Heroes Tv Show Quotes

Hermes's eyes twinkled. "Martha, may I have the first package, please?" Martha opened her mouth ... and kept opening it until it was as wide as my arm. She belched out a stainless steel canister-an old-fashioned lunch box thermos with a black plastic top. The sides of the thermos were enameled with red and yellow Ancient Greek scenes-a hero killing a lion; a hero lifting up Cerberus, the three-headed dog. "That's Hercules," I said. "But how-" "Never question a gift," Hermes chided. "This is a collector's item from Hercules Busts Heads. The first season." "Hercules Busts Heads?" "Great show." Hermes sighed. "Back before Hephaestus-TV was all reality programming. Of course, the thermos would be worth much more if I had the whole lunch box-

It is possible to be a fan of reality TV, talent shows and bubblegum pop and still have a brain. You will also see that a great many people know perfectly well how silly and camp and trivial their fandom is. They do not check in their minds when they enter a fan site. Judgement is not necessarily fled to brutish beasts, and men have not quite lost their reason. Which is all a way of questioning whether pop-culture hero worship is really so psychically damaging, so erosive of cognitive faculties, so corrupting of the soul of mankind as we are so often told.

Each person must, on some level, take himself as the calibration point for normalcy, must assume that the room of his own mind is not, cannot be, entirely opaque to him. Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people’s stories, insofar as those stories concern us at all, we are never less than heroic. Who, in the age of television, hasn’t stood in front of a mirror and imagined his life as a show that is already perhaps being watched by multitudes? Who has not, with this consideration in mind, brought something performative into his everyday life? We have the ability to do both good and evil, and more often than not, we choose the good. When we don’t, neither we nor our imagined audience is troubled, because we are able to articulate ourselves to ourselves, and because we have through our other decisions, merited their sympathy. They are ready to believe the best about us, and not without good reason.

For as long as there have been heroes, those half-brave, half-mad souls willing to dash headlong against things that would send most of us screaming in the other direction, there have been stories to immortalize their journeys.

He feels a little better while watching the guy on TV or thinking of him. Still, he feels insignificant. He has a few heroes whom he sees on other TV shows: sports figures, a tough cop or a late-night talk show host. He lives vicariously through all of them. Unbeknownst

In 75 percent of the television programs shown during hours when American children are most likely to be watching, the hero either kills people or beats them up. This violence typically constitutes the “climax” of the show. Viewers, having been taught that bad guys deserve to be punished, take pleasure in watching this violence.

To be truly happy, a man must live absolutely in the present, no thought of what's gone before and no thought of what lies ahead. But a life with meaning, a man is condemned to wallow in the past and obsess about the future.

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

The morning grass was damp and cool with dew. My yellow rain slicker must have looked sharp contrasted against the bright green that spring provided. I must have looked like an early nineteenth century romantic poet (Walt Whitman, perhaps?) lounging around a meadow celebrating nature and the glory of my existence. But don’t make this about me. Don’t you dare. This was about something bigger than me (by at least 44 feet). I was there to unselfishly throw myself in front of danger (nothing is scarier than a parked bulldozer), in the hopes of saving a tree, and also procuring a spot in a featured article in my local newspaper. It’s not about celebrity for me, it’s about showing that I care. It’s not enough to just quietly go about caring anymore. No, now we need the world to see that we care. I was just trying to do my part to show I was doing my part. But no journalists or TV news stations came to witness my selfless heroics. In fact, nobody came at all, not even Satan’s henchmen (the construction crew). People might scoff and say, “But it was Sunday.” Yes, it was Sunday. But if you’re a hero you can’t take a day off. I’d rather be brave a day early than a day late. Most cowards show up late to their destiny. But I always show up early, and quite often I leave early too, but at least I have the guts to lay down my life for something I’d die for. Now I only laid down my life for a short fifteen-minute nap, but I can forever hold my chin high as I loudly tell anyone who will listen to my exploits as an unsung hero (not that I haven’t written dozens of songs dedicated to my bravery). Most superheroes hide anonymously behind masks. That’s cowardly to me. I don’t wear a mask. And the only reason I’m anonymous is that journalists don’t respond to my requests for interviews, and when I hold press conferences nobody shows up, not even my own mother. The world doesn’t know all the good I’ve done for the world. And that’s fine with me. Not really. But if I have to go on being anonymous to make this world a better place, I will. But that doesn’t mean I’m not thinking about changing my hours of altruism from 7-8 am Sunday mornings to 9-5 am Monday through Friday, and only doing deeds of greatness in crowded locations.

He was worried about his country. Something was rotting from the inside—a slow decay of what was right and wrong. It was as if hundreds of cynical little rats were chewing at its very fiber, gnawing away year by year, until it was collapsing into a vat of gray slime and self-loathing. It had oozed under the doors of the classrooms, the newscasts, and in the movies and television shows and had slowly changed the national dialogue until it was now a travesty to be proud of your country, foolish to be patriotic, and insensitive to even suggest that people take care of themselves. History was being rewritten by the hour, heroes pulled down to please the political correctors. We were living in a country where there was freedom of speech for some, but not all. What was it going to take to get America back on track? Would everything they had fought for be forgotten? He was so glad he and Norma had grown up when they had. They had come of age in such an innocent time, when people wanted to work and better themselves. Now the land of the free meant an entirely different thing. Each generation had become a weaker version of the last, until we were fast becoming a nation of whiners and people looking for a free ride—even expecting it. Hell, kids wouldn’t even leave home anymore. He felt like everything was going downhill.

It’s been said that every character in a movie thinks the movie is about them. The first time I heard that, I thought, “Of course! Why should characters in movies or TV shows be any less self-centered than we are?” A villain doesn’t know he’s the villain — he thinks he’s the hero. He believes some good-looking guy with more screen time is simply getting in his way. A romantic interest doesn’t know she’s just “the girl” — she thinks she’s running the show.

It just makes me so goddamn mad,” she said, still looking away from Saul. “Yes.” “I mean, it’s like he didn’t even count. He wasn’t important. Do you know what I mean?” “Yes.” “When I was little I used to watch cowboy shows on television,” she said. “And somebody would be killed—not the hero or villain, just some guy—and it’d be like he had never existed, you know? And it bothered me. I was only six or seven, but it bothered me. I always used to think about the person and how he must’ve had parents and all the years he’d taken to grow up and how he had to have got dressed that morning and then, bang, he doesn’t exist anymore because the writer wanted to show how fast the good guy was with a gun or something.

We understand this well in every other book, movie, or television show—perhaps a little too well. Today’s filmmakers blow up entire populated planets just to raise the stakes for the hero’s climactic fight scene (something done in both the Star Wars and Star Trek science fiction franchises). In “Game of Thrones,” murder and torture are doled out with such abandon, over so many seasons, that they cease to be mere plot devices and become a central theme of the series. But heaven forbid Ayn Rand should write a scene where people suffocate to death to demonstrate the disastrous consequences of Big Government. As with most literary complaints against her, this one is applied selectively, only to the author with an unwelcome political and philosophical message.

stories involving the troubles in Northern Ireland, Morocco’s war for the Spanish Sahara, and a ring of traders violating the sanctions against Rhodesia. He was exhilarated by danger. Once in Belfast he insisted that we go cover a demonstration, when I was quite content to stay at the bar of the Europa Hotel. He showed me that even though the street clashes might seem violent and bloody on television, just a half block away things were calm and safe. Journalism required an eagerness to get up and go places. While we were out, a bomb went off at the Europa Hotel. Blundy insisted that this should serve as a lesson for me. I agreed. But when he was killed a few years later by a sniper’s bullet in El Salvador, I gave up trying to fathom the meaning of the lesson he wanted me to learn.

These were the kids who would take LSD for recreational purposes, who relied upon tape recorders to supply the weird studio effects their music required and who could repeat the cosmic wisdom of the Space Brothers as if it were the Pledge of Allegiance. Brought up on space heroes and super beings, as revealed to them in comic books and TV shows, the whole galaxy was their birthright, just as Mad magazine and cheap B-movies had shown them hows stupid and flimsy a construct daily life could be. To the subtle dismay of their parents, this was a generation capable of thinking the unthinkable as a matter of course. That their grand cosmological adventure should come to an end just as Neil Armstrong succeeded in bringing Suburbia to the Moon is another story and it will have to wait for another time.

So what can we generalize about Victorian vampires? They are already dead, yet not exactly dead, and clammy-handed. They can be magnetically repelled by crucifixes and they don’t show up in mirrors. No one is safe; vampires prey upon strangers, family, and lovers. Unlike zombies, vampires are individualists, seldom traveling in packs and never en masse. Many suffer from mortuary halitosis despite our reasonable expectation that they would no longer breathe. But our vampires herein also differ in interesting ways. Some fear sunlight; others do not. Many are bound by a supernatural edict that forbids them to enter a home without some kind of invitation, no matter how innocently mistaken. Dracula, for example, greets Jonathan Harker with this creepy exclamation that underlines another recurring theme, the betrayal of innocence (and also explains why I chose Stoker’s story “Dracula’s Guest” as the title of this anthology): “Welcome to my house! Enter freely and of your own will.” Yet other vampires seem immune to this hospitality prohibition. One common bit of folklore was that you ought never to refer to a suspected vampire by name, yet in some tales people do so without consequence. Contrary to their later presentation in movies and television, not all Victorian vampires are charming or handsome or beautiful. Some are gruesome. Some are fiends wallowing in satanic bacchanal and others merely contagious victims of fate, à la Typhoid Mary. A few, in fact, are almost sympathetic figures, like the hero of a Greek epic who suffers the anger of the gods. Curious bits of other similar folklore pop up in scattered places. Vampires in many cultures, for example, are said to be allergic to garlic. Over the centuries, this aromatic herb has become associated with sorcerers and even with the devil himself. It protected Odysseus from Circe’s spells. In Islamic folklore, garlic springs up from Satan’s first step outside the Garden of Eden and onion from his second. Garlic has become as important in vampire defense as it is in Italian cooking. If, after refilling your necklace sachet and outlining your window frames, you have some left over, you can even use garlic to guard your pets or livestock—although animals luxuriate in soullessness and thus appeal less to the undead. The vampire story as we know it was born in the early nineteenth century. As

My next task was to secure a weapon. I remembered the old TV show, McGyver, where the hero would defeat the bad guys by making a device out of whatever he happened to find handy—a comb, two paper clips, a hub cap.

I fear a future in which America becomes a loose aggregate of marauding tribes—no binding traditions, no songs that we all know, not even “The Star-Spangled Banner” or “Silent Night,” no common heroes, no American literature—only the promotional lit of race and ethnicity, our people unable to name their senators, their only political experience via television, their only public life at Wal-Mart. There are no more TV shows that everyone knows: 10 percent of audience is a huge hit. The last singer recognizable to everyone was Frank Sinatra, the last poet known far and wide was Robert Frost. There are no replacements in sight. Today’s celebrities are people whom most Americans haven’t heard of.

TOOTSIE (by Larry Gelbart and Murray Schisgal, story by Don McGuire and Larry Gelbart, 1982) • Premise When an actor can’t get work, he disguises himself as a woman and gets a role in a TV series, only to fall in love with one of the female members of the cast. • Possibilities You could take a funny look at the modern dating dance, but also dissect the deep immorality that underlies how men and women act toward each other in the most intimate part of their lives. • Story Challenges How do you show the effect of men’s immoral actions against women without seeming to attack one entire gender while making the other gender look innocent? • Problems How do you make a man believable as a woman, weave several man-woman plots together and make them one, end each plotline successfully, and make an emotionally satisfying love story while using a number of farce techniques that place the audience in a superior position? • Designing Principle Force a male chauvinist to live as a woman. Place the story in the entertainment world to make the disguise more believable. • Best Character Michael’s split between dressing as both a man and a woman can be a physical and comical expression of the extreme contradiction within his own character. • Conflict Michael fights Julie, Ron, Les, and Sandy about love and honesty. • Basic Action Male hero impersonates a woman. • Character Change W—Michael is arrogant, a liar, and a womanizer. C—By pretending to be a woman, Michael learns to become a better man and capable of real love. • Moral Choice Michael sacrifices his lucrative acting job and apologizes to Julie for lying to her.

Tho was Buffalo Bill Cody? Most people know, at the very least, that he was a hero of the Old West, like Daniel Boone, Davy Crockett, and Kit Carson-one of those larger-than-life figures from which legends are made. Cody himself provided such a linkage to his heroic predecessors in 1888 when he published a book with biographies of Boone, Crockett, Carson-and one of his own autobiographies: Story of the Wild West and Campfire Chats, by Buffalo Bill (Hon. W.F. Cody), a Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill. In this context, Cody was often called "the last of the great scouts." Some are also aware that he was an enormously popular showman, creator and star of Buffalo Bill's Wild West, a spectacular entertainment of the late nineteenth and early twentieth centuries. It has been estimated that more than a billion words were written by or about William Frederick Cody during his own lifetime, and biographies of him have appeared at irregular intervals ever since. A search of "Buffalo Bill Cody" on amazon.com reveals twenty-seven items. Most of these, however, are children's books, and it is likely that many of them play up the more melodramatic and questionable aspects of his life story; a notable exception is Ingri and Edgar Parin d'Aulaire's Buffalo Bill, which is solidly based on fact. Cody has also shown up in movies and television shows, though not in recent years, for whatever else he was, he was never cool or cynical. As his latest biographer, I believe his life has a valuable contribution to make in this new millennium-it provides a sense of who we once were and who we might be again. He was a commanding presence in our American history, a man who helped shape the way we look at that history. It was he, in fact, who created the Wild West, in all its adventure, violence, and romance. Buffalo Bill is important to me as the symbol of the growth of our nation, for his life spanned the settlement of the Great Plains, the Indian Wars, the Gold Rush, the Pony Express, the building of the transcontinental railroad, and the enduring romance of the American frontier-especially the Great Plains. Consider what he witnessed in his lifetime: the invention of the telephone, the transatlantic cable, the automobile, the airplane, and the introduction of modem warfare, with great armies massed against each other, with tanks, armored cars, flame-throwers, and poison gas-a far cry from the days when Cody and the troopers of the Fifth Cavalry rode hell-for-leather across the prairie in pursuit of hostile Indians. Nor, though it is not usually considered

The next afternoon we got a studio car to take us up to the pool at the inn. We were like kids—Duke was 41, Pete 36, and I was 27. We splashed one another, pushed one another under water, and shoved one another off the diving board. We had a hell of a time, laughing and talking about all the crises during the shooting. In those days, everybody smoked. You were either odd or in training, if you didn’t. But Duke! He lit one Camel off another all day long. We used to raise hell with him about it. “You’re not patting me down already? It’s only ten-thirty in the morning, and you’re already out?” He’d start toward, you patting the pockets on his vest or pants with a big grin on his face, trying to make you think he’d forgotten his. “Hell-ooo, Ol’ Dobe,” he’d say. Then he’d start searching you like a detective looking for dope in one of today’s TV shows. When I’d give him one, he’d say, “Jesus, how can you smoke these (meaning the brand) goddamn things? I’ll give you a pack tomorrow.” He never did so, but I found a remedy for that problem. One day I was passing his dressing room—the kind that is on coasters and is on the sound stage. The door was open, and I looked in. He wasn’t there, but his cigarettes were! Right there on his dressing room table were five cartons of Camels. He’d posed for an ad for them. I just took a carton to my own dressing room, and then, when he wanted a cigarette, I gave him one of his own! He finally said, “Ya’ finally learned to smoke the best cigarette!” The reason I bring all this up is because I thought I was some sort of champ at staying underwater a long time. I figured that because of the way Duke smoked and the fact that his only exercise was playing cards, I could easily beat him swimming underwater. So, as we were splashing around, I said to Duke, “I’ll bet I can swim underwater in this pool longer than you can.” “What? Hah—hah—hah. You have ta’ be kiddin,’ friend! You are on!" I really did think I could beat him; after all, I was younger, and I exercised a lot more than he did. I played golf and tennis, and rode horseback. It was a very big pool. My turn first. I swam up and back twice and then another half. I ran out of air and surfaced. “Not too bad, for a skinny guy,” he commented and jumped in. He then went almost twice as far! I couldn’t believe it! He didn’t razz me or brag—he just knew what he could do. It never occurred to me that his lung capacity was over twice mine and that he’d been diving for abalone off Catalina Island for years.

The floating screens showed all sorts of television programmes.

Look more closely at these prosperous ideopolises and the picture becomes even more familiar. The symbolic embodiment of all this innovative postindustrial economic activity was none other than Frederick Dutton’s countercultural hero, hymned now as the very embodiment of the New Economy. Youth radicalism became the language in which the winners assured us that they cared about our individuality and that all their fine new digital products were designed strictly to liberate the world. Remember? “Burn down business-as-usual,” screamed a typical management text of the year 2000 called The Cluetrain Manifesto. Set up barricades. Cripple the tanks. Topple the statues of heroes too long dead into the street.… Sound familiar? You bet it does. And the message has been the same all along, from Paris in ’68 to the Berlin Wall, from Warsaw to Tiananmen Square: Let the kids rock and roll!3 The connection between counterculture and corporate power was a typical assertion of the New Economy era, and what it implied was that rebellion was not about overturning elites, it was about encouraging business enterprise. I myself mocked this idea in voluminous detail at the time. But it did not wane with the dot-com crash; indeed, it has never retreated at all. From Burning Man to Apple’s TV commercials, it is all over the place today. Think of the rock stars who showed up for Facebook billionaire Sean Parker’s wedding in Big Sur, or the rock ’n’ roll museum founded by Microsoft billionaire Paul Allen in Seattle, or the transformation of San Francisco, hometown of the counterculture, into an upscale suburb of Silicon Valley. Wherever you once found alternative and even adversarial culture, today you find people of merit and money and status. And, of course, you also find Democrats.

Martin’s Way is a poignant story of life and death, and—more importantly—the lessons learned along the way, told by a member of the Greatest Generation. It weaves an inspiring tale of friendship and values and love and heroes and loss, and how the simplest of lives can be the most important. It should be required reading for the next generation. Larry Elder, Talk show host / TV personality

Among artsy people, it can lead to the feeling—false almost by definition, and ubiquitous among white, relatively-not-poor Midwestern artsy kids—that nothing has ever happened to you. There was, a few years ago, a television show—one so over-discussed I cannot type its name without nausea—that came close to dealing with this dilemma in a thoughtful way. Its hero, a college graduate from East Lansing, Michigan, wanted to write books and conquer New York, but she so disbelieved that anything story-worthy had ever happened in her life that she exploited the experiences of others just so that she could do her work. In one particularly disturbing episode, she lured a recovering addict—who she knew was attracted to her—into buying crack for her, so that she could “have an experience” that would enable her to write. At the end of that season, she spiraled into a total collapse—which ought to have struck her as some sort of purchase, at least, on being interesting.

We’re talking about them as athletes, rather than some of the conversations we had in ’99: My god, who are these women? They’re kind of hot!” Julie Foudy said. After the team won in 1999, the players turned into one-of-a-kind heroes, pioneers, and role models overnight. Many people rooted for them as a larger statement about women in sports. But by 2015, the players of the national team were athletes that America grew to love simply as athletes. If fans were going to be jubilant about a victory in the 2015 World Cup final, it wouldn’t just be because of some deeper meaning or greater impact—it would be because fans knew these players and wanted them to win. It was evidenced by Alex Morgan’s almost 2 million followers on Twitter, Hope Solo’s autobiography becoming a New York Times bestseller, and Abby Wambach appearing in Gatorade television ads on heavy rotation. No longer did the players need to show up at schools and youth clinics to hand out flyers, like the 1999 team did. The word about the national team was already out. In the team’s three May 2015 send-off games, they sold out every match, drawing capacity crowds at Avaya Stadium, the StubHub Center, and Red Bull Arena. Consider what Foudy told reporters in 1999 after the World Cup win: “It transcends soccer. There’s a bigger message out there: When people tell you no, you just smile and tell them, Yes, I can.” By 2015? Players like Carli Lloyd were talking about world domination. It was all about the soccer—and that, in and of itself, was something special and powerful.

Surely you’ve seen network TV lately. It’s clear they don’t know whether they’re coming or going. That’s because Janus is in charge of programming. He loves ordering new shows and canceling them after two episodes.

75 percent of the television programs shown during hours when American children are most likely to be watching, the hero either kills people or beats them up. This violence typically constitutes the “climax” of the show. Viewers, having been taught that bad guys deserve to be punished, take pleasure in watching this violence.

So, YES! I agreed to sleep over and babysit a mentally disturbed dog with a nasty habit of scooting his butt on the carpet when he thinks no one is looking. Which meant I’d mostly be eating, sleeping, watching TV, and playing video games for three whole days and actually getting PAID for it! SWEET!! I bet you’re probably thinking my grandma will just call my parents when I don’t show up at her house. Then my parents will call the police to report their darling child missing. Then I’ll be tracked down at my school and rescued all easy-peasy like!

Two of the most popular TV series in the world at the time of me writing this book, for example, are Game of Thrones and The Walking Dead. Both shows feature big piles of violence, grief, pain, and horror. There are also heroines and heroes striving epically against all odds to survive and help others to survive as well. These shows are terrifying and people love them.

If you really want to know," she said, "I wrote about Donald Trump." Tim's immediate sense of relief only lasted a second or two. "Donald Trump? Are you kidding me?" "He's cool," she said. "He's not cool, Abby. Trust me on this one." "Yah-huh," she insisted. "He's totally cool on The Apprentice." "I can't believe Donald Trump is your hero." "I didn't say he was my hero. I just said I admire him." "For what?" "Come on, Dad. Everybody admires him. He's got a skyscraper, a private jet, and his own TV show. He can do whatever he wants.

Hollywood insider Roger D. McGrath was a consultant on the TV series The Young Riders, produced by MGM television. The program was supposed to be about the youthful and daring white horsemen of the Pony Express who delivered mail on the American frontier. McGrath writes: "There were no black Pony Express riders; however...it was decided one of the principal characters would be black. He would be one of the riders. He was named Noah and he was just like the white riders except--he was perfect...He was God. "It was also decided that there should be some Mexicans in the show. A Spanish mission suddenly appeared in Wyoming...That the nearest Spanish mission was actually in the upper Rio Grande Valley, 600 miles south, did not seem to matter. Now we could have Mexican heroes... " I probably do not have to tell you that our Indians were always perfect... Only whites perpetrated atrocities... Story lines that had Indians chasing Pony Express riders were rejected out of hand, although there are several true stories of lone Pony Express riders being chased by dozens of Indians, suffering terrible wounds.

The Mike Douglas Show wasn’t the only place to find colored people on television. Each week, Jet magazine pointed out all the shows with colored people. My sisters and I became expert colored counters. We had it down to a science. Not only did we count how many colored people were on TV, we also counted the number of words the actors were given to say. For instance, it was easy to count the number of words the Negro engineer on Mission Impossible spoke as well as the black POW on Hogan’s Heroes. Sometimes the black POW didn’t have any words to say, so we scored him a “1” for being there. We counted how many times Lieutenant Uhuru hailed the frequency on Star Trek. We’d even take turns being her, although Big Ma would have never let us wear a minidress or space boots. But then there was I Spy. All three of us together couldn’t count every word Bill Cosby said. And then there was a new show, Julia, coming in September, starring Diahann Carroll. We agreed to shout out “Black Infinity!” when Julia came on because each episode would be all about her character. We didn’t just count the shows. We counted the commercials as well. We’d run into the TV room in time to catch the commercials with colored people using deodorant, shaving cream, and wash powder. There was a little colored girl on our favorite commercial who looked just like Fern. In fact, I said that little girl could have been Fern, which made Vonetta jealous. In the commercial, the little girl took a bite of buttered bread and said, “Gee, Ma. This is the best butter I ever ate.” Then we’d say it the way she did, in her dead, expressionless voice; and we’d outdo ourselves trying to say it with the right amount of deadness. We figured that that was how the commercial people told her to say it. Not too colored. Then we’d get silly and say it every kind of colored way we knew how.