Hook Movie Quotes

I want there to be a place in the world where people can engage in one another’s differences in a way that is redemptive, full of hope and possibility. Not this “In order to love you, I must make you something else”. That’s what domination is all about, that in order to be close to you, I must possess you, remake and recast you.

Changing how we see images is clearly one way to change the world.

Former police chief of Houston once said of me: “Frank Abagnale could write a check on toilet paper, drawn on the Confederate States Treasury, sign it ‘U.R. Hooked’ and cash it at any bank in town, using a Hong Kong driver’s license for identification.

..Critically intervene in a way that challenges and changes.

I don’t know if I’ve learned anything yet! I did learn how to have a happy home, but I consider myself fortunate in that regard because I could’ve rolled right by it. Everybody has a superficial side and a deep side, but this culture doesn’t place much value on depth — we don’t have shamans or soothsayers, and depth isn’t encouraged or understood. Surrounded by this shallow, glossy society we develop a shallow side, too, and we become attracted to fluff. That’s reflected in the fact that this culture sets up an addiction to romance based on insecurity — the uncertainty of whether or not you’re truly united with the object of your obsession is the rush people get hooked on. I’ve seen this pattern so much in myself and my friends and some people never get off that line. But along with developing my superficial side, I always nurtured a deeper longing, so even when I was falling into the trap of that other kind of love, I was hip to what I was doing. I recently read an article in Esquire magazine called ‘The End of Sex,’ that said something that struck me as very true. It said: “If you want endless repetition, see a lot of different people. If you want infinite variety, stay with one.” What happens when you date is you run all your best moves and tell all your best stories — and in a way, that routine is a method for falling in love with yourself over and over. You can’t do that with a longtime mate because he knows all that old material. With a long relationship, things die then are rekindled, and that shared process of rebirth deepens the love. It’s hard work, though, and a lot of people run at the first sign of trouble. You’re with this person, and suddenly you look like an asshole to them or they look like an asshole to you — it’s unpleasant, but if you can get through it you get closer and you learn a way of loving that’s different from the neurotic love enshrined in movies. It’s warmer and has more padding to it.

..think about the contradictions and complexities that beset people.

Like, in general I think people have very complicated reasons for wanting things, and we often have no idea whether we’re actually motivated by altruism or a desire to hook up or a search for answers or what. I always get annoyed when in books or movies characters want clear things for clear reasons, because my experience of humanness is that I always want messy things for messy reasons.

Shouldn't he at least be waiting to see if it works with you or not before he dates the next guy?" "It doesn't work like that." "I think it should," she told me. "This isn't a Disney movie," Michael told her. She smacked him hard. "I know all about how gay men hook up. My Aunt Susan has Queer As Folk on DVD.

Look. I see it. You can go to all the movies and watch all the television you want. I am the end of all time. I'm not hooked up to the machine. I don't care about being labelled a misogynist, misanthropic hate addict. I don't give a fuck if some human organism calls me politically incorrect. I like the idea of people getting killed in parking lots. I stab every person who passes me. In my mind, I stab them in the face with a fucking knife. If I thought I could get away with it, I would skin you alive. I only fear prison if I get caught killing one of you humans. I hate you all. I don't know anyone. I am the enemy of humans. I am that which spits in the face of humanity.

Understanding knowledge as an essential element of love is vital because we are bombarded daily with messages that tell us love is about mystery, about that which cannot be known. We see movies in which people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. Indeed, the message is received from the mass media is that knowledge makes love less compelling; that it is ignorance that gives love its erotic and transgressive edge. These messages are brought to us by profiteering producers who have no clue about the art of loving, who substitute their mystified visions because they do not really know how to genuinely portray loving interaction.

But when it gets dark, I’m off the hook. The day is officially rolled up and put away. I’m free to watch movies or stare at the wall, no longer holding myself accountable for what I might or might not have gotten done because the time for getting something done is over until tomorrow.

We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination.

They’ll continue to catch mine the way they are in this movie moment— like a latch hooking me, then locking us into place.

We see in movies, people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. [...] the message is [...] that ignorance gives love its erotic and transgressive edge. These messages are often brought to us by profiteering producers who have no clue about the art of loving. [...] They do not know how to genuinely portray loving interaction.

If movies and music are vehicles for emotionally “hooking” people into Hollywood worldviews, then the best countermeasure is to create more compelling, more beautiful forms of art that express a biblical worldview.

Also, we would accept donations in our name to Planned Parenthood, because the male Republicans who wish to dismantle it should have their testicles hooked up to a car battery. Maybe then they would understand what it feels like to be a woman in America.

Even though some individual scholars try to tell us there is no direct connection between images of violence and the violence confronting us in our lives, the commonsense truth remains- we are affected by the images we consume and by the states of mind we are in when watching them. If consumers want to be entertained, and the images shown us as entertaining are images of violent dehumanization, it makes sense that these acts become more acceptable in our daily lives and that we become less likely to respond to them with moral outrage or concern. Were we all seeing more images of loving human interaction, it would undoubtedly have a positive impact on our lives.

One day about a month ago, I really hit bottom. You know, I just felt that in a Godless universe, I didn't want to go on living. Now I happen to own this rifle, which I loaded, believe it or not, and pressed it to my forehead. And I remember thinking, at the time, I'm gonna kill myself. Then I thought, what if I'm wrong? What if there is a God? I mean, after all, nobody really knows that. But then I thought, no, you know, maybe is not good enough. I want certainty or nothing. And I remember very clearly, the clock was ticking, and I was sitting there frozen with the gun to my head, debating whether to shoot. [The gun fires accidentally, shattering a mirror] All of a sudden, the gun went off. I had been so tense my finger had squeezed the trigger inadvertently. But I was perspiring so much the gun had slid off my forehead and missed me. And suddenly neighbors were, were pounding on the door, and, and I don't know, the whole scene was just pandemonium. And, uh, you know, I-I-I ran to the door, I-I didn't know what to say. You know, I was-I was embarrassed and confused and my-my-my mind was r-r-racing a mile a minute. And I-I just knew one thing. I-I-I had to get out of that house, I had to just get out in the fresh air and-and clear my head. And I remember very clearly, I walked the streets. I walked and I walked. I-I didn't know what was going through my mind. It all seemed so violent and un-unreal to me. And I wandered for a long time on the Upper West Side, you know, and-and it must have been hours. You know, my-my feet hurt, my head was-was pounding, and-and I had to sit down. I went into a movie house. I-I didn't know what was playing or anything. I just, I just needed a moment to gather my thoughts and, and be logical and put the world back into rational perspective. And I went upstairs to the balcony, and I sat down, and, you know, the movie was a-a-a film that I'd seen many times in my life since I was a kid, and-and I always, uh, loved it. And, you know, I'm-I'm watching these people up on the screen and I started getting hooked on the film, you know. And I started to feel, how can you even think of killing yourself. I mean isn't it so stupid? I mean, l-look at all the people up there on the screen. You know, they're real funny, and-and what if the worst is true. What if there's no God, and you only go around once and that's it. Well, you know, don't you want to be part of the experience? You know, what the hell, it's-it's not all a drag. And I'm thinkin' to myself, geez, I should stop ruining my life - searching for answers I'm never gonna get, and just enjoy it while it lasts. And, you know, after, who knows? I mean, you know, maybe there is something. Nobody really knows. I know, I know maybe is a very slim reed to hang your whole life on, but that's the best we have. And then, I started to sit back, and I actually began to enjoy myself.

Do you believe in love at first sight, or shall we hook up again?

The main-character moment?” “Yeah. You know, when you’ve got the perfect mood going, soundtrack to match. And you’re on a rainy road, feeling dramatic. You’re the star of your own movie. You’re Rocky training for the fight. Or Baby learning how to merengue in Dirty Dancing. Or you’re just crying over a lost love.” She turned slightly in the seat. “Everyone does it!

I’m going to bet on someone’s wife hooking up with the guy next door,’ I said. The villainous nuns would have made better TV-movie fodder, but they sounded like a pretty big stretch to me. ‘Just playing the odds.

Hi, Jared,” she said, leaning out of the window. “Are you brooding?” He was leaning back on the roof, looking up at the sky, at the gray clouds spiraling as if to make steps to climb up to the silver hook that was the moon. His hands were linked behind his head, his body one long lean line. “No, I was about to strip off all my clothes, stand on the edge of the roof, and shout, ‘I’m a golden god,’ ” Jared said. “That’s the cool thing to do at parties; I saw it in a movie. Except I’m afraid that in this town, considering I’m a Lynburn and the worst family trait we have besides the constant murdering is our crushing arrogance, people would take it seriously.” He paused. “Just kidding, I was brooding. Brooding’s my favorite.

I scurry out to the three-way mirror. With an extra-large sweatshirt over the top, you can hardly tell that they are Effert’s jeans. Still no Mom. I adjust the mirror so I can see reflections of reflections, miles and miles of me and my new jeans. I hook my hair behind my ears. I should have washed it. My face is dirty. I lean into the mirror. Eyes after eyes after eyes stare back at me. Am I in there somewhere? A thousand eyes blink. No makeup. Dark circles. I pull the side flaps of the mirror in closer, folding myself into the looking glass and blocking out the rest of the store.   My face becomes a Picasso sketch, my body slicing into dissecting cubes. I saw a movie once where a woman was burned over eighty percent of her body and they had to wash all the dead skin off. They wrapped her in bandages, kept her drugged, and waited for skin grafts. They actually sewed her into a new skin.

Until black people, and our allies in love and struggle, become militant about how we are represented on television, in movies, and in books, we will not see imaginative work that offers images of black characters who love. If love is not present in our imaginations, it will not be there in our lives.

While gently pushing her towards the dressing room, Lazarus ventured, "Can I ask you something kind of personal?" Pulling her shirt over her head behind the curtain, and holding her hand out for the corset, she replied, "Anything for you, Laz." "How are you still friends with him?" "Can you hook this thing?" Holding the corset on her stomach, Lazarus peeked through the curtain, fingers deftly snapping the twenty hook-and-eye latches. "He saved my life. There are a million reasons to hate him, but there are a million and one reasons to forgive him for his faults." Twisting to look in the mirror, adjusting her breasts in the tight silk, she continued, "He'll say the worst thing at the worst possible time, except every once in awhile, he says the one most perfect thing that just makes you want to cry from happiness. He knows the exact way you need to be touched at any moment, in any mood, like he's fucking telepathic. He'll make you want to scream when he ignores you, but then you find out he knows your favorite color, your favorite meal, what movie makes you cry and he can list every little thing in the entire world that you hate. And mostly? Well," Turning to face Lazarus and strike a pose, "I just can't fucking stop.

I was supposed to earn my doctorate, become a literature professor, settle down with a nice, normal husband and raise a nice, normal family. But someone somewhere absolutely obliterated the beetle that was supposed to keep the space-time continuum in check. Now I’m living in this strange butterfly-effect alternate universe where I write dirty books and hook up with movie stars.

Funny thing about life, it’s so easy to view it from the outside in. We can see the exact point where our friends fuck up, do the wrong thing, are blind to what’s right in front of them. As in, why the fuck won’t they just listen to us and take our advice instead of bumbling all over the place? We watch horror movies and know when to shout at the dumb girl who goes in the basement to investigate that noise; we revel in her stupidity, feel superior to it. If it were us, we assure ourselves, we wouldn’t be so stupid. Sure we would; we just wouldn’t realize the danger. Because the truth is, we’re walking deaf, dumb, and blind half of the time. And even though I can tell myself this afterward, after I fuck up, it doesn’t make me feel any better. Because I’m about to do a fuck up royale. With cheese.

In American Beauty Lester suffers alone. His critical investigation of his feelings takes place in his head. And he cannot survive being so utterly vulnerable and isolated. Ultimately, movies send the message to male audiences that men will not be meaningfully empowered if they learn to love. American Beauty finally tells audiences that there is no hope for depressed men who are willing to critically reflect on their lives. It tells us that even when men are willing to change, there is no place for them in patriarchal culture. The opening lines of the film say it all: “My name is Lester Burnham. I am forty-two. In less than a year I’ll be dead. Of course, I don’t know that yet. And anyway, I’m dead already.” Popular culture offers us few or no redemptive images of men who start out emotionally dead.

Allusions to Golding’s book can be found in movies (Hook with Robin Williams), television (a stand-up comedy bit in Seinfeld, “The Library,” season 3, episode 5), the novels of Stephen King, and contemporary music. Three of the most powerful and relevant songs that reference the novel include U2’s “Shadows and Tall Trees,” Iron Maiden’s “Lord of the Flies,” and The Offspring’s “You’re Gonna Go Far, Kid.

You can get hooked on afterlife ideas just like a drug. The reason to avoid ideas about life after death isn't because they couldn't possibly be true. Maybe they could. How would I know? It's because ideas like that promote a kind of dreamy fantasy state that distracts us from seeing what our life is right now. "The question doesn't fit the case." Look at your life as it is right now and live it, right now.

She cracked open a Diet Mountain Dew. We watched the movie in silence. In the middle, I fell back asleep. • • • OCTOBER WAS PLACID. The radiator hissed and sputtered, releasing a sharp vinegary smell that reminded me of my dead parents’ basement, so I rarely turned on the heat. I didn’t mind the cold. My visit to Dr. Tuttle that month was relatively unremarkable. “How is everything at home?” she asked. “Good? Bad? Other?” “Other,” I said. “Do you have a family history of nonbinary paradigms?” When I explained for the third time that both my parents had died, that my mother had killed herself, Dr. Tuttle unscrewed the cap of her value-size bottle of Afrin, twirled around in her chair, tilted her head back so that she was looking at me upside down, and started sniffing. “I’m listening,” she said. “It’s allergies, and now I’m hooked on this nasal spray. Please continue. Your parents are dead, and . . . ?” “And nothing. It’s fine. But I’m still not sleeping well.

Another time, I was at the bar getting a drink and this geezer is stood at the bar with a ciggie in his mouth, trying his best to look rock hard. He takes a drag and points his finger in my face and drawls, ‘Don't I know you?’ He was looking snake-eyed at me like a typical big screen gangster. I stood in front of him and drawled back, ‘I don’t know, but they call me Richy Horsley,’ and then bang, I batter him with a left hook that landed with a strange dull thud. Mr Movie Gangster was stood there leaning against the bar and staring out in to space, knocked out standing up.

Now you know that all the acting you did your whole life was really for nothing because nobody perceives you the way you want to be perceived. You can see that all the drama that happens in your movie isn’t really noticed by anybody around you. It’s obvious that everybody’s attention is focused on their own movie. They don’t even notice when you’re sitting right beside them in their theater! The actors have all their attention on their story, and that is the only reality they live in. Their attention is so hooked by their own creation that they don’t even notice their own presence—the one who is observing their movie.

As it baked, the blessed casserole smelled just like it did when I was a child, which was likely the last time I’d eaten it. I marveled that the scent of a specific dish could remain in one’s consciousness for over two decades. Except for the dark brown hair and the crumbling marriage, I’d officially become my mother. Marlboro Man, happy to have something warm to eat, declared it the best thing he’d ever eaten. I looked at the mess in the kitchen and felt like moving. Marlboro Man and I watched movies that night. Our TV satellite hadn’t been hooked up yet, so he’d transported his movie collection and VCR from his old house. And I didn’t have to get up and drive home when they were over, because I already was home.

From age thirteen, American girls were under pressure to maintain a façade of sexual experience and sophistication. Among girls, “virgin” was a term of contempt. The old term “dating”—referring to a practice in which a boy asked a girl out for the evening and took her to the movies or dinner—was now deader than “proletariat” or “pornography” or “perversion.” In junior high school, high school, and college, girls headed out in packs in the evening, and boys headed out in packs, hoping to meet each other fortuitously. If they met and some girl liked the looks of some boy, she would give him the nod, or he would give her the nod, and the two of them would retire to a halfway-private room and “hook up.” “Hooking up” was a term known in the year 2000 to almost every American child over the age of nine, but to only a relatively small percentage of their parents, who, even if they heard it, thought it was being used in the old sense of “meeting” someone. Among the children, hooking up was always a sexual experience, but the nature and extent of what they did could vary widely.

That movie you made me watch, first time at your house. Love and redemption. You said, ‘The most beautiful stories ever told are the most difficult to take.’You said that, Red. Right out. And I knew if you got that, when it was later and I shared my shit with you, you’d get me. I never thought my story was beautiful. I thought it was shit. But you said that and when you did, I saw it. The ride is not over but if I can keep my Club together and find a sweet, feisty woman who’s got my back and enough to her that she’ll stay there, holding me up not dragging me down, I figure I’d find my way to beauty eventually. And I’d find absolution because I’d know, I earned the love of that woman, a woman who’s got so much to her it’ll take years to dig down and find the heart of her, that would be my reward.”Ohmigod. Ohmigod! Ohmigod! Did he just say that? Did. He. Just. Say that? “And you told me,”Tack continued, his face coming closer, “I had that when I first met you.”“I—”“So I was hooked to that shit, I did it, I participated in it, I was loyal to my brothers as I’d vowed I’d be and I pulled me and my Club out of it. I did that but that didn’t erase what we did. You are my absolution.

The same song was playing the second I met my ex–best friend and the moment I realized I’d lost her. I met my best friend at a neighborhood cookout the year we would both turn twelve. It was one of those hot Brooklyn afternoons that always made me feel like I'd stepped out of my life and onto a movie set because the hydrants were open, splashing water all over the hot asphalt. There wasn't a cloud in the flawless blue sky. And pretty black and brown people were everywhere. I was crying. ‘What a Wonderful World’ was playing through a speaker someone had brought with them to the park, and it reminded me too much of my Granny Georgina. I was cupping the last snow globe she’d ever given me in my small, sweaty hands and despite the heat, I couldn’t help imagining myself inside the tiny, perfect, snow-filled world. I was telling myself a story about what it might be like to live in London, a place that was unimaginably far and sitting in the palm of my hands all at once. But it wasn't working. When Gigi had told me stories, they'd felt like miracles. But she was gone and I didn't know if I'd ever be okay again. I heard a small voice behind me, asking if I was okay. I had noticed a girl watching me, but it took her a long time to come over, and even longer to say anything. She asked the question quietly. I had never met anyone who…spoke the way that she did, and I thought that her speech might have been why she waited so long to speak to me. While I expected her to say ‘What’s wrong?’—a question I didn’t want to have to answer—she asked ‘What are you doing?’ instead, and I was glad. “I was kind of a weird kid, so when I answered, I said ‘Spinning stories,’ calling it what Gigi had always called it when I got lost in my own head, but my voice cracked on the phrase and another tear slipped down my cheek. To this day I don’t know why I picked that moment to be so honest. Usually when kids I didn't know came up to me, I clamped my mouth shut like the heavy cover of an old book falling closed. Because time and taught me that kids weren't kind to girls like me: Girls who were dreamy and moony-eyed and a little too nice. Girls who wore rose-tonted glasses. And actual, really thick glasses. Girls who thought the world was beautiful, and who read too many books, and who never saw cruelty coming. But something about this girl felt safe. Something about the way she was smiling as she stuttered out the question helped me know I needn't bother with being shy, because she was being so brave. I thought that maybe kids weren't nice to girls like her either. The cookout was crowded, and none of the other kids were talking to me because, like I said, I was the neighborhood weirdo. I carried around snow globesbecause I was in love with every place I’d never been. I often recited Shakespeare from memory because of my dad, who is a librarian. I lost myself in books because they were friends who never letme down, and I didn’t hide enough of myself the way everyone else did, so people didn’t ‘get’ me. I was lonely a lot. Unless I was with my Gigi. The girl, she asked me if it was making me feel better, spinning the stories. And I shook my head. Before I could say what I was thinking—a line from Hamlet about sorrow coming in battalions that would have surely killed any potential I had of making friends with her. The girl tossed her wavy black hair over her shoulder and grinned. She closed her eyes and said 'Music helps me. And I love this song.' When she started singing, her voice was so unexpected—so bright and clear—that I stopped crying and stared at her. She told me her name and hooked her arm through mine like we’d known each other forever, and when the next song started, she pulled me up and we spun in a slow circle together until we were both dizzy and giggling.

Who’s the guy?” “What guy?” “The guy you’re dating.” That’s when I see him. Peter Kavinsky, walking down the hallway. Like magic. Beautiful, dark-haired Peter. He deserves background music, he looks so good. “Peter. Kavinsky. Peter Kavinsky!” The bell rings, and I sail past Josh. “I’ve gotta go! Talk later, Josh!” “Wait!” he calls out. I run up to Peter and launch myself into his arms like a shot out of a cannon. I’ve got my arms around his neck and my legs hooked around his waist, and I don’t even know how my body knows how, because I’ve for sure never touched a boy like this in my life. It’s like we’re in a movie and the music is swelling and waves are crashing around us. Except for the fact that Peter’s expression is registering pure shock and disbelief and maybe a drop of amusement, because Peter likes to be amused. Raising his eyebrows, he says, “Lara Jean? What the--?” I don’t answer. I just kiss him. My first thought is: I have muscle memory of his lips. My second thought is: I hope Josh is watching. He has to be watching or it’s all for nothing. My heart is beating so fast I forget to be afraid of doing it wrong. Because for about three seconds, he’s kissing me back. Peter Kavinsky, the boy of every girl’s dreams, is kissing me back. I haven’t kissed that many boys before. Peter Kavinsky, John Ambrose McClaren, Allie Feldman’s cousin with the weird eye, and now Peter again. I open my eyes and Peter’s staring at me with that same expression on his face. Very sincerely I say, “Thank you.” He replies, “You’re welcome,” and I hop out of his arms and sprint off in the opposite direction.

I adjust the mirror so I can see reflections or reflections, miles and miles of me and my new jeans. I hook my hair behind my ears. I should have washed it. My face is dirty. I lean into the mirror. Eyes after eyes after eyes stare back at me. Am I in there somewhere? A thousand eyes blink. No makeup. Dark circles. I pull the side flaps of the mirror in closer, folding myself into the looking glass and blocking out the rest of the store. My face becomes a Picasso sketch, my body slicing into dissecting cubes. I saw a movie once where a woman was burned over eighty percent of her body and they had to wash all the dead skin off. They wrapped her in bandages, kept her drugged, and waited for skin grafts. They actually sewed her into a new skin. I push my ragged mouth against the mirror. A thousand bleeding, crusted lips push back. What does it feel like to walk in a new skin? Was she completely sensitive like a baby, or numb, without any nerve endings, just walking in a skin bag? I exhale and my mouth disappears in a fog. I feel like my skin has been burned off. I stumble from thornbush to thornbush - my mother and father who hate each other, Rachel who hates me, a school that gags on my like I'm a hairball. And Heather. I just need to hang on long enough for my new skin to graft. Mr. Freeman thinks I need to find my feelings. How can I not find them? They are chewing me alive like an infestation of thoughts, shame, mistakes. I squeeze my eyes shut. Jeans that fit, that's a good start. I have to stay away from the closet, go to all my classes. I will make myself normal. Forget the rest of it.

The world recoiled in horror in 2012 when 20 Connecticut schoolchildren and six adults were killed at Sandy Hook Elementary School. . . . The weapon was a Bushmaster AR-15 semiautomatic rifle adapted from its original role as a battlefield weapon. The AR-15, which is designed to inflict maximum casualties with rapid bursts, should never have been available for purchase by civilians (emphasis added).1 —New York Times editorial, March 4, 2016 Assault weapons were banned for 10 years until Congress, in bipartisan obeisance to the gun lobby, let the law lapse in 2004. As a result, gun manufacturers have been allowed to sell all manner of war weaponry to civilians, including the super destructive .50-caliber sniper rifle. . . .(emphasis added)2 —New York Times editorial, December 11, 2015 [James Holmes the Aurora, Colorado Batman Movie Theater Shooter] also bought bulletproof vests and other tactical gear” (emphasis added).3 —New York Times, July 22, 2012 It is hard to debate guns if you don’t know much about the subject. But it is probably not too surprising that gun control advocates who live in New York City know very little about guns. Semi-automatic guns don’t fire “rapid bursts” of bullets. The New York Times might be fearful of .50-caliber sniper rifles, but these bolt-action .50-caliber rifles were never covered by the federal assault weapons ban. “Urban assault vests” may sound like they are bulletproof, but they are made of nylon. These are just a few of the many errors that the New York Times made.4 If it really believes that it has a strong case, it wouldn’t feel the need to constantly hype its claims. What distinguishes the New York Times is that it doesn’t bother running corrections for these errors.

What if—” I stopped, swallowing hard. Nope. I couldn’t even say it aloud. We’d figure something else out because we had to. Time for a subject change before I lost it. “What did your mom say?” “Mostly that she thinks my hair is getting too long and I should cut it.” “That’s not helpful.” “That’s my mom for you.” He was trying for humor but his voice caught, and I wondered if he was thinking about how if she left and he didn’t, he’d never ever see her again. “So,” I said, sitting on the floor against the wall as close to the kitchen doorway as I could get without Lend dropping like a rock, “do you want your Christmas present?” “You got me something?” He sounded surprised. “I’ve been working on it for a while.” “I, uh, didn’t find you anything yet. I was actually setting up for your party, not Christmas shopping like I said.” “Being kidnapped by the Dark Queen and then cursed gets you off the hook for a lot. Besides, my birthday party totally counted.” “This isn’t how I wanted our first Christmas to go. We were going to go all out, pick out a Christmas tree on Christmas Eve, decorate it, watch cheesy holiday movies, drink hot chocolate, let my dad make his eggnog and then complain about how disgusting it was, then I was going to deck out my entire room in mistletoe . . .” “Wait, you mean you didn’t plan for us to be stuck in different rooms for the holidays?” “Well, that part’s kind of nice.” I heard his head bang against the wall where he was sitting right on the other side of it from me. “I mean, who wants to actually be able to touch their super hot girlfriend? Overrated.” “I know, right?” I tried to laugh, but it came out choked. I swallowed, forcing my one to come out light. “And I totally dig watching people sleep. It’s so sexy.

The only thing I knew about pickups was this: growing up, I always inwardly mocked the couples I saw who drove around in them. The girl would be sitting in the middle seat right next to the boy, and the boy’s right arm would be around her shoulders, and his left arm would be on the wheel. I’m not sure why, but there was something about my golf course upbringing that had always caused me to recoil at this sight. Why is she sitting in the middle seat? I’d wonder. Why is it important that they press against each other as they drive down the road? Can’t they wait until they get home? I looked at it as a sign of weakness--something pitiable. They need to get a life may have even crossed my mind once or twice, as if their specific brand of public affection was somehow directly harming me. But that’s what happens to people who, by virtue of the geography of their childhood, are deprived of the opportunity to ride in pickup trucks. They become really, really judgmental about otherwise benign things. Still, every now and then, as Marlboro Man showed me the beauty of the country in his white Ford F250, I couldn’t help but wonder…had he been one of those boys in high school? I knew he’d had a serious girlfriend back in his teenage years. Julie. A beautiful girl and the love of his adolescent life, in the same way Kev had been mine. And I wondered: had Julie scooched over to the middle seat when Marlboro Man picked her up every Friday night? Had he hooked his right arm around her neck, and had she then reached her left hand up and clasped his right hand with hers? Had they then dragged Main in this position? Our hometowns had been only forty miles apart; maybe he’d brought her to my city to see a movie. Was it remotely possible I’d actually seen Marlboro Man and Julie riding around in his pickup, sitting side by side? Was it possible this man, this beautiful, miraculous, perfect man who’d dropped so magically into my life, had actually been one of the innocent recipients of my intolerant, shallow pickup-related condemnation? And if he had done it, was it something he’d merely grown out of? How come I wasn’t riding around in his middle seat? Was I supposed to initiate this? Was this expected of me? Because I probably should know early on. But wouldn’t he have gestured in that direction if he’d wanted me to move over and sit next to him? Maybe, just maybe, he’d liked those girls better than he liked me. Maybe they’d had a closeness that warranted their riding side by side in a pickup, a closeness that he and I just don’t share? Please don’t let that be the reason. I don’t like that reason. I had to ask him. I had to know.

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.

Along with John and Judi, we took a big risk and started filming on the movie before we had a contract signed with MGM. There didn’t seem to be any choice. I imagined all the insurance underwriters across the world reacting to the phrase “live crocodiles.” Those two words would be enough to blow them right out of their cubicles. So we began shooting with our zoo crocodiles, but without signatures on the dotted line for the movie. A particular scene in the script--and a good example of an insurance man’s nightmare--had a crocodile trying to lunge into a boat. Only Steve’s expertise could make this happen, since the action called for Steve and me to be in the boat at the time. If the lunging crocodile happened to hook his head over the edge of the boat, he would tip us both into the water. That would be a one-way trip. “How are you going to work it?” I asked Steve. “Get the crocs accustomed to the dinghy first,” he said. “Then I’ll see if I can get them interacting with me while I’m in the boat.” First he tried Agro, one of our biggest male crocs. Agro was too wary of the boat. He’s a smart crocodile. I think he remembered back when he was captured. He didn’t want any of it. We decided to try with our friend Charlie. Charlie had been very close to ending up at a farm, his skin turned into boots, bags, and belts. He definitely had attitude. He spent a lot of his time trying to kill everything within range. Steve felt good about the possibility of Charlie having a go. Because he was filming a movie and not shooting a documentary, John had a more complex setup than usual, utilizing three thirty-five-millimeter cameras. Each one would film in staggered succession, so that the film magazine changes would never happen all at once. There would never be a time when film was not rolling. We couldn’t very well ask a crocodile to wait while a fresh mag was loaded into a camera. “You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe.

Great Sardaar" An ornamental piece of work by the Punjabi industry. Produced by Amritjit Singh Sran and Directed by Ranjeet Bal under the production house Apna Heritage &Sapphire Films presents to you "Great Sardaar" an Action/Drama film starring none other than the budding artist Dilpreet Dhillon and the multi talented Yograj Singh. This movie is an Action/Drama film in which the protagonist ends up with a series of challenges. The movie stars Dilpreet Dhillon as the lead along with Yograj singh who plays the role of (Dilpreet Dhillon) Gurjant's father. After watching the trailer one can surely say there's tasty substance beneath the froth, just enough to keep you hooked. "GREAT SRADAAR" is based on the true events about Major Shaitan Singh, who was awarded the Param Vir Chakra posthumously for his 'C' company's dig-in at Rezang La pass during the Sino-India conflict of 1962. This motivational movie is a Tribute to Sikkhism. It's really healing to see movies that are based on true events. It builds so much more compassion. Dilpreet Dhillon popularly known for his role in "once upon a time in Amritsar" has gained a great fan following. He is considered is one of the popular emerging male playback singer and actor in Punjabi music industry. And when it comes to Yograj Singh, he is not only a former Indian cricketer but also a boon to the Punjabi industry. Since the release of the official trailer on 7th of June,2017 which shows that the movie is action-packed and will leave the audience spellbound and wanting for more, the audience is eagerly waiting for the release of the movie.The trailer rolls by effortlessly and the Director has done an impeccable job. Ranjeet Bal evidently knew what he was doing and has ensured that every minute detail was taken care of particularly considering the genre he was treading. The audience will surely be sitting on the edge of their seats. Visual Effects Director- VFx Star has once again proved that there is nothing that will leave India from evolving in the field of technology. "Great Sardaar" which is set to be released on the 30th of June,2017 will be a very carefully structured story. The main question that will be raised is not what kind of world we live in, or what reality is like, rather what it has done to us.

We see movies in which people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. Indeed, the message received from the mass media is that knowledge makes love less compelling; that it is ignorance that gives love its erotic and transgressive edge. These messages are often brought to us by profiteering producers who have no clue about the art of loving, who substitute their mystified visions because they do not really know how to genuinely portray loving interaction…

My favorites (movies)? Pacific Rim, Princess Bride, and Hook. In that order. Editor's Note: Actually a totally respectable list! Then again, it is inconceivable that anyone wouldn't like Princess Bride.

Those women, her age and a little older, who’d all gone crazy or who were hooking in the Polo Lounge or who were married to real old movie stars and had to look old too, to match. Those occasional men of genius who, like one friend of hers, could cast the right person for the right part and never miss—never.

You know that place between sleep and awake? That place where you still remember dreaming? That's where I'll always love you ... Peter Pan. That's where I'll be waiting." Tink from Hook

Honesty and openness is always the foundation of insightful dialogue. Most of us have not been raised in homes where we have seen two deeply loving grown folks talking together. We do not see this on television or at the movies. And how can any of us communicate with men who have been told all their lives that they should not express what they feel. Men who want to love and do not know how must first come to voice, must learn to let their hearts speak—and then to speak truth. Choosing to be fully honest, to reveal ourselves, is risky. The experience of true love gives us the courage to risk.

Anyhow, I drove like my daddy was chasing me, which he did a few times when I was a teenager and I snuck out of the house, and made it to the airport. I stowed away on a plane, which looks a lot more fun in the movies by the way, and made it back home. Most guys would have stopped at that point but Dmitri, being stubborn, called a few times spouting off, so I had my number changed.” “But?” “But, he got my family’s number and started calling them. Which was fine. My aunts and stuff blocked him, but thing is, he showed up on my parents’ doorstep while I was out shopping. My parents are vacationing in Mexico, and so Aunt Cecily had to deal with him.” “They scared her.” She laughed. “Scare my Aunt Cecily? Not in this lifetime. She wields a mean right hook. Daddy’s sister is the one who taught me to fight dirty.” “Something had to have happened to get you banished.” “Well, she was kind of worried about me, on account of me being delicate and stuff.” He couldn’t help but snort. “Yeah, that was my reaction too, but that’s what I get for being the youngest in the family. Teena beat me into the world by like ten seconds. Anyhow, Aunt Cecily would have kept me around, except the goons trampled Mama’s flower garden during one of their kidnapping attempts.” “You got banished over flowers?” “No, I got banished before the goons did any more damage to Mama’s stuff. When my mother cries, Daddy gets a little upset, and when Daddy gets upset, things happen. Dealing with the disposal of bodies is always a pain, and law enforcement really frowns upon murder. And Daddy’s been trying so hard to stay out of jail. Anyhow, for the good of the family, it was strongly suggested I take an extended vacation in the hopes my absence would see Dmitri call off his paid thugs and give up on the whole marriage business.” “Except he realized you took off and followed you here.” A frown creased her brow. “Yeah, which is weird because I was certain I didn’t have a tail.” “Well, you’re going to have one now, twenty-four-seven, until I locate this Dmitri fellow and tell him to get the hell out of pride territory.” -Meena & Leo

Sweetheart, when you go out looking like a bloody movie star, the kind that young boys put on their walls and wank off to inside of a sock, you’re going to be hooking up. You may not know it yet but,” he waves at me with his fingers, “you’re giving the fuck me vibe.

Even so, in life the key word is intuit; movies have the raw power to convey thoughts visually, through action; plays, via dialogue. While all three can be incredibly compelling (especially life), ultimately, they still leave us guessing. In prose, those thoughts, clearly stated, are where the story lives and breathes, because they directly reveal how the protagonist is affected by—and how she interprets the meaning of—what happens to her. That

Hi, Jared,” she said, leaning out of the window. “Are you brooding?” He was leaning back on the roof, looking up at the sky, at the gray clouds spiraling as if to make steps to climb up to the silver hook that was the moon. His hands were linked behind his head, his body one long lean line. “No, I was about to strip off all my clothes, stand on the edge of the roof, and shout, ‘I’m a golden god,’ ” Jared said. “That’s the cool thing to do at parties; I saw it in a movie. Except I’m afraid that in this town, considering I’m a Lynburn and the worst family trait we have besides the constant murdering is our crushing arrogance, people would take it seriously.” He paused. “Just kidding, I was brooding. Brooding’s my favorite.” “I know the ambiance isn’t as good as a starry night overlooking your shadowed town, but might you consider coming down and brooding on a bar stool?

Iris is my opposite in all ways small. She loves reality TV, finds movies too long, and only reads when it’s for an assignment. Her idea of fun involves a credit card and an open mall, and she has harbored a massive crush on Justin Bieber, despite all his WTFuckery, since her junior year of high school. Her continuing love of The Bieb is evident by the fact that her favorite nightshirt is a My World concert tee. And while the image of his face plastered over her boobs is more than creepy, I hate that she hides the shirt whenever Henry comes around. Or rather, I hate that Henry makes her feel like she should to hide it for fear he’ll make fun of her.

Nowadays we go to a movie and must watch commercials first. The relaxed, receptive state of surrender we like to reserve for the [...] film [...] is now given over to advertising where our senses and our sensibilities are assaulted against our will

Machine guns, missile launchers, grappling hooks and cables—what more could a girl want?

Awesomely, our nation, like no other in the world, is a culture driven by the quest to love (it's the theme of our movies, music, literature) even as it offers so little opportunity for us to understand love's meaning or to know how to realize love in word and deed. ... Schools for love do not exist. Everyone assumes that we will know how to love instinctively.

He makes a noise I can’t interpret but that vaguely reminds me of a movie I watched recently with a cranky billionaire hero who catches a strange woman waxing her beaver in one of his many mansions.

Relative to other Harry Potter people, I’m in it medium. As it is for, I assume, plenty of other adults with emotional problems, Harry Potter is a reliable security blanket for me—during challenging periods in my life, listening to the (Jim Dale) audiobooks has been the only thing that gets me to sleep. It’s low-stakes and goofy, but also high-stakes and I care about the characters, plus there’s magic. Those are all of my needs. However, the best thing about Harry Potter, the thing that keeps me hooked year after year, is that the internal logic barely hangs together. None of it makes any sense! The best thing about Harry Potter is that I hate it!!!

Note how you feel when relaxed. The part of your subconscious that you notice — that is consciousness. There is nothing remarkable about that. You don't have to find it. You really don't need to do it. There is always sensitivity in here. Settle in for a few minutes; just continue with your breathing. Trust that there will be a natural rhythm in your breath. That there's always sensitivity here. Breathing back, thinking you're there. Breathing out and realizing that you are breathing well. If your mind gets busy, don’t worry, that’s what it’s designed to do.  Say "in" as you breathe in, quietly say "out" as you breathe out, to keep your attention steady. Thoughts, pictures, and emotions will come and go. The goal is to consider them without having to think about them. Don’t make an effort to stop them. Don't try and get them to go. Don't try to change them; they are going to change themselves. No need to talk about them now. There is plenty of time for this to be done later. There's no need to add anything to the picture. Just stick with it, sense them when sounds appear, feel them as feelings come up, when ideas and memories come to mind, remember them. And we sit down and know we're there. Watch what’s happening in your mind and body the way you’d watch a movie or a TV show.  The storyline is going to twist and transform, plot threads are going to pass, and something different is going to emerge. You don't have to look for this series, just settle down, relax and it's going to come to you. Remember how those feelings and perceptions and pictures don't have much heaviness, like the story in a movie they don't have any real substance. Nothing to dive into or hook on, nothing to shut down, push away, or alter. You don’t need to do anything at all.  Let go, calm down, ease your mind, smile a little, look down and know you're sitting down. Take a moment before we close and consider the ever-changing, constantly connected network of causes and conditions that contribute to this and every single moment. If someone who has been supportive comes to mind, say thanks in silence.

Confronted with a seemingly unmanageable emotional universe, some people embraced a new Protestant work ethic, convinced that a successful life would be measured by how much money one made and the goods one could buy with this money. The good life was no longer to be found in community and connection, it was to be found in accumulation and the fulfillment of hedonistic, materialistic desire. In keeping with this shift in values from a people-oriented to a thing-oriented society, the rich and famous, particularly movie stars and singers, began to be seen as the only relevant cultural icons.

I suffered through that live-action Cats movie last night trying to score points with the wife. One fart–one–and I lost all my progress.' Fox bit back a smile. "No luck, huh?' 'Had to sleep on the couch,' grumbled the deckhand. 'Don’t take it so hard, man.' Fox shivered, despite the heat. 'That movie could dry up the Pacific.' 'I don't know, there's just something about Judi Dench…' Sanders mused.

We see movies in which people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. Indeed, the message received from the mass media is that knowledge makes love less compelling; that it is ignorance that gives love its erotic and transgressive edge. These messages are often brought to us by profiteering producers who have no clue about the art of loving, who substitute their mystified visions because they do not really know how to genuinely portray loving interaction.

The number one thing a good logline must have, the single most important element, is: irony. My good friend and former writing partner, the funny and fast-typing Colby Carr, pointed this out to me one time and he’s 100% correct. And that goes for whether it’s a comedy or a drama. A cop comes to L.A. to visit his estranged wife and her office building is taken over by terrorists – Die Hard A businessman falls in love with a hooker he hires to be his date for the weekend – Pretty Woman I don’t know about you, but I think both of these loglines, one from a drama, one from a romantic comedy, fairly reek of irony. And irony gets my attention. It’s what we who struggle with loglines like to call the hook, because that’s what it does. It hooks your interest. What is intriguing about each of the spec sales I’ve cited above is that they, too, have that same ironic touch. A holiday season of supposed family joy is turned on its cynical head in the 4 Christmases example. What could be more unexpected (another way to say “ironic”) for a new employee, instead of being welcomed to a company, to be faced with a threat on his life during The Retreat? What Colby identified is the fact that a good logline must be emotionally intriguing, like an itch you have to scratch. A logline is like the cover of a book; a good one makes you want to open it, right now, to find out what’s inside. In identifying the ironic elements of your story and putting them into a logline, you may discover that you don’t have that. Well, if you don’t, then there may not only be something wrong with your logline — maybe your story’s off, too. And maybe it’s time to go back and rethink it. Insisting on irony in your logline is a good place to find out what’s missing. Maybe you don’t have a good movie yet.

the BBC were obliged to play short extracts of the song through gritted teeth. It’s a shame they weren’t paying more attention to Jimmy Savile instead of writhing on the hook of a tongue-in-cheek horror-movie soundtrack.

Silence replaces conversation. Turning away replaces turning towards. Dismissiveness replaces receptivity. And contempt replaces respect. Emotional withholding is, I believe, the toughest tactic to deal with when trying to create and maintain a healthy relationship, because it plays on our deepest fears—rejection, unworthiness, shame and guilt, the worry that we’ve done something wrong or failed or worse, that there’s something wrong with us. ♦◊♦ But Sara’s description is more accurate and compelling than mine. Her line, “quietly sucks out your integrity and self-respect” is still stuck in my head three days later. It makes me think of those films where an alien creature hooks up a human to some ghastly, contorted machine and drains him of his life force drop by drop, or those horrible “can’t watch” scenes where witches swoop down and inhale the breath of children to activate their evil spells of world domination. In the movies, the person in peril always gets saved. The thieves are vanquished. The deadly transfusion halted. And the heroic victim recovers. But in real life, in real dysfunctional relationships, there’s often no savior and definitely no guarantee of a happy ending. Your integrity and self-respect can indeed be hoovered out, turning you into an emotional zombie, leaving you like one of the husks in the video game Mass Effect, unable to feel pain or joy, a mindless, quivering animal, a soulless puppet readily bent to the Reapers’ will. Emotional withholding is so painful because it is the absence of love, the absence of caring, compassion, communication, and connection. You’re locked in the meat freezer with the upside-down carcasses of cows and pigs, shivering, as your partner casually walks away from the giant steel door. You’re desperately lonely, even though the person who could comfort you by sharing even one kind word is right there, across from you at the dinner table, seated next to you at the movie, or in the same bed with you, back turned, deaf to your words, blind to your agony, and if you dare to reach out, scornful of your touch. When you speak, you might as well be talking to the wall, because you’re not going to get an answer, except maybe, if you’re lucky, a dismissive shrug.

Another question to ask as you evaluate the story is, does it have a hook? In its simplest form, the hook is what got you interested in the subject in the first place. It’s that bit of information that reveals the essence of the story and its characters, encapsulating the drama that’s about to unfold. Sound and Fury, for example, is the story of a little girl who wants a cochlear implant. The hook is not that she wants this operation, nor that the implant is a major feat of medical technology. The hook is that the little girl’s parents, contrary to what many in the audience might expect, aren’t sure they want her to have the operation. It’s the part of the story that makes people want to know more. Jonestown: The Life and Death of Peoples Temple, does not hook audiences with the horror of a mass suicide/murder that took place in 1978, even though the film opens with text on screen announcing the event. Instead, the film’s hook is that it promises viewers an insider’s look at what it means to join a community, only to be drawn inexorably into a terrifying, downward spiral. As discussed especially in Chapter 7, the hook is often the last piece of the film to come together, as the themes, characters, and story come more clearly into focus and are distilled into the promise you make to the viewers: This is what this movie is; this is why it’s worth your time; this is why this story needs to be told and demands your attention.

As Erika Hall, author of 'Just Enough Research' writes, "When the research focuses on what people actually do (watch cat videos) rather than what they wish they did (produce cinema-quality home movies) it actually expands possibilities.

James settled down to the film. He got a shock when he noticed Nicole and Junior had their arms around each other and an even bigger one a minute later when they started snogging. They were all over each other. Nicole’s leg was up in the air and James kept getting kicked. He got up and moved down two seats so he was sitting on the opposite side of April, away from any flailing limbs. “They’re getting on well,” April grinned. She grinned for a long time. James watched half a minute of the film and she was still grinning at him. He realized the girls had planned an ambush. Nicole already knew Junior fancied her because he’d asked her out before. James felt like he’d been hooked on a line and reeled in, but he checked April out and realized that as traps go, it wasn’t a bad one. April was decent-looking, with long brown hair and fit legs. James slid his hand under the armrest and put it on top of April’s. She twisted in her seat, so she could rest her head on James’s shoulder. James turned around, breathed April’s smell and kissed her on the cheek while she grabbed a few of his Maltesers. They stayed that way for a couple of minutes, until April moved away and blew chocolate breath over him. “So,” she whispered. “Are you gonna snog me or what?” James figured, “What the hell, it’s my birthday.” They snogged for ten minutes, breaking up when the movie got near the end and turned into a big car chase and punch-up that was actually worth watching.

You were never just some chick I hooked up with, Jules, and you know that. You were always more. So much more, I didn’t understand it at the time. But then my daughter ran to you on a crowded street, as if she knew too, like she could feel the pull of you to us.

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I suffered through that live-action Cats movie last night trying to score points with the wife. One fart—one—and I lost all my progress.