I Don't Entertain Drama Quotes

during this century (the twentieth) we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television. Before they came along all entertainment was interactive: theatre, music, sport - the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. We didn't need a special word for interactivity in the same way that we don't (yet) need a special word for people with only one head. I expect that history will show "normal" mainstream twentieth century media to be the aberration in all this. 'Please, miss, you mean they could only just sit there and watch? They couldn't do anything? Didn't everybody feel terribly isolated or alienated or ignored?' Yes, child, that's why they all went mad. Before the Restoration.' What was the Restoration again, please, miss?' The end of the twentieth century, child. When we started to get interactivity back.

So bring on your clubs and parties, your acrobats and magicians, your daredevils, jet cars, motorcycle helicopters, your sex and heroin, more of everything to do with automatic reflex. If the drama is bad, if the film says nothing, if the play is hollow, sting me with the theremin, loudly. I'll think I'm responding to the play, when it's only a tactile reaction to vibration. But I don't care. I just like solid entertainment.

I believe that a person's thoughts often manifest into actual events - that we think things into existence. Right? Well, think about this: one of the illnesses that has become an epidemic in the Western world is an addiction to news. Newspapers, Internet news, 24-hour news channels. And what is news? News is history in the making. So the addiction to news is the addiction to the outcome of history. Are you with me so far?' 'I get it. Go on.' 'In the past couple of decades, news has been produced as entertainment. So people's addiction to news is the addiction to its function as entertainment. If you combine the power of thought with this addiction to entertaining news, then the part of the hundreds of millions of people, the viewing public, that wishes peace on earth is overshadowed by the part of them that wants the next chapter in the story. Every person who turns on the news and finds there's no developments is disappointed. They're checking the news two or three times a day - they want drama, and drama means not only death but death by the thousands, so in the secrets parts of themselves, every news-addicted person is hoping for greater calamity, more bodies, more spectacular wars, more hideous enemy attacks, and these wishes are going out every day into the world. Don't you see? Right now, more than at any other time in history, the universal wish is a black one.

I think there has never been a more misunderstood phrase than drama is conflict, conflict is drama. Instead of thinking of conflict, I like to think of dialectic, a need for opposites that undermine each other. Or, I think about the need for contrast in painting. Paintings don't need large family fights and mudslinging, but they do need contrasts of color and shade. Of course, watching people insulting other people is entertaining, as are arm wrestling, bearbaiting, and the like. But I'm not sure that it's necessary to the drama, for drama is also a spectacle, A thing of interesrt, a thing happening , an event eventing, which us not necessarily a thing fighting. Though fighting can certainly be dramatic, it is not a necessary precondition to the dramatic.

We get in and I start the car. “Are you going to be good to Lani?” I ask. I think of Tommy Cook, a pale boy with psoriasis; we used to tie him to a chair with bungee cords and put him in the middle of the road, then hide. Few cars would actually come down Rainbow Drive, but when they did, it always surprised me that the drivers would slow their vehicles and swerve around the chair. None of them ever got out of their cars to help Tommy; it was as though they were in on the prank. I don’t know how Tommy managed to let us catch him more than once. Maybe he liked the attention. “I’ll try,” Scottie says. “But it’s hard. She has this face that you just want to hit.” “I know what you mean,” I say, thinking of Tommy, but realize I’m not supposed to empathize. “What does that mean?” I ask. “The kind of face that you want to hit. Where did you get that?” Sometimes I wonder if Scottie knows what she’s saying or if it’s something she recites, like those kids who memorize the Declaration of Independence. “It’s something Mom said about Danielle.” “I see.” Joanie has carried her juvenile meanness into her adult life. She sends unflattering pictures of her ex-friends to the Advertiser to put in their society pages. She always has some sort of drama in her life, some friend I’m not supposed to speak to or invite to our barbecues, and then I hear her on the phone gossiping about the latest scandal in an outraged and thrilled voice. “You are going to die,” I’ll hear her say. “Oh my God, you will just die.” Is this where Scottie gets it? By watching her mother use cruelty as a source of entertainment? I feel almost proud that I have made these deductions without the blogs and without Esther, and I’m eager to tell Joanie about all of this, to prove that I was capable without her.

Luckily, queer ones like her don't happen, often. We know how to nip most of them in the bud, early. You can't build a house without nails and wood. If you don't want a house built, hide the nails and wood. If you don't want a man unhappy politically, don't give him two sides to a question to worry him; give him one. Better yet, give him none. Let him forget there is such a thing as war. If the Government is inefficient, top-heavy, and tax-mad, better it be all those than that people worry over it. Peace, Montag. Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of non-combustible data, chock them so damned full of 'facts' they feel stuffed, but absolutely 'brilliant' with information. Then they'll feel they're thinking, they'll get a sense of motion without moving. And they'll be happy, because facts of that sort don't change. Don't give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy. Any man who can take a TV wall apart and put it back together again, and most men can nowadays, is happier than any man who tries to slide-rule, measure, and equate the universe, which just won't be measured or equated without making man feel bestial and lonely. I know, I've tried it; to hell with it. So bring on your clubs and parties, your acrobats and magicians, your dare-devils, jet cars, motor-cycle helicopters, your sex and heroin, more of everything to do with automatic reflex. If the drama is bad, if the film says nothing, if the play is hollow, sting me with the theremin, loudly. I'll think I'm responding to the play, when it's only a tactile reaction to vibration. But I don't care. I just like solid entertainment.

Oh, really,” I said, pushing myself to my feet. “I thought it was because you couldn’t get rid of me.” “Well, that, too,” she said with an impish grin. She groaned as she scrambled to her feet. “One thing’s clear at least. I’m going to have to go a little easier on all those refreshments at the balls and afternoon teas and soirees. I think they’re starting to take their toll.” “Very true,” I said, my face serious. “I’d been meaning to say something…” She shot me a worried look, and I couldn’t help grinning. “But I figured you’d notice yourself seeing as how you’ve started having to turn sideways to fit through doors.” She took a swipe at me, but I stepped deftly out of her way. “See?” I said, still smiling. “You’re getting slow, too.” She rolled her eyes, and I ducked in close enough to whisper in her ear. “You wouldn’t want to risk looking less than perfect for Miles now, would you?” She exclaimed in outrage and tried once again to catch me. I escaped her easily, and she proceeded to chase me around the fountains, much to the amusement of the children who followed behind us, shrieking encouragement to one or the other of us. I eluded her for several minutes, ducking behind fountains and jumping over benches, purely for the entertainment of our audience. She entered into the drama with equal enthusiasm, pretending to be slower than she really was. When I eventually let her catch me, we both collapsed onto a bench, laughing. “Don’t think I didn’t notice the blush,” I whispered, too quietly for the children to hear. “I hope you’re not forgetting who Miles is.” I shot her a warning look, and she met my eyes, her own full of guilt. But Ava approached us before she could reply. “If you two are quite finished, we should probably get back to the castle now.” I jumped to my feet, but she was smiling so I relaxed. “As you command, Your Majesty,” I said, bowing low. The children laughed again, and Ava shook her head at me. We were all still smiling when we left the square. None of us were really in a hurry to get back, so we walked, leading the horses behind us. Ava and Sarah were talking idly about the court when a voice called to Ava from across the street. I turned around and sucked in a sharp breath. It was Anhalt, one arm raised in greeting and a broad smile on his face. I had just enough time to whisper his name to Ava and Sarah before he had crossed over to join us. I was careful to keep my face free of all emotion as Sarah and I dropped back to walk respectfully behind Ava and the count. Anhalt seemed delighted with our chance encounter and determined to make the most of his unexpected audience with the queen. I watched the surrounding streets with my usual vigilance while I wondered if his voice really sounded so oily, or if it was my own feelings painting my perception of them. Sarah was listening intently to their conversation, her eyes never leaving the count’s form. I knew she would be paying attention for any clues, so I stopped listening myself, devoting my full attention to watching for any threat to the queen. I wasn’t sure if it was this extra attentiveness or just a heightened sense of alert due to the count’s presence, but I noticed an odd flicker of movement as we passed a small side alley. It was barely more than a shifting of shadow, and I could easily have missed it. Instead I tensed, my hand flying to my sword hilt. In one step, I placed myself between Ava and the alley. She turned to look at me, surprised out of her conversation by my sudden movement. I spoke to her but kept my eyes trained on the shadows. “It might be nothing, but I think it would be a good idea if we moved a bit faster, Your Majesty.