all prayer by the humble or highly placed has one thing in common: supplication for strength and inspiration to carry on the best impulses which should bind us together for a better world. Without such inspiration we would rapidly deteriorate and finally perish. But in our troubled times, the right of men to think and worship as their conscience dictates is being sorely pressed. We can retain these privileges only by being constantly on guard in fighting off any encroachment on these precepts. To retreat from any of the principles handed down by our forefathers, who shed their blood for the ideals we all embrace, would be a complete victory for those who would destroy liberty and justice for the individual.

He said that for those who hadn't been to California, what it was most like was an enchanted island. The spitting image. Just like in the movies, but better. People live in houses, not apartment buildings, he said, and then he embarked on a comparison of houses (one-story, at most two-story), and four- or five-story buildings where the elevator is broken one day and out of order the next. The only way buildings compared favorably to houses was in terms of proximity. A neighborhood of buildings makes distances shorter, he said. Everything is closer. You can go walking to buy groceries or you can walk to your local tavern (here he winked at Reverend Foster), or the local church you belong to, or a museum. In other words, you don't need to drive. You don't even need a car. And here he recited a list of statistics on fatal car accidents in a county of Detroit and a county of Los Angeles. And that's even considering that cars are made in Detroit, he said, not Los Angeles.

I bring messages and thanks from the others. Terry Gilliam sadly can't be with us tonight as they won't let him show his ass, which has been very favorably compared with Spielberg's ass. Graham Chapman can't be with us tonight, as sadly he is still dead. And John Cleese is finishing a movie. He has to get it back to Blockbuster by tomorrow.

France has the largest, most lucrative cinema in Europe, making it the second most successful cinema in the Western world (a distant second, monetarily), and in terms of roles for women, it’s unquestionably in the lead. When a French actress comes to America, she leaves a cinema interested in exploring her essence in favor of one that’s not interested in anything about her, that’s even hostile to the notion of making movies about women at all.

In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.

Some very eminent critics writing in the decades immediately after the novel's publication felt that Eliot failed to maintain sufficient critical distance in her depiction of Ladislaw--that she fell in love with her own creation in a way that shows a lack of artistic control and is even unseemly, like a hoary movie director whose lens lingers too long on the young flesh of a favored actress. Lord David Cecil calls Ladislaw 'a schoolgirl's dream, and a vulgar one at that,' while Leslie Stephen complained 'Ladislaw is almost obtrusively a favorite with his creator,' and depreciated him as 'an amiable Bohemian.

But Emma resists all of Galen's reasonings, based on the fact that it doesn't "feel right." Speaking of things that don't feel right... He pulls his new SUV into her driveway, the excitement sloshing in his stomach like high tide. As he steps out, he notices how much he likes sliding down instead of hoisting himself up from a little compact death trap. He's almost glad Rayna tied the red car around a tree-except that she and Emma could have gotten hurt. He shakes his head, crunching across the gravel of Emma's driveway in his suede Timberlands. Even over that, he hears the thud of his heart. Is it faster than usual? He's never noticed it before, so he can't tell. Shrugging it off as paranoia, he knocks on the door then folds his hands in front of him. I shouldn't be doing this. This is wrong. She could still belong to Grom. But when Emma answers the door, everything seems right again. Her little purple dress makes the violet in her eyes jump out at him. "Sorry," she says. "Mom threw a fit when I tried to leave the house in jeans. She's old-school I guess. You know. 'Thou must dress up for the movies,' says the woman who doesn't even own a dress." "She did me a favor," he says, then shoves his hands in his pockets. More like she did me in.

Men like my father, and men like him who attend Trump rallies, join misogynistic subcultures, populate some of the most hateful groups in the world, and are prisoners of toxic masculinity, an artificial construct whose expectancies are unattainable, thus making them exceedingly fragile and injurious to others, not to mention themselves. The illusion convinces them from an early age that men deserve to be privileged and entitled, that women and men who don’t conform to traditional standards are second-class persons, are weak and thus detestable. This creates a tyrannical patriarchal system that tilts the world further in favor of men, and, as a side effect, accounts for a great deal of crimes, including harassment, physical and emotional abuse, rape, and even murder. These men, and the boys following in their footsteps, were socialized in childhood to exhibit the ideal masculine traits, including stoicism, aggressiveness, extreme self-confidence, and an unending competitiveness. Those who do not conform are punished by their fathers in the form of physical and emotional abuse, and then further socialized by the boys in their school and community who have been enduring their own abuse at home. If that isn’t enough, our culture then reflects those expectations in its television shows, movies, music, and especially in advertising, where products like construction-site-quality trucks, power tools, beer, gendered deodorant, and even yogurt promise to bestow masculinity for the right price. The masculinity that’s being sold, that’s being installed via systemic abuse, is fragile because, again, it is unattainable. Humans are not intended to suppress their emotions indefinitely, to always be confident and unflinching. Traditional masculinity, as we know it, is an unnatural state, and, as a consequence, men are constantly at war with themselves and the world around them.

on their target about now. Six on one, overwhelming force, or so they thought. Puller was a first-rate, superbly trained close-quarters fighter. But he was not Superman. This was not a movie where he could Matrix his way to victory. It would be fearful men fighting, making mistakes but certainly landing some blows. Puller tipped the scales at well over two hundred pounds. The men he would be facing tonight collectively weighed about a thousand pounds. They had twelve fists and a dozen legs to his two and two. Six against one, hand-to-hand, no matter how good you were or how inept the six were, would likely result in defeat. Puller could take out three or four rather quickly. But the remaining two or three men would probably get in a lucky shot and possibly knock him down. And then it would be over. Bats and bars would rain down on him and then a gunshot would end it all. If one had a choice—and sometimes one did—a truly superb close-quarters fighter only fought when the conditions favored him. He didn’t have much time, because they would quickly determine that he was not in the room. Then they would do one of two things: leave and come back, or set a trap and wait for him. And a trap would involve a perimeter. At least he was counting on that, because a perimeter meant that the six men would have

Let’s define a Crapitalist: A well-connected friend of the powers that be who scores big bucks at taxpayer expense. From bagging millions in tax dollars for phony “green energy” companies that go bust, to vacuuming public coffers to build glitzy sports stadiums, to utilizing little-known tax credit loopholes to loot $1.5 billion a year for Hollywood movies—Crapitalists know how to use every trick to enrich themselves at taxpayer expense. Rather than playing and winning in the rough-and-tumble world of business competition, Crapitalists use government to rig the game in their favor and leave you and me—the taxpayers—holding the bill. These corporate sissies know their ideas suck, so they try to stack the deck to privatize their profits and socialize their losses. And there’s the rub: crony capitalism is socialism’s Trojan horse.

To my children three. Life is like a movie, it starts and it ends.If you are reading this probably i'm gone. but my presence is always with you. All wanted to say how much I loved you. and I wanted to share my life journey with all of you. When I Conceived each of you, I can feel the butterflies in my tummy and I already fail in love with you. When each of you were born, tears dropped of my eye, I know it that was a happy tears. When you said dada, I was excited and happy to hear you saying it over and over. I see you growing like a flower and flying like a bird in front of my eye, in front of the pales a colorful garden who always stay blooming. Slowly you gew wing and all you flew away from the nest. All i'm left with good memories an album full of beautiful of pictures.from you baby showers, 1st word, 1st birthdays,1st trip to Disney or Universal Studios, each of you got to meet your favored TV characters. Your smiley faces was telling me I was doing ok as a parent, although I been told I'm the worst mom. But I know you did not mean that, you meant to say I love you mom. and I love you to my children, It was a nice journey. If I have to go back on time to change the way I raised you, I won't change a thing, beside some of your friends, but you were old enough and free to make your own choices. You have to make your mistakes and i'm pretty sure you learned from them. But at the end I never worry about you, because I'm pretty sure I give 200% as a parent. I know I taught, I armed and I shield you with everything including knowledge you need to survive in world. Remember don't matter how old are you, you always will be my babies. and I always be your Angel ! "Toko - Lock " te ka nana sho. Love Mom & Grandma!

the thesis is that after many generations in which technology favored centralization (railroads, telegraph, radio, television, movies, mass production) since about 1950 it is now favoring decentralization (transistor, personal computer, internet, remote work, smartphone, cryptocurrency). So by this measure, peak centralization was about 1950, when there was one telephone company (AT&T), two superpowers (US/USSR), and three TV stations (ABC/CBS/NBC). Even though the 1950s are romanticized in the US, and there were certainly good things about the era, that level of centralization was not natural. This was an enormous degree of cultural homogenization, conformity, and sameness relative to the pre-1914 world just a few decades prior. Many aspects of individual initiative, creativity, and freedom had been dulled down or eliminated in the standardization process.

Many potential readers will skip the shopping cart or cash-out clerk because they have seen so many disasters reported in the news that they’ve acquired a panic mentality when they think of them. “Disasters scare me to death!” they cry. “I don’t want to read about them!” But really, how can a picture hurt you? Better that each serve as a Hallmark card that greets your fitful fevers with reason and uncurtains your valor. Then, so gospeled, you may see that defeating a disaster is as innocently easy as deciding to go out to dinner. Remove the dread that bars your doors of perception, and you will enjoy a banquet of treats that will make the difference between suffering and safety. You will enter a brave new world that will erase your panic, and release you from the grip of terror, and relieve you of the deadening effects of indifference —and you will find that switch of initiative that will energize your intelligence, empower your imagination, and rouse your sense of vigilance in ways that will tilt the odds of danger from being forever against you to being always in your favor. Indeed, just thinking about a disaster is one of the best things you can do —because it allows you to imagine how you would respond in a way that is free of pain and destruction. Another reason why disasters seem so scary is that many victims tend to see them as a whole rather than divide them into much smaller and more manageable problems. A disaster can seem overwhelming when confronted with everything at once —but if you dice it into its tiny parts and knock them off one at a time, the whole thing can seem as easy as eating a lavish dinner one bite at a time. In a disaster you must also plan for disruption as well as destruction. Death and damage may make the news, but in almost every disaster far more lives are disrupted than destroyed. Wit­ness the tornado that struck Joplin, Missouri, in May 2011 and killed 158 people. The path of death and destruction was less than a mile wide and only 22 miles long —but within thirty miles 160,000 citizens whose property didn’t suffer a dime of damage were profoundly disrupted by the carnage, loss of power and water, suspension of civic services, and inability to buy food, gas, and other necessities. You may rightfully believe your chances of dying in a disaster in your lifetime may be nearly nil, but the chances of your life being disrupted by a disaster in the next decade is nearly a sure thing. Not only should you prepare for disasters, you should learn to premeditate them. Prepare concerns the body; premeditate concerns the mind. Everywhere you go, think what could happen and how you might/could/would/should respond. Use your imagination. Fill your brain with these visualizations —run mind-movies in your head —develop a repertoire —until when you walk into a building/room/situation you’ll automatically know what to do. If a disaster does ambush you —sure you’re apt to panic, but in seconds your memory will load the proper video into your mobile disk drive and you’ll feel like you’re watching a scary movie for the second time and you’ll know what to expect and how to react. That’s why this book is important: its manner of vivifying disasters kickstarts and streamlines your acquiring these premeditations, which lays the foundation for satisfying your needs when a disaster catches you by surprise.

Death, like so many great movies, is sad. The young fancy themselves immune to death. And why shouldn’t they? At times life can seem endless, filled with belly laughs and butterflies, passion and joy, and good, cold beer. Of course, with age comes the solemn understanding that forever is but a word. Seasons change, love withers, the good die young. These are hard truths, painful truths—inescapable but, we are told, necessary. Winter begets spring, night ushers in the dawn, and loss sows the seeds of renewal. It is, of course, easy to say these things, just as it is easy to, say, watch a lot of television. But, easy or not, we rely on such sentiment. To do otherwise would be to jump without hope into a black and endless abyss, falling through an all-enveloping void for all eternity. Really, what’s to gain from saying that the night only grows darker and that hope lies crushed under the jackboots of the wicked? What answers do we have when we arrive at the irreducible realization that there is no salvation in life, that sooner or later, despite our best hopes and most ardent dreams, no matter how good our deeds and truest virtues, no matter how much we work toward our varied ideals of immortality, inevitably the seas will boil, evil will run roughshod over the earth, and the planet will be left a playground in ruins, fit only for cockroaches and vermin. There is a saying favored by clergymen and aging ballplayers: Pray for rain. But why pray for rain when it’s raining hot, poisoned blood?

On the one hand, the creeds do not speak of “the Jews” as responsible for the death of Jesus; he “suffered under” and “was crucified under” Pontius Pilate. On the other hand, the creeds do not mention Jesus’s Judaism at all. With the stress in some churches on Jesus’s divine sonship, the cross, the resurrection, and the redemptory role of saving humanity from sin and death, his historical connection to Judaism gets lost along with his very Jewish message of the kingdom of heaven. The problem is more than one of silence. In the popular Christian imagination, Jesus still remains defined, incorrectly and unfortunately, as “against” the Law, or at least against how it was understood at the time; as “against” the Temple as an institution and not simply against its first-century leadership; as “against” the people Israel but in favor of the Gentiles. Jesus becomes the rebel who, unlike every other Jew, practices social justice. He is the only one to speak with women; he is the only one who teaches nonviolent responses to oppression; he is the only one who cares about the “poor and the marginalized” (that phrase has become a litany in some Christian circles). Judaism becomes in such discourse a negative foil: whatever Jesus stands for, Judaism isn’t it; whatever Jesus is against, Judaism epitomizes the category. No wonder even today Jesus somehow looks “different” from “the Jews”: in the movies and artistic renderings, he’s blond and they are swarthy; he is cute and buff and they need rhinoplasty and Pilates. Jesus and his followers such as Peter and Mary Magdalene become identified as (proto-) Christian; only those who chose not to follow him remain “Jews.

Tick-tock appeared to have forgotten all about both Brandon and the woman who had literally laughed herself to death. His brilliant green eyes had fixed on something which interested him much more than the dead woman. "Come here, cully," he said. "I want a better look at you." Gasher gave him a shove. Jake stumbled forward. He would have fallen if Tick-Tock's strong hands hadn't caught him by the shoulders. Then, when he was sure Jake had his balance again, Tick-Tock grasped the boy's left wrist and raised it. It was Jake's Seiko which had drawn his interest. "If this here's what I think it is, it's an omen for sure and true," Tick-Tock said. "Talk to me, boy--what's this sigul you wear?" Jake, who hadn't the slightest idea what a sigul was, could only hope for the best. "It's a watch. But it doesn't work, Mr. Tick-Tock." Hoots chuckled at that, then clapped both hands over his mouth when the Tick-Tock Man turned to look at him. After a moment, Tick-Tock looked back at Jake, and a sunny smile replaced the frown. Looking at that smile almost made you forget that it was a dead woman and not a movie Mexican taking a siesta against the wall of an adobe over there. Looking at it almost made you forget that these people were crazy, and the Tick-Tock Man was likely the craziest inmate in the whole asylum. "Watch," Tick-Tock said, nodding. "Ar, a likely enough name for such; after all, what does a person want with a timepiece but to watch it once in a while? Ar, Brandon? Ar, Tilly? Ar, Gasher?" They responded with eager affirmatives. The Tick-Tock Man favored them with his winning smile, then turned back to Jake again. Now Jake noticed that the smile, winning or not, stopped well short of the Tick-Tock Man's green eyes. They were as they had been throughout: cool, cruel, and curious.

But that is a lie! Here we have been breaking our backs for years at All-Union hard labor. Here in slow annual spirals we have been climbing up to an understanding of life—and from this height it can all be seen so clearly: It is not the result that counts! It is not the result—but the spirit! Not what—but how. Not what has been attained—but at what price. And so it is with us the prisoners—if it is the result which counts, then it is also true that one must survive at any price. And what that means is: One must become a stool pigeon, betray one’s comrades. And thereby get oneself set up comfortably. And perhaps even get time off sentence. In the light of the Infallible Teaching there is, evidently, nothing reprehensible in this. After all, if one does that, then the result will be in our favor, and the result is what counts. No one is going to argue. It is pleasant to win. But not at the price of losing one’s human countenance. If it is the result which counts—you must strain every nerve and sinew to avoid general work. You must bend down, be servile, act meanly—yet hang on to your position as a trusty. And by this means . . . survive. If it is the essence that counts, then the time has come to reconcile yourself to general work. To tatters. To torn skin on the hands. To a piece of bread which is smaller and worse. And perhaps . . . to death. But while you’re alive, you drag your way along proudly with an aching back. And that is when—when you have ceased to be afraid of threats and are not chasing after rewards—you become the most dangerous character in the owllike view of the bosses. Because . . . what hold do they have on you? You even begin to like carrying hand barrows with rubbish (yes, but not with stone!) and discussing with your work mate how the movies influence literature. You begin to like sitting down on the empty cement mixing trough and lighting up a smoke next to your bricklaying. And you are actually and simply proud if, when the foreman passes you, he squints at your courses, checks their alignment with the rest of the wall, and says: “Did you lay that? Good line.” You need that wall like you need a hole in the head, nor do you believe it is going to bring closer the happy future of the people, but, pitiful tattered slave that you are, you smile at this creation of your own hands. The Anarchist’s daughter, Galya Venediktova, worked as a nurse in the Medical Section, but when she saw that what went on there was not healing but only the business of getting fixed up in a good spot—out of stubbornness she left and went off to general work, taking up a spade and a sledge hammer. And she says that this saved her spiritually. For a good person even a crust is healthy food, and to an evil person even meat brings no benefit.

Is Twee the right word for it, for the strangely persistent modern sensibility that fructifies in the props departments of Wes Anderson movies, tapers into the waxed mustache-ends of young Brooklynites on bicycles, and detonates in a yeasty whiff every time someone pops open a microbrewed beer? Well, it is now. An across-the-board examination of this thing is long overdue, and the former Spin writer Marc Spitz is to be congratulated on having risen to the challenge. With Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film , he’s given it a name, and he’s given it a canon. (The canon is crucial, as we shall see.) And if his book is a little all over the place—well, so is Twee. Spitz hails it as “the most powerful youth movement since Punk and Hip-Hop.” He doesn’t even put an arguably in there, bless him. You’re Twee if you like artisanal hot sauce. You’re Twee if you hate bullies. Indeed, it’s Spitz’s contention that we’re all a bit Twee: the culture has turned. Twee’s core values include “a healthy suspicion of adulthood”; “a steadfast focus on our essential goodness”; “the cultivation of a passion project” (T-shirt company, organic food truck); and “the utter dispensing with of ‘cool’ as it’s conventionally known, often in favor of a kind of fetishization of the nerd, the geek, the dork, the virgin.

say   v. (says; past and past part.said) 1 [reporting verb] utter words so as to convey information, an opinion, a feeling or intention, or an instruction: [with direct speech] “Thank you,” he said | [with clause] he said the fund stood at $100,000 | [trans.] our parents wouldn't believe a word we said | [with infinitive] he said to come early.    (of a text or a symbolic representation) convey specified information or instructions: [with clause] the law says such behavior is an offense.  [trans.] enable a listener or reader to learn or understand something by conveying or revealing (information or ideas): I don't want to say too much | FIGURATIVEthe movie's title says it all.  [trans.] (of a clock or watch) indicate (a specified time): the clock says ten past two.  (be said) be asserted or reported (often used to avoid committing the speaker or writer to the truth of the assertion): [with infinitive] they were said to be training freedom fighters | [with clause] it is said that she lived to be over a hundred.  [trans.] (say something for) present a consideration in favor of or excusing (someone or something): all I can say for him is that he's

Activity pouch on airplanes Buttons and pins Crayons and coloring place mats from restaurants Disposable sample cup from the grocery store Erasers and pencils with eraser tops Fireman hat from a visit to the fire station Goodie bags from county fairs and festivals Hair comb from picture day at school Infant goods from the maternity ward Junior ranger badge from the ranger station and Smokey the Bear Kids’ meal toys Lollipops and candy from various locations, such as the bank Medals and trophies for simply participating in (versus winning) a sporting activity Noisemakers to celebrate New Year’s Eve OTC samples from the doctor’s office Party favors and balloons from birthday parties Queen’s Jubilee freebies (for overseas travelers) Reusable plastic “souvenir” cup and straw from a diner Stickers from the doctor’s office Toothbrushes and floss from the dentist’s office United States flags on national holidays Viewing glasses for a 3-D movie (why not keep one pair and reuse them instead?) Water bottles at sporting events XYZ, etc.: The big foam hand at a football or baseball game or Band-Aids after a vaccination or various newspapers, prospectuses, and booklets from school, museums, national parks . . .

Let those with whom you exchange gifts know that you abide by Zero Waste principles and prefer experiences to more stuff. • Timing is everything. Let them know before they bother to gather/buy objects for you. It is easier for a child to refuse a party favor ahead of time than on the spot. • Offer givers (grandparents, playmates’ mothers) concrete gift examples, such as those mentioned above. Easy and inexpensive suggestions include gift certificates for the movies, the local ice cream parlor, or iTunes. Digital (versus a plastic gift card) is always preferable.

Do you need to start changing the channel? Are you reliving every hurt, disappointment, and bad break? As long as you’re replaying the negative, you will never fully heal. It’s like a scab that’s starting to get better, but it will only get worse if you pick at it. Emotional wounds are the same way. If you’re always reliving your hurts and watching them on the movie screen of your mind--talking about them, and telling your friends--that’s just reopening the wound. You have to change the channel. When you look back over your life, can you find one good thing that has happened? Can you remember one time where you know it was the hand of God, promoting you, protecting you, and healing you? Switch over to that channel. Get your mind going in a new direction. A reporter asked me not long ago what my biggest failure has been, my biggest regret. I don’t mean to sound arrogant, but I don’t remember what my biggest failure was. I don’t dwell on that. I’m not watching that channel. We all make mistakes. We all do things we wish we had done differently. You can lean from your mistakes, but you’re not supposed to keep them in the forefront of your mind. You’re supposed to remember the things you did right: The times you succeeded. The times you overcame the temptation. The times you were kind to strangers. Some people are not happy because they remember every mistake they’ve made since 1927. They’ve got a running list. Do yourself a big favor and change the channel. Quit dwelling on how you don’t measure up and how you just should have been more disciplined, should have stayed in school, or should have spent more time with your children. You may have fallen down, but focus on the fact that you got back up. You’re here today. You may have made a poor choice, but dwell on your good choices. You may have some weaknesses, but remember your strengths. Quit focusing on what’s wrong with you and start focusing on what’s right with you. You won’t ever become all you were created to be if you’re against yourself. You have to retrain your mind. Be disciplined about what you dwell on.

Let’s say you’re in a tough place in your life. The scales are tipped badly, the negative side tilted way down. Whether it’s your health, or your finances, or your marriage, or your career … whatever it is, you’ve reached a place where many years of simple errors in judgment have compounded over time, and you’re feeling it. You’re behind the eight ball. It sure would be nice if, somehow, you could do something dramatic. If you just wake up tomorrow and have it all turned around—snap your fingers and change it. That might happen, in a movie. But this is your life. What can you do? What happens if you add one small, simple, positive action to the success side? Nothing you can see. What happens if you add one more? Nothing you can see. What happens if you keep adding one more, and one more, and one more, and one more … Before too long, you see the scales shift, ever so slightly. And then again. And eventually, that heavy “failure” side starts to lift, and lift, and lift … and the scales start swinging your way. No matter how much negative weight from the past is on the other side, just by adding those little grams of success, one at a time (and by not adding more weight to the failure side), you will eventually and inevitably begin to shift the scales in your favor.

I tracked down a vegan baker and had this cake special ordered for tonight. It’s a vanilla cake made with almond milk and maple syrup, glazed with cocoa icing. The damn thing smells delicious, yet my mouth is as dry as the Sahara Desert. That’s probably because of the message. Or, I should say, question iced on top of the cake. Walking up to the kitchen, I see her shaking her booty as she sings to the loud music blasting through the apartment. In her hand, she has a knife and is cutting up a banana. On the stove, I can see a small pot of melted dark chocolate and what looks like toasted and chopped walnuts on a plate. “Hey, babe! You’re home too early.” She gives me a fake pout. “I wanted to surprise you.” Setting my chin on her shoulder, I place my hands on her hips and watch as she starts cutting up another banana. “Surprise me with what, Pixie?” “Something sweet for us to eat while we watch the movie tonight.” Kissing the side of her neck, I murmur into her skin, “I’ve got your sweet covered.” She looks at the box with curious eyes. “Oh? And what do you have there, Trevor Blake?” Lifting the lid, I push the now visible cake with its question closer to her, and she gasps. Her hands start to tremble, and I watch the hand holding the knife with a wary eye. Perhaps I should have asked her to put that down first. I watch her face as her eyes tear up at the question in red icing. Will You Marry Me? The ring is the dot at the bottom of the question mark, shiny and blinking at her. Standing here, I wait for an answer. And I wait more. Thing is, it’s too quiet. There are silent tears running down her face, but she’s not said a single word. Fuck. What if she isn’t ready for this? I open my mouth to try to fix this, but suddenly my little sprite is squealing loudly, jumping up and down. I should be fucking thrilled that she’s happy, but all I can see is that knife bouncing up and down with her little body. She’s talking so fast I can barely understand what she’s saying. “Oh-my-gosh-Trevor-are-you-serious-right-now!” “Babe, happy as hell that you’re excited, but can you do me a favor really quick?” Paisley stops jumping up and down and nods her head repeatedly like a bobble head doll. I have to stop myself from laughing at her. She smiles brightly at me. “If you wanna know my answer, it’s yes!” “Well, that, too. But, Pixie, can you please put down the knife? Would really fucking hate it if one of us got accidentally stabbed on the night that I’m asking you to become my wife.

After scrolling through yet more options, I finally settled on Insidious and sank deeper into my seat. I’d watched the movie dozens of times, but I loved it.

But for some reason, during our run, the Academy had a less than favorable view of shows with a live audience. Multicamera comedy somehow got considered a genre that was less-than. Shows like Modern Family were shot like little movies, and I think we were never going to be taken terribly seriously because the culture changed. That’s OK. Bill Prady always used to say, “The audience isn’t counting how many cameras you use. They’re responding to the characters and if they’re laughing.

Dart initially echoed Darwin’s theory that bipedalism freed the hands of early hominins to make and use hunting tools, which in turn selected for big brains, hence better hunting abilities. Then, in a famous 1953 paper, clearly influenced by his war experiences, Dart proposed that the first humans were not just hunters but also murderous predators.18 Dart’s words are so astonishing, you have to read them: The loathsome cruelty of mankind to man forms one of his inescapable characteristics and differentiative features; and it is explicable only in terms of his carnivorous, and cannibalistic origin. The blood-bespattered, slaughter-gutted archives of human history from the earliest Egyptian and Sumerian records to the most recent atrocities of the Second World War accord with early universal cannibalism, with animal and human sacrificial practices of their substitutes in formalized religions and with the world-wide scalping, head-hunting, body-mutilating and necrophilic practices of mankind in proclaiming this common bloodlust differentiator, this predaceous habit, this mark of Cain that separates man dietetically from his anthropoidal relatives and allies him rather with the deadliest of Carnivora. Dart’s killer-ape hypothesis, as it came to be known, was popularized by the journalist Robert Ardrey in a best-selling book, African Genesis, that found a ready audience in a generation disillusioned by two world wars, the Cold War, the Korean and Vietnam Wars, political assassinations, and widespread political unrest.19 The killer-ape hypothesis left an indelible stamp on popular culture including movies like Planet of the Apes, 2001: A Space Odyssey, and A Clockwork Orange. But the Rousseauians weren’t dead yet. Reanalyses of bones in the limestone pits from which fossils like the Taung Baby came showed they were killed by leopards, not early humans.20 Further studies revealed these early hominins were mostly vegetarians. And as a reaction to decades of bellicosity, many scientists in the 1970s embraced evidence for humans’ nicer side, especially gathering, food sharing, and women’s roles. The most widely discussed and audacious hypothesis, proposed by Owen Lovejoy, was that the first hominins were selected to become bipeds to be more cooperative and less aggressive.21 According to Lovejoy, early hominin females favored males who were better at walking upright and thus better able to carry food with which to provision them. To entice these tottering males to keep coming back with food, females encouraged exclusive long-term monogamous relationships by concealing their menstrual cycles and having permanently large breasts (female chimps advertise when they ovulate with eye-catching swellings, and their breasts shrink when they are not nursing). Put crudely, females selected for cooperative males by exchanging sex for food. If so, then selection against reactive aggression and frequent fighting is as old as the hominin lineage.22

Visualization As you hone and create your identity and new narrative, being able to picture yourself moving through this new life actually helps it become your reality. As you use imagery as a tool, be aware that there is a huge difference between fantasizing and visualizing. It’s like the saying “If you write it down, it’s a plan; if you don’t, it’s a wish.” Fantasizing is the activity of imagining scenarios that satisfy your desire for gratification and vengeance. Fantasizing is wishing, which is not a bad place to start. Fantasy often uses a third-person POV, like watching yourself in the best movie ever, starring you. It might be fun to fantasize, but as a psychological tool that enables you to get what you want in life, it’s more or less useless. Fantasy is usually about outcome. You imagine yourself being respected or thin, in a sexual or romantic relationship, or on the beach, but you are no closer to realizing those dreams than you were before you fantasized about them. Visualizing is like writing it down to make a plan; more specifically, it is making a model in your mind of the process leading to the desired result. Visualizing is a scientific methodology for rehearsing different reality-based scenarios in your head before an important event or interaction. If you learn to visualize effectively, you can condition yourself to succeed, even in stressful, anxious situations. To visualize for success: First, use the third-person POV to see yourself showing up as required in your life, on task, and with the performance you desire. Next, use the first-person POV, where you enter into the scene and you see and feel the experience. Go over the specifics of a job interview and see yourself being assertive. Feel your steady heart rate. Smell the confidence. Train your brain to associate walking into that interview with assurance and calm. Visualize every sensation and step. The coldness of the doorknob, the plush carpet under your shoes, the overhead lighting, the sound of the copy machine down the hall. Immerse yourself in detail. Script the scene with positive, powerful phrases, like I can and I am. I can get the job done. I am the person you’re looking for. Repeat the scenario. During the week before the specific event or interaction is to take place, practice daily. Later on, when it’s all over, examine how close your visualization was to reality. Even if the two look completely different, you’ll be glad you did all you could to be prepared and to succeed. This is a tried-and-true method of practicing for success. Athletic coaches on the sports field and personal life coaches advocate and outright require this kind of thorough mental preparation. There is no substitute except to rely on luck, which is not really a plan. Prepare, prepare, prepare, and remember what Louis Pasteur said: “Chance seems to favor the prepared mind.

To a highly literate and mechanized culture the movie appeared as a world of triumphant illusions and dreams that money could buy. It was at this moment of the movie that cubism occurred, and it has been described by E. H. Gombrich (Art and Illusion) as “the most radical attempt to stamp out ambiguity and to enforce one reading of the picture — that of a man-made construction, a colored canvas.” For cubism substitutes all facets of an object simultaneously for the “point of view” or facet of perspective illusion. Instead of the specialized illusion of the third dimension on canvas, cubism sets up an interplay of planes and contradiction or dramatic conflict of patterns, lights, textures that “drives home the message” by involvement. This is held by many to be an exercise in painting, not in illusion. In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message. Is it not evident that the moment that the sequence yields to the simultaneous, one is in the world of the structure and of configuration? Is that not what has happened in physics as in painting, poetry, and in communication? Specialized segments of attention have shifted to total field, and we can now say, “The medium is the message” quite naturally.

I love you. I’ve loved you for nine years; I’ve just been too arrogant and scared to realize it, and… well, now I’m just scared. So, I realize this comes at a very inopportune time, but I really have this gigantic favor to ask of you. Choose me. Marry me. Let me make you happy. Oh, that sounds like three favors, doesn’t it?” —My Best Friend’s Wedding

Don’t let negative pictures play on the movie screen of your mind. You are the director and the audience. You are in charge. Take the remote control. Change the channel. If you let your imagination run wild, let it run wild in a positive direction.

Do you ever watch old black-and-white war movies? The weary soldier advances cautiously out of the brush. There's a clearing ahead: are there any land mines, or is it safe to cross? There aren't any indications that it's a minefield—no signs, barbed wire, or craters. The soldier pokes the ground ahead of him with his bayonet and winces, expecting an explosion. There isn't one. So he proceeds painstakingly through the field for a while, prodding and poking as he goes. Eventually, convinced that the field is safe, he straightens up and marches proudly forward, only to be blown to pieces. The soldier's initial probes for mines revealed nothing, but this was merely lucky. He was led to a false conclusion—with disastrous results. As developers, we also work in minefields. There are hundreds of traps just waiting to catch us each day. Remembering the soldier's tale, we should be wary of drawing false conclusions. We should avoid programming by coincidence—relying on luck and accidental successes—in favor of programming deliberately.

In the movies, they always make sure the hero kills only in self-defense, typically in the instant before the bad guy gets the drop on him. Even in that film Miyamoto had mentioned, Dirty Harry, Clint Eastwood blows away a guy who had kidnapped, tortured, and killed a teenage girl only when the guy goes for a gun. To me, that’s all bullshit. More than anything else, killing is about survival. About doing everything you can to deceive, and cheat, and stack the odds in your own favor. You don’t wait for the other guy to go for his gun; you shoot him before he has a chance. If he has his back to you, that’s even better. If you can call in an air strike, that’s better still. You don’t just do everything you possibly can to prevent a fight from being fair—preventing the fight from being fair is the entire point. Do you want the enemy to have as good a chance of killing you as you have of killing him? Or do you want to make sure he gets no chance at all? As far as I’m concerned, the people who think a fair fight is desirable can go ahead and die in one.

I also had the distinct impression that, when he’d leaned into my space, he’d tried to smell me, and he’d managed to do it without coming across as a creepy creeper. Admittedly, if he were less epically good-looking, he might have come across as a creepy creeper. But, as he had the body of a gladiator and the face of a movie star, I felt flustered, flattered, and turned on. The fact that I felt flattered made me feel like an idiot. I hated this about myself. I hated that, even though I knew better, good looks negated odd behavior. His odd behavior being that he was attempting to use all five of his senses to experience me while trapping us in an elevator; I didn’t doubt that, if I’d given him any indication that I was in favor of his advances, he would have tried to taste me as well. I shivered at the thought, a wave of warmth spreading from my chest to the pit of my stomach, stinging and sudden, like a hot flash.

As the wildly favorable word of mouth spread, however, the box office receipts began to soar. First, fans of musicals came. Then the ever-growing cadre of Julie Andrews devotees. Finally, those longing for a happy ending—anywhere—began to turn out in droves. At which point the oddest thing of all happened: all these fans of the movie returned to see it again. And then once more. And then once again—until the phenomenon eventually resulted in a record-setting first release run of over four and a half years.

Because men often have a stronger desire for sex, and especially sex of the no-strings-attached variety, intercourse is often treated as a resource that women possess and men pursue. Even when the woman enjoys the sex as much as the man, it’s still tacitly seen as a favor that she does for him, rather than the other way round (unless, that is, he’s a movie star).

popular Hallmark and Lifetime Christmas movies, of which there seem to be hundreds churned out every year, often feature a young woman from the city who finds herself stuck in a small town through some accident of fortune, whereupon she learns the value of a simpler life and often dumps her no-good boyfriend back in the city in favor of the hunky small-town man she meets early in the movie.

Life is best understood backward but must be lived forward, observed the Danish philosopher Soren Kierkegaard. Maybe we would trust providence more if we could watch our lives in reverse, like a home movie played backward. Maybe providence is always working in our favor, but we’re too close to appreciate it. Only time provides the distance needed to admire its handiwork.

Why, then, does Ukraine support Israel? For ideological reasons (and also for winning the West’s favor), Ukraine presents its struggle as a defense of Europe and European civilization, and against the barbaric-totalitarian East. It ignores the dark side of Europe, which is marked by modern slavery, colonialism, and Fascism, to name a few.

The Other Side of the Wind is the story of Jake Hannaford, a hard-drinking, big-game-hunting, womanizing, adventure-seeking director who loves to shoot in remote locations around the world and revels in putting himself, his cast, and his crew in dangerous situations. Welles would joke that at least one crew member dies on the set of every Hannaford film. A product of the studio system, Hannaford fell out of favor and retreated to Europe for a few years of self-imposed exile and has finally returned to Los Angeles, seeking end money to complete his artsy, modernist attempt at a sex-infused and violence-laden comeback movie that reflects the style and values of New Hollywood circa 1970. As Welles mentioned in his introduction, the film examines the last day of Hannaford’s life as viewed through the medium of film in

FAVOR FAMILIARITY. You might think that people love to hear and talk about things that are new and unfamiliar. In fact, people love to talk about the movie they have already seen, the game they already watched.

of the night, talking about movies or books or politics or the world, whatever, and I mentioned that I was worried about Suze because all the lights were on. He suggested he could bring her down to me, and the way that landed in my gut, I knew he was right. That’s a big favor, I said. Not really. Will you make me some of that rose petal tea?

In the movie, the matrix was built to be a more comfortable version of the world. Our brains, likewise, have evolved to make our version of the world more comfortable: our beliefs are nearly always correct; favorable outcomes are the result of our skill; there are plausible reasons why unfavorable outcomes are beyond our control; and we compare favorably with our peers. We deny or at least dilute the most painful parts of the message. Giving that up is not the easiest choice. Living in the matrix is comfortable. So is the natural way we process information to protect our self-image in the moment. By choosing to exit the matrix, we are asserting that striving for a more objective representation of the world, even if it is uncomfortable at times, will make us happier and more successful in the long run.

Swashbuckler Similar to a Duelist, although even more flamboyant and flashy. High mobility, favors dual wielding and gains access to a few musket related abilities.

I previously spoke to Mrs. Newton of such… She's trading your shifts. She spoke to inform you she wishes you a: 'Happy Birthday.'' ‘I- yet can't come over,’ I resolved, clambering for an excuse. ‘I, well, I mustn't watch Romeo and Juliet yet for English.’ Olivia squealed, ‘You have Romeo and Juliet memorized.’ ‘Although Mr. Smith proclaimed, we obliged to notice it performed to thoroughly acknowledge it that's how Shakespeare intended it to be presented.’ Marcel rolled his eyes. ‘You've already seen the movie,’ Olivia accused. ‘Although not the nineteen-sixties version. Mr. Smith said it was the best.’ Subsequently, Olivia lost the self-satisfied smile and glared at me. ‘This can be obvious, or this can be troublesome, Bell, but one way or the others’ Marcel interrupted her threat. ‘Relax, Olivia. If Karly wants to watch a movie, then she can. It's her birthday.’ ‘So there,’ I added. ‘I'll bring her over around seven,’ he continued. ‘That will give you more time to set up.’ Olivia's howling sounded again. ‘Sounds immeasurable good. See you tonight, Bell! It'll be fun, you'll see.’ She grinned- the wide smile revealed all her perfect, glistening teeth-then pecked me on the cheek and danced off moving her first class before I could respond. ‘Marcel, please-’ I started to beg, but he clasped one crisp finger to my lips. ‘Let's review it later. We're going to be late for school.’ No one bothered to stare at us as we took our representative seats in the back of the classroom (we should almost every class together now-it was amazing the favors Marcel could get the female administrators to do for him.)

Hey, Beau, you and Ash got kind of close this summer. I mean, she unloaded on you the other day about her stress at home, and she no longer gets that pinched look on her face when I mention your name, which is a good thing. I’m glad the two people who mean the most to me finally remembered they were once friends.” How do I respond to this? I just nodded. “Would you, uh, mind doing me a favor? I mean, if you and Nic don’t have anything going on tonight…It’s just I told Ashton I’d take her out to get something to eat and maybe go to a movie. You know, to get her out of the house and away from the crazy family members. But Dad just texted me, and he needs me to go with him to meet with a friend of his who’s in town for the evening and has connections at the university athletic department. It’s important, and Dad has worked really hard to set this meeting up. But I don’t want to let Ash down either. Could you take her out for me if you aren’t already doing something with Nic? Because we both know how she feels about her. I don’t want to throw Ash into a situation that makes her uncomfortable.” Did he really just ask me to take Ash out tonight? Was he insane? He didn’t deserve her. Any guy who would blow her off for something his daddy wanted shouldn’t get to have her. “Sure,” I replied, hearing the clipped tone in my voice. Stupid-ass cousin of mine had no clue what he was asking for. I was already headed for hell; I might as well enjoy the ride.

In the movie, the matrix was built to be a more comfortable version of the world. Our brains, likewise, have evolved to make our version of the world more comfortable: our beliefs are nearly always correct; favorable outcomes are the result of our skill; there are plausible reasons why unfavorable outcomes are beyond our control; and we compare favorably with our peers. We deny or at least dilute the most painful parts of the message.

When the defeat, the mistake, or the hurt comes back up on the movie screen of your mind, do yourself a favor and change the channel. Have the attitude, I’m not going backward. I’m not living in regrets. I’m not rehearsing failures. I’m moving forward. I may have had some bad breaks, but I know better is the end. If you get your mind going forward, your life will go forward.