Infinite Movie Quotes

I can believe things that are true and things that aren't true and I can believe things where nobody knows if they're true or not. I can believe in Santa Claus and the Easter Bunny and the Beatles and Marilyn Monroe and Elvis and Mister Ed. Listen - I believe that people are perfectable, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkled lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone's ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theaters from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we'll all be wiped out by the common cold like martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind's destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it's aerodynamically impossible for a bumble bee to fly, that light is a wave and a particle, that there's a cat in a box somewhere who's alive and dead at the same time (although if they don't ever open the box to feed it it'll eventually just be two different kinds of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn't even know that I'm alive. I believe in an empty and godless universe of causal chaos, background noise, and sheer blind luck. I believe that anyone who says sex is overrated just hasn't done it properly. I believe that anyone who claims to know what's going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman's right to choose, a baby's right to live, that while all human life is sacred there's nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.

I can give you honesty, monogamy, and more passion than you can stand, but not love. That emotion died in me long ago, as I suspect you already know.” I took a deep breath, fighting a twinge that made no sense because he was right. I had guessed that about him. “Good,” I replied in a steady voice. “I was worried that you’d turn into one of those obsessed, emo movie vampires, and that would be embarrassing for both of us.” His laughter rang out before changing into something rougher and infinitely more sensual. Emerald overtook his gaze once again. “Enough talk,” he muttered, and lowered his head.

Knowing that the voice wouldn’t scream to be heard, they made sure that the world stayed loud with music and movies and 24/7 news and incessant online chatter. If they couldn’t silence the whisper, they’d bombard people with other voices. Infinite choices.

Things are going so well. We’re volleying words back and forth. Everything she says, I have something I can say back. We’re sparking, and part of me just wants to sit back and watch. We’re clicking. Not because a part of me is fitting into a part of her. But because our words are clicking into each other to form sentences and our sentences are clicking into each other to form dialogue and our dialogue is clicking together to form this scene from this ongoing movie that’s as comfortable as it is unrehearsed.

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.

It's like I'm reading a book, and it's a book I deeply love, but I'm reading it slowly now so the words are really far apart and the spaces between the words are almost infinite. I can still feel you and the words of our story, but it's in this endless space between the words that I'm finding myself now. It’s a place that’s not of the physical world - it's where everything else is that I didn't even know existed. I love you so much, but this is where I am now. This is who I am now. And I need you to let me go. As much as I want to I can't live in your book anymore.

In psychology, there's something called the broken-leg problem. A statistical formula may be highly successful in predicting whether or not a person will go to a movie in the next week. But someone who knows that this person is laid up with a broken leg will beat the formula. No formula can take into account the infinite range of such exceptional events.

In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies - the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man's almost infinite appetite for distractions. In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were "solemn and rare," there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous. For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment - from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema. In "Brave New World" non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly "not of this world." Both are distractions and, if lived in too continuously, both can become, in Marx's phrase "the opium of the people" and so a threat to freedom. Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.

Slim’s always talking about this, the little movies within the movie of your own life. Life lived in multiple dimensions. Life lived from multiple vantage points. One moment in time – several people meeting at a circular dining table before taking their seats – but a moment with multiple points of view. In these moments time doesn’t just move forward, it can move sideways, expanding to accommodate infinite points of view, and if you add up all these vantage point moments you might have something close to eternity passing sideways within a single moment. Or something like that.

It had not occured to me to mourn losing those things until now. I had done each of those things, somewhere along the way, for a last time - without realizing it was the last time. And even after I knew that I was no longer a child, somehow I'd assumed those things could have come back to me. Or that I could have gone back to them. But watching the movies on this day, I became aware of infinite losses.

Get real. You are not the star of the movie. Most of what happens around you isn’t about you at all. There are infinite numbers of other movies. In those, if you feature at all, you’re just a supporting actor. It would really help your happiness if you started to look at your life that way.

Lainey is hot in a prom queen kind of way and we used to be friends back in grade school, but that was two lifetimes ago. Now she’s a varsity soccer player and card-carrying popular girl who hangs out with the kind of mean girls and douchebags who get killed first in horror movies.

IT’S HARDLY a coincidence that “Shipping Out,” Wallace’s most well-known essay, appeared only a month before Infinite Jest, his most well-known novel, was published. Both are about the same thing (amusing ourselves to death), with different governing données (lethally entertaining movie, lethally pampering leisure cruise). In an interview after the novel came out, Wallace, asked what’s so great about writing, said that we’re existentially alone on the planet—I can’t know what you’re thinking and feeling, and you can’t know what I’m thinking and feeling—so writing, at its best, is a bridge constructed across the bridge of human loneliness.

My generation was weaned on subliminal advertising, stupid television, slasher movies, insipid grocery-store literature, MTV, VCRs, fast food, infomercials, glossy ads, diet aids, plastic surgery, a pop culture wherein the hyper-cool, blank-eyed supermodel was a hero. This is the intellectual and emotional equivalent of eating nothing but candy bars – you get malnourished and tired. We grew up in a world in which the surface of the thing is infinitely more important than its substance – and where the surface of the thing had to be “perfect,” urbane, sophisticated, blasé, adult. I would suggest that if you grow up trying constantly to be an adult, a successful adult, you will be sick of being grown up by the time you’re old enough to drink.

It is a quintessential example of the whirling kinetics that drive a Keaton film, in which not just the medium but the human body- the permutations of the sinews, the shock of the limbs -seems infinitely elastic, an unruly instument to be wilded with a cheeky kind of grace.

Doctors know nothing. Well. That's kind of unfair. Let's just say the world is unpredictable. Science is unreliable. It can't tell you who you are or what you'll want or how you'll feel. All these researchers are going crazy in their labs, trying to fit us into these little boxes so they can justify their jobs, or their government funding, or their life's work. They can theorize and they can give you a mean, median and mode but it's all standardized guesswork, made official by arrogance. You have to be pretty into yourself to think you can play a part in defining the identity of a bunch of people you don't know, of human beings with complicated shit going on in their bodies. They still don't know what certain parts of our brains do, they still don't know how to cure a common cold, and they say they know about sexuality, about gender. Well, you're not a man because you like football and you're not a woman because you're attracted to men and you're not a chick because you like to be the one who gives and you're not a dude because you like to receive or because sometimes you cry at dumb movies.

This is from a movie, too,” he says. “Do you know it?” I shake my head. “I’ll play it for you next time.” I look up into his face. “How many next times will there be?” “Infinite,” he says.

Until now, I've been writing about "now" as if it were literally an instant of time, but of course human faculties are not infinitely precise. It is simplistic to suppose that physical events and mental events march along exactly in step, with the stream of "actual moments" in the outside world and the stream of conscious awareness of them perfectly synchronized. The cinema industry depends on the phenomenon that what seems to us a movie is really a succession of still pictures, running at twenty-five [sic] frames per second. We don't notice the joins. Evidently the "now" of our conscious awareness stretches over at least 1/25 of a second. In fact, psychologists are convinced it can last a lot longer than that. Take he familiar "tick-tock" of the clock. Well, the clock doesn't go "tick-tock" at all; it goes "tick-tick," every tick producing the same sound. It's just that our consciousness runs two successive ticks into a singe "tick-tock" experience—but only if the duration between ticks is less than about three seconds. A really bug pendulum clock just goes "tock . . . tock . . . tock," whereas a bedside clock chatters away: "ticktockticktock..." Two to three seconds seems to be the duration over which our minds integrate sense data into a unitary experience, a fact reflected in the structure of human music and poetry.

Part of the human experience is to confront temptation. No one escapes. It is omnipresent. It is both externally driven and internally prompted. It is like the enemy that attacks from all sides. It boldly assaults us in television shows, movies, billboards, and newspapers in the name of entertainment or free speech. It walks down our streets and sits in our offices in the name of fashion. It drives our roads in the name of style. It represents itself as political correctness or business necessity. It claims moral sanction under the guise of free choice. On occasion it roars like thunder; on others it whispers in subtle, soothing tones. With chameleon-like skill it camouflages its ever-present nature, but it is there--always there.

as Hume expressed it. The mind is 'a kind of theater, where several perceptions successively make their appearance; pass, re-pass, slide away, and mingle in an infinite variety of postures and situations.' Hume pointed out that we have no underlying 'personal identity' beneath or behind these perceptions and feelings which come and go. It is just like the images on a movie screen. They change so rapidly we do not register that the film is made up of single pictures. In reality the pictures are not connected. The film is a collection of instants

In the movies, people almost never talked about the towns they spent their lives in; they ran around having adventures and never stopped to get their bearings. It was weird, when you thought about it. They only remembered where they were from if they wanted to complain about how awful it was there, or, later, to remember it as a place of infinite promise, a place whose light had been hidden from them until it became unrecoverable, at which point its gleam would become impossible to resist.

The rise of video games, movies like Avatar, and online social worlds like Second Life have brought the notion of virtual reality to dinner-table conversations.

This feeling of being "home at last" corresponds to my idea about the city, and idea shaped by books, movies, and plays, an idea of infinite possibility.

When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.

Do you know how many 12:13s I've watched pass without you? Tonight it'll be the seven hundred and twentieth," I said, the words burning my throat. "The last thing in the world I want is to say something that makes that number infinite, but I also can't let you erase our history. I don't want to remember the bad parts, but I refuse to forget the good.

Just as the screen does not share the qualities, characteristics, or limitations of any of the objects or characters in a movie, although it is their sole reality, so the knowing with which all knowledge and experience are known does not share the qualities, characteristics, or limitations of whatever is known or experienced. Thus, it is unlimited or infinite.

By the time he was fourteen, Jeremy could locate magnetic north from practically any place in Story County, even in the total absence of known landmarks. Knowing where you were: this seemed like a big part of the point of living in Nevada, possibly of being alive at all. In the movies, people almost never talked about the towns they spent their lives in; they ran around having adventures and never stopped to get their bearings. It was weird, when you thought about it. They only remembered where they were from if they wanted to complain about how awful it was there, or, later, to remember it as a place of infinite promise, a place whose light had been hidden from them until it became unrecoverable, at which point its gleam would become impossible to resist.

We claimed the Bible as our source of truth, but were our real counselors coming from movie screens and magazines? Perhaps so many of our struggles—lack of freedom, loss of spiritual desire, slavery to image, perfectionism, confusion, and the list is infinite—had much to do with this idea of God and.… The people in 2 Kings were worshipping God, but they were also serving their idols.

How much of the ugly does it take to substitute for a lack of the beautiful? How many adventure films does it take to compensate for a lack of adventure? How many superhero movies must one watch, to compensate for the atrophied expression of one’s greatness? How much pornography to meet the need for intimacy? How much entertainment to substitute for missing play? It takes an infinite amount. That’s good news for economic growth, but bad news for the planet.

I can believe things that are true and I can believe things that aren’t true and I can believe things where nobody knows if they’re true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen—I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone’s ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theatres from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we’ll all be wiped out by the common cold like the Martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind’s destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it’s aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there’s a cat in a box somewhere who’s alive and dead at the same time (although if they don’t ever open the box to feed it it’ll eventually just be two different kinds of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn’t even know that I’m alive. I believe in an empty and godless universe of causal chaos, background noise and sheer blind luck. I believe that anyone who says that sex is overrated just hasn’t done it properly. I believe that anyone who claims to know what’s going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman’s right to choose, a baby’s right to live, that while all human life is sacred there’s nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, life is a cruel joke and that life is what happens when you’re alive and that you might as well lie back and enjoy it.

One of the most interesting accomplishments of the film community, it seems to me, is that it has made real for America the exquisite beauty of incompatibility. Divorce among the gods possesses the sweet, holy sadness that has long been associated with marriage among the mortals. There is something infinitely tender about the inability of an actor to get along with an actress. When it is all over, and the decree is final, the two are even more attentive to each other, are seen oftener together, than ever before.

If most of us want good closing images, we have to change society. If we must watch our life over and over again forever on the day we die then we need our own revolution, starting from within. Or we’ll be in hell. Hell is yourself. Or rather hell is watching your shit life being replayed for eternity. Everyone should place the movie of their life on an LCD screen built into the headstone of their grave, and set on an infinite loop. Then anyone who stops by the grave to look at your movie will soon know whether you’ve gone to heaven or hell.

Competition is the spice of sports; but if you make spice the whole meal you'll be sick. The simplest single-celled organism oscillates to a number of different frequencies, at the atomic, molecular, sub-cellular, and cellular levels. Microscopic movies of these organisms are striking for the ceaseless, rhythmic pulsation that is revealed. In an organism as complex as a human being, the frequencies of oscillation and the interactions between those frequencies are multitudinous. -George Leonard Learning any new skill involves relatively brief spurts of progress, each of which is followed by a slight decline to a plateau somewhat higher in most cases than that which preceded it…the upward spurts vary; the plateaus have their own dips and rises along the way…To take the master’s journey, you have to practice diligently, striving to hone your skills, to attain new levels of competence. But while doing so–and this is the inexorable–fact of the journey–you also have to be willing to spend most of your time on a plateau, to keep practicing even when you seem to be getting nowhere. (Mastery, p. 14-15). Backsliding is a universal experience. Every one of us resists significant change, no matter whether it’s for the worse or for the better. Our body, brain and behavior have a built-in tendency to stay the same within rather narrow limits, and to snap back when changed…Be aware of the way homeostasis works…Expect resistance and backlash. Realize that when the alarm bells start ringing, it doesn’t necessarily mean you’re sick or crazy or lazy or that you’ve made a bad decision in embarking on the journey of mastery. In fact, you might take these signals as an indication that your life is definitely changing–just what you’ve wanted….Be willing to negotiate with your resistance to change. Our preoccupation with goals, results, and the quick fix has separated us from our own experiences…there are all of those chores that most of us can’t avoid: cleaning, straightening, raking leaves, shopping for groceries, driving the children to various activities, preparing food, washing dishes, washing the car, commuting, performing the routine, repetitive aspects of our jobs….Take driving, for instance. Say you need to drive ten miles to visit a friend. You might consider the trip itself as in-between-time, something to get over with. Or you could take it as an opportunity for the practice of mastery. In that case, you would approach your car in a state of full awareness…Take a moment to walk around the car and check its external condition, especially that of the tires…Open the door and get in the driver’s seat, performing the next series of actions as a ritual: fastening the seatbelt, adjusting the seat and the rearview mirror…As you begin moving, make a silent affirmation that you’ll take responsibility for the space all around your vehicle at all times…We tend to downgrade driving as a skill simply because it’s so common. Actually maneuvering a car through varying conditions of weather, traffic, and road surface calls for an extremely high level of perception, concentration, coordination, and judgement…Driving can be high art…Ultimately, nothing in this life is “commonplace,” nothing is “in between.” The threads that join your every act, your every thought, are infinite. All paths of mastery eventually merge. [Each person has a] vantage point that offers a truth of its own. We are the architects of creation and all things are connected through us. The Universe is continually at its work of restructuring itself at a higher, more complex, more elegant level . . . The intention of the universe is evolution. We exist as a locus of waves that spreads its influence to the ends of space and time. The whole of a thing is contained in each of its parts. We are completely, firmly, absolutely connected with all of existence. We are indeed in relationship to all that is.

...like being swept into the reality of a brilliantly written novel or charismatic movie: it's not that you believe in its literalness, but that there is a compelling truth in its organic life that envelops you and is absorbed by you almost on a physiological level. I remember experiencing a small earthquake in Los Angeles - only a four-point-six, I think - when I was there as a guest of the Academy the year they decided to develop a special Oscar for Philosophy in Cinema. A small earthquake, and yet the forced awareness that the earth beneath your feet was volatile, not stable, was terrifying, and for days afterward I was sure I could feel the earth trembling and threatening. I live with it still; it is ready to strike me at any moment, a special vertigo which is now part of my very physiology. Celestine was like that earthquake. Celestine was also like that first LSD trip, the one you perhaps took in a deli in Brooklyn, where suddenly the colors all shifted toward the green end of the spectrum and your eyes became fish-eye lenses, distorting your total visual field, and the sounds became plastic, and time became infinitely variable, and you realized that reality is neurology, and is not absolute.

It went on like that all day: the previous night replaying over and over, seeming to confer a kind of weighted legitimacy onto all the routine, boring parts of the day, making me feel like I was in a movie. Why was it that, when you got to a routine or boring scene in a movie, you didn’t panic or despair? In a movie, the number, duration, and meaning of scenes were determined in advance. You just had to wait it out. Theoretically, I supposed, this was true of real life—certainly, the number and duration of scenes weren’t infinite—but there was always the chance it would just end without anything meaningful happening at all.

In books and movies whenever someone dies there is always an underlying subtext, some kind of grand cosmic lesson to be gleaned from the experience. Popular culture perpetuates the fallacy that whenever someone or something is taken away, someone or something else is always out there waiting in the wings to take its place by the last turn of the page or that final post-credits scene. The reader closes the book with a satisfied smile, the audience leaves the theater filled to the brim with warm fuzzy feelings. But that’s entertainment for you, and the world would be a far less wonderful place without their happy endings. However, in the real world what once was, no longer is, and survivors are more often than not left with no other choice but to move on, cosmic lessons learned or not.

The thing about life is that life is an infinite subject matter. At any one moment you can say only what' before your mind just then. You have some control over what comes before your mind - you can influence the influx by reading, or by looking through your old notes, or by going to movies, or by talking to people, and you can choose what room of the house or what corner of the yard to sit in, and you can choose to write before or after you've masturbated - this is crucial - and you can choose to tell the truth or not to. And the difficult is that sometimes it's hard to tell the truth because you think that the truth is too personal, or too boring, to tell. Or both. And sometimes it's hard to tell the truth because the truth is hard to see, because it exists in a misty, gray non-space between two strongly charged falsehoods that sound true but aren't.

Your life is not an episode of Skins. Things will never look quite as good as they do in a faded, sun-drenched Polaroid; your days are not an editorial from Lula. Your life is not a Sofia Coppola movie, or a Chuck Palahniuk novel, or a Charles Bukowski poem. Grace Coddington isn’t your creative director. Bon Iver and Joy Division don’t play softly in the background at appropriate moments. Your hysterical teenage diary isn’t a work of art. Your room probably isn’t Selby material. Your life isn’t a Tumblr screencap. Every word that comes out of your mouth will not be beautiful and poignant, infinitely quotable. Your pain will not be pretty. Crying till you vomit is always shit. You cannot romanticize hurt. Or sadness. Or loneliness. You will have homework, and hangovers and bad hair days. The train being late won’t lead to any fateful encounters, it will make you late. Sometimes your work will suck. Sometimes you will suck. Far too often, everything will suck - and not in a Wes Anderson kind of way. And there is no divine consolation - only the knowledge that we will hopefully experience the full spectrum - and that sometimes, just sometimes, life will feel like a Coppola film.

This is why, where art is concerned, the most interesting thing would be to infiltrate the spongiform encephalon of the modern spectator, For this is where the mystery lies today: in the brain of the receiver, at the nerve centre of this servility before 'works of art'. What is the secret of it? In the complicity between the mortification 'creative artists' inflict on objects and themselves, and the mortification consumers inflict on themselves and their mental faculties. Tolerance for the worst of things has clearly increased considerably as a function of this general state of complicity. Interface and performance - these are the two current leitmotifs. In performance, all the forms of expression merge - the plastic arts, photography, video, installation, the interactive screen. This vertical and horizontal, aesthetic and commercial diversification is henceforth part of the work, the original core of which cannot be located. A (non-) event like The Matrix illustrates this perfectly: this is the very archetype of the global installation, of the total global fact: not just the film, which is, in a way, the alibi, but the spin-offs, the simultaneous projection at all points of the globe and the millions of spectators themselves who are inextricably part of it. We are all, from a global, interactive point of view, the actors in this total global fact.

«It's not easy to believe.» «I» she told him, «I can believe anything. You have no idea what I can believe.» «Really?» «I can believe things that are true and I can believe things that aren't true and I can believe things where nobody knows if they're true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen - I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone's ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theaters from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we'll all be wiped out by the common cold like the Martians in "War of the Worlds". I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was one-armed Siberian shaman. I believe that mankind's destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it's aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there's a cat in a box somewhere who's alive and dead at the same time (although if they don't ever open the box to feed it it'll eventually just be two different kind of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn't even know that I'm alive. I believe in an empty and godless universe of casual chaos, background noise, and sheer blind luck. I believe that anyone who says that sex is overrated just hasn't done it properly. I believe that anyone who claims to know what's going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman's right to choose, a baby's right to live, that while all human life is sacred there's nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, that life is a cruel joke, and that life is what happens when you're alive and that you might as well lie back and enjoy it.»

If we are absorbed in a movie it may seem at first that the screen lies behind the image. Likewise, if we are so captivated by experience that we overlook the simple experience of being aware or awareness itself, we may first locate it in the background of experience. In this first step, being aware or awareness itself is recognised as the subjective witness of all objective experience. Looking more closely we see that the screen is not just in the background of the image but entirely pervades it. Likewise, all experience is permeated with the knowing with which it is known. It is saturated with the experience of being aware or awareness itself. There is no part of a thought, feeling, sensation or perception that is not infused with the knowing of it. This second realisation collapses, at least to a degree, the distinction between awareness and its objects. In the third step, we understand that it is not even legitimate to claim that knowing, being aware or awareness itself pervades all experience, as if experience were one thing and awareness another. Just as the screen is all there is to an image, so pure knowing, being aware or awareness itself is all there is to experience. All there is to a thought is thinking, and all there is to thinking is knowing. All there is to an emotion is feeling, and all there is to feeling is knowing. All there is to a sensation is sensing, and all there is to sensing is knowing. All there is to a perception is perceiving, and all there is to perceiving is knowing. Thus, all there is to experience is knowing, and it is knowing that knows this knowing. Being all alone, with nothing in itself other than itself with which it could be limited or divided, knowing or pure awareness is whole, perfect, complete, indivisible and without limits. This absence of duality, separation or otherness is the experience of love or beauty, in which any distinction between a self and an object, other or world has dissolved. Thus, love and beauty are the nature of awareness. In the familiar experience of love or beauty, awareness is tasting its own eternal, infinite reality. It is in this context that the painter Paul Cézanne said that art gives us the ‘taste of nature’s eternity’.

I can believe that things are true and I can believe things that aren’t true and I can believe things where nobody knows if they’re true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen – I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone’s ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theaters from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we’ll all be wiped out by the common cold like the Martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind’s destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it’s aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there’s a cat in a box somewhere who’s alive and dead at the same time (although if they don’t ever open the box to feed it it’ll eventually just be two different kinds of dead), and that there are stars in the universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn’t even know that I’m alive. I believe in an empty and godless universe of casual chaos, background noise, and sheer blind luck. I believe that anyone who says that sex is overrated just hasn’t done it properly. I believe that anyone claims to know what’s going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman’s right to choose, a baby’s right to live, that while all human life is sacred there’s nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe life is a game, that life is a cruel joke, and that life is what happens when you’re alive and that you might as well lie back and enjoy it.

I," she told him, "can believe anything. You have no idea what I can believe." "Really?" "I can believe things that are true and I can believe things that aren't true and I can believe things where nobody knows if they're true or not. I can believe in Santa Claus and the Easter Bunny and Marilyn Monroe and the Beatles and Elvis and Mister Ed. Listen - I believe that people are perfectible, that knowledge is infinite, that the world is run by secret banking cartels and is visited by aliens on a regular basis, nice ones that look like wrinkledy lemurs and bad ones who mutilate cattle and want our water and our women. I believe that the future sucks and I believe that the future rocks and I believe that one day White Buffalo Woman is going to come back and kick everyone's ass. I believe that all men are just overgrown boys with deep problems communicating and that the decline in good sex in America is coincident with the decline in drive-in movie theatres from state to state. I believe that all politicians are unprincipled crooks and I still believe that they are better than the alternative. I believe that California is going to sink into the sea when the big one comes, while Florida is going to dissolve into madness and alligators and toxic waste. I believe that antibacterial soap is destroying our resistance to dirt and disease so that one day we'll all be wiped out by the common cold like the Martians in War of the Worlds. I believe that the greatest poets of the last century were Edith Sitwell and Don Marquis, that jade is dried dragon sperm, and that thousands of years ago in a former life I was a one-armed Siberian shaman. I believe that mankind's destiny lies in the stars. I believe that candy really did taste better when I was a kid, that it's aerodynamically impossible for a bumblebee to fly, that light is a wave and a particle, that there's a cat in a box somewhere who's alive and dead at the same time (although if they don't ever open the box to feed it it'll eventually just be two different kinds of dead), and that there are stars in this universe billions of years older than the universe itself. I believe in a personal god who cares about me and worries and oversees everything I do. I believe in an impersonal god who set the universe in motion and went off to hang with her girlfriends and doesn't even know that I'm alive. I believe in an empty and godless universe of casual chaos, background noise and sheer blind luck. I believe that anyone who says that sex is overrated just hasn't done it properly. I believe that anyone who claims to know what's going on will lie about the little things too. I believe in absolute honesty and sensible social lies. I believe in a woman's right to choose, a baby's right to live, that while all human life is sacred there's nothing wrong with the death penalty if you can trust the legal system implicitly, and that no one but a moron would ever trust the legal system. I believe that life is a game, life is a cruel joke and that life is what happens when you're alive and that you might as well lie back and enjoy it." She stopped, out of breath. Shadow almost took his hands off the wheel to applaud.

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

It is easy to blame television or the movies or rap music for desensitizing our children to human suffering, to violence, and even to death. Yet the fundamental invulnerability does not come from commercialized culture, reprehensible as it is for pandering to and exploiting children's emotional hardening and immaturity. The invulnerability of peer-oriented kids is fueled from the inside. Even if there were no movies or television programs to shape its expression, it still would spring forth spontaneously as the modus operandi of peer-oriented youth. Though peer-oriented children can come from all over the world and belong to an infinite number of subcultures, the theme of invulnerability is universal in youth culture. Fashions may come and go, music can change form, the language may vary, but cool detachment and emotional shutdown seem to permeate it all. The pervasiveness of this culture is a powerful testimony to the desperate flight from vulnerability of its members.

We have reached a censorship barrier in Infidelity, to our infinite disappointment. It won’t be Joan’s [Joan Crawford's] next picture and we are setting it aside awhile till we can think of a way of halfwitting halfwit Hayes and his legion of decency. Pictures needed cleaning up in 1932-33...but because they were suggestive and salacious. Of course the moralists now want to apply that to all strong themes—so the crop of the last two years is feeble and false, unless it deals with children.

Then man would have denied and thrown away his own special nature—that he is a meditative being. Therefore, the issue is the saving of man’s essential nature—the keeping of the meditative thinking alive.” There is no shortage of contemporary observers of our digital culture who worry like Heidegger that the meditative dimension in human beings is threatened—by an overwhelming emphasis on materialism and consumerism, by a fractured relationship with time. As Teddy Wayne wrote in the New York Times: “Digital media trains us to be high-bandwidth8 consumers rather than meditative thinkers. We download or stream a song, article, book or movie instantly, get through it (if we’re not waylaid by the infinite inventory also offered) and advance to the next immaterial thing.” Or as Steve Wasserman asked in Truthdig, “Does the ethos of acceleration prized by the Internet diminish our capacity for deliberation and enfeeble our capacity for genuine reflection? Does the daily avalanche of information banish the space needed for actual wisdom? . . . Readers know . . . in their bones9 something we forget at our peril: that without books—indeed

Knowing that R. L.’s death at nineteen is not his end, Mrs. O’Brien and Jack can trust the nuns. Those who live in the way of grace may die young. They may die horribly. But they never come to a bad end because death is not the end. We are quite a ways beyond Heidegger here. Whatever other influence he had on Malick’s vision, Malick doesn’t accept that death is the limit, that time has a final horizon beyond which the rest is silence. Beyond death there is reconciliation, reunion, hope. Beyond death, there are sunflowers. The sunflower is a perfect image for the way of grace. Its name is suggestive of heavenly glory. In color and shape, it is a reflex of the burning suns of what might be an infinite universe. Malick uses Hubble Telescope pictures of deep space, but one doesn’t have to have a telescope to see the glory shine. Suns grow in the backyard, if we our eyes are open windows. Sunflowers follow the sun through the day, the perfect botanical expression of the way of grace that receives the glory. It’s the perfect Heideggerian flower that never forgets Being. But Malick does something stunning with his sunflowers. The first shot of is a close-up of a single flower, as Mrs. O’Brien speaks of the way of grace. We can see others dancing in the wind behind, but we concentrate on this one. At the end of the film, the camera pulls back, a brilliant blue sky fills the top two-thirds of the screen, and we see a breathtaking field of sunflowers. Through the suffering and loss that the movie depicts, the single sunflower of grace blossoms into a field of sunflowers. It’s Job, surrounded by his second family that he can love. It’s Brothers Karamazov. It’s the Agnus Dei and all seeds that go into the earth to die, so they can produce fruit.

She seemed to take herself less seriously than did Parsons, though she was considered more accurate and more willing to personally check out her tips. “On the radio, Miss Hopper cheerfully admits her errors by giving herself the bird with a gold-plated mechanical canary,” wrote Current Biography in 1942. Her feud with Parsons was real, and in most popularity contests she came out the winner, pronounced by Life “infinitely more liked by the movie colony than her ruthless rival.” Her personal demeanor was highlighted by a colorful vocabulary and outrageous hats. She died Feb. 1, 1966.

Maybe we can get away from our yes/no world of classical music, stop thinking in terms of pop versus serious, and refuse to ghettoize movie music…. Maybe, as we encourage our to sing in their personal voice, we can also bring back the music taken away from us. If you are very fortunate, music will take you to all those places and states of being that physicist are trying to explain/prove - parallel universe, non-linear times, and the vast majority of things that exist but we cannot see/hear, that connect us from today into the very reason we love music, the heart of the matter. Charles Ives made a distinction between the Unknown, and the In-Known the latter being what we profoundly sense but cannot prove or even explain. Just widen your embrace and listen without prejudice. What is the sound of it? No metaphors. No similes. No false criteria. No imposed walls: a gateway to the thing that is infinite, curved, expanding, and imploding - that always existed and will always exist as long as humans walk the earth. It is right there invisible to they eye, yet palpable to your ear, your mind, and your heart. It is called music. It is yours, and because it is yours, it is great.

The soul wants to forget all other realities to create the appearance of starting with a clean slate and then act like it is “discovering” and “learning” and what’s most important: Experiencing surprise – a concept that has little meaning for the infinite-self. The benefit of this existence is the joy of discovery and not knowing what’s going to come next. Do you recall situations from your childhood in which you were absolutely thrilled that you didn’t know what is behind the curtain? Isn’t it a bit dull of this society to want to have everything planned and figured out beforehand for reasons of “security” (which is actually fear). If you say “no” to your joy for reasons of “security”, the only security you are going to get is the security of joylessness and boredom. Therefore, take part in the “movie” willingly. The more you love life as it is, the more it will love you as you are. “Paradoxically”, the more you love “normal” life, the more you will “ascend” spiritually. Wanting to get away from here, as many “spiritual” teachings propose, binds you to this reality even more…as all resistance binds you.

The Titan's Fall by Stewart Stafford Colossus ship of the Titans, Flames of Tartarus in its belly, Unsinkable beneath the stars, Champagne popped too soon. In infinite glacial hubris, Collided with its own ambition, Immortal Gordian Knot slashed, And freezing death crept aboard. Cantering up Scotland Road, Trojan Seahorse's Achilles' Heel, Solitary children drowning, In heartbroken submersion. The River Styx fell silent, But for whimpered prayers. As Charon's boat of death, Ferried them to Hades. The tangled Medusan wreckage, Once a great wonder of the earth, Plunged into an underworld abyss - A terrible beauty on the seabed nests. © Stewart Stafford, 2023. All rights reserved.

You’ve probably had this experience: It’s late at night and you start browsing Netflix, looking for something to watch. You scroll through different titles, you watch a couple of trailers, you even read a few reviews—but you just can’t commit to watching any given movie. Suddenly it’s been thirty minutes and you’re still stuck in Infinite Browsing Mode, so you just give up. You’re too tired to watch anything now, so you cut your losses and fall asleep.

In 2 Corinthians 4:6-7, Paul wrote, “For it is the God who commanded light to shine out of darkness, who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ. But we have this treasure in earthen vessels, that the excellence of the power may be of God and not of us.” And that brings us full circle to where we started in this chapter: at the end of the day there is no human explanation for the growth of the church. The world thinks we’re odd and bizarre. We’re the losers. We’re the privy pots. And yet, through the mouths of Paul and other misfits across the centuries, the church inexplicably moves in the history of the world with immense power beyond anything else. The gospel alone turns sinners into saints by transplanting men and women from the kingdom of darkness into the kingdom of God’s dear Son—from eternal death to everlasting life. That is power to create new beings fit for God’s presence and glory. If we brought a bus load of movie stars, corporate titans, or Ivy League professors into our church (assuming they’d condescend to get on a bus), they’d look at us and laugh: “These people can’t change the world!” No, we can’t. But for those who remain faithful to the whole truth of Christianity, God is changing the world through us. He’s been doing it through all history.

We do not purchase an automobile, for example, merely to own some machinery. Indeed, it is not machinery we are buying at all, but what we can have by way of it: a means of rapidly carrying us from one location to another, an object of envy for others, protection from the weather. Similarly, a radio must cease to exist as equipment and become sound. A perfect radio will draw attention to itself, will make it seem we are in the very presence of the source of its sound. Neither do we watch a movie screen, nor look at television. We look at what is on television, or in the movie, and become annoyed when the equipment intrudes-when the film is unfocused or the picture tube malfunctions.

The “Urantia Book” states that there are over ten million planets with Extraterrestrial life in our Universe. My Beloved Readers, please realize that there are infinite numbers of Universes in GOD’s infinite body. Archangels Michael and Faith and their Legions of Light are a couple of our great Guardians in this Cosmic Battle of Armageddon. We have all heard of the Orion wars and other galactic battles. The Star Wars movies are actually based in part on a true story in our galaxy’s history.

We’re all the stars of our own movies, but cutting back on the number of Do you know who I am? thoughts made my life infinitely smoother.

If the American culture of movies, shopping males, and soft drinks cannot inspire us, there are other Americas that can: Americas of renegades and prisoners, of dreamers and outsiders. Something can be salvaged from the twisted wreck of the “democratic sprit” celebrated by Walt Whitman, something subverted from the sense that each person has worth and dignity: a spirit that can be sustained on self-reliance and initiative. These Americas are America of the alienated and marginalized: indigenous warriors, the freedom fighters of civil rights, the miners’ rebelling in the Appalachian Mountains. America’s past is full of revolutionary hybrids; our lists could stretch infinitely onwards towards undiscovered past or future. The monolith of a rich and plump America must be destroyed to make room for many Americas. A folk anarchist culture rising in the periphery of America, and can grow in the fertile ground that lies beneath the concrete of the great American wasteland. Anyone struggling today – living the hard life and fighting the even harder fight – is a friend even if he or she can never share a single meal with us, or speak our language. The anarchists of America, with our influence as wide as our prairies and dreams that could light those prairies on fire, can make entire meals on discarded food, live in abandoned buildings, and travel on the secret paths of lost highways and railroads, we are immensely privileged.

Partially because right at this moment, in this brief instant in the infinitely long time span of the universe, I didn’t feel scared, but angry. Which in turn scared me even more since I remembered the end of Star Wars Episode VI and knew that anger is a step toward the dark side, which made me even angrier. Because I was also tired of movies scaring me. Tired of worrying that someday I would wake up in a Matrix pod. Tired of remaining vigilant, on the lookout for men who might be walking around wanting to make a woman suit out of my skin. Tired of being afraid of suddenly realizing that for years I’d been repressing the murder of my family. Tired

Freedom from Uncontrolled Thinking A big habit I’m working on is trying to turn off my “monkey mind.” When we’re children, we’re pretty blank slates. We live very much in the moment. We essentially just react to our environment through our instincts. We live in what I would call the “real world.” Puberty is the onset of desire—the first time you really, really want something and you start long-range planning. You start thinking a lot, building an identity and an ego to get what you want. If you walk down the street and there are a thousand people in the street, all thousand are talking to themselves in their head at any given point. They’re constantly judging everything they see. They’re playing back movies of things that happened to them yesterday. They’re living in fantasy worlds of what’s going to happen tomorrow. They’re just pulled out of base reality. That can be good when you do long-range planning. It can be good when you solve problems. It’s good for us as survival-and-replication machines. I think it’s actually very bad for your happiness. To me, the mind should be a servant and a tool, not a master. My monkey mind should not control and drive me 24/7. I want to break the habit of uncontrolled thinking, which is hard. [4] A busy mind accelerates the passage of subjective time. There is no endpoint to self-awareness and self-discovery. It’s a lifelong process you hopefully keep getting better and better at. There is no one meaningful answer, and no one is going to fully solve it unless you’re one of these enlightened characters. Maybe some of us will get there, but I’m not likely to, given how involved I am in the rat race. The best case is I’m a rat who might be able to look up at the clouds once in a while. I think just being aware you’re a rat in a race is about as far as most of us are going to get. [8] The modern struggle: Lone individuals summoning inhuman willpower, fasting, meditating, and exercising… Up against armies of scientists and statisticians weaponizing abundant food, screens, and medicine into junk food, clickbait news, infinite porn, endless games, and addictive drugs.

Like in business, the emergence of new players necessarily changes the way the game must be played. Blockbuster—the sole superpower in the movie rental business—failed to appreciate that a small company like Netflix and an emerging technology like the internet required them to reexamine their entire business model. Big publishers doubled down on old models when Amazon showed up instead of asking how they could update and upgrade their models in the face of a new digital age. And instead of asking themselves, “What do we need to do to change with the times,” taxi companies chose to sue the ridesharing companies to protect their business models instead of learning how to adapt and provide a better taxi service. Sears got so big and so rich from sending out paper catalogues for so many decades that they were too slow to adapt to the rise of big-box stores like Walmart and ecommerce. And believing itself without Rival, the behemoth that was Myspace didn’t even see Facebook coming.

My job, should I decide to undertake it, as it were, is to determine if the accident was by fault of impaired equipment or that of a preternatural event as the screaming boom operator would have one believe. I vote for a ghost. It makes things infinitely more interesting or my name isn‘t Beluga Stein, P.I. — Psychic Investigator. Part-time anyway. That is, when I‘m not teaching biology to a bunch of undergrads who know everything about libido except how to spell it. So my ballot is cast for a ghost.

The movie Avatar came to mind, When the people disconnected, and their blue bodies became limp. I pictured them carrying me like they did Sigourney Weaver’s character. Okay, so Linaria had a point with me and movies. I could admit that.

We advertise good friendships as part of the Complete Teenage Experience, because good friendships make for great stories. Content creators romanticize adolescent friendships the same way Hallmark movies treat love: there is a lid for every pot, a yin for every yang, and a savior for every screwup. Turn on any Netflix original movie about teenagers or read any great YA book, and you will see that the perfect sidekick (funny! supportive! quirky! endlessly loyal!) is a fixture in each teen’s life. In reality, middle school friendships play out less like Netflix originals, and more like those toy commercials that came on during Saturday morning cartoons when we were kids. As an only child, I remember yearning to have the same fun those kids were having, begging my parents for the Barbie Jeep or Hot Wheels Track until they gave in. But soon after ripping the toy from its packaging, I came to the stark realization that it was nothing like advertised. Those kids were only pretending to have fun, the set designers made the toys seem infinitely cooler than they actually were, and more often than not, we didn’t even have the right-sized batteries. What a colossal disappointment! Especially when those kids on TV looked like they were having the time of their lives.

If an animal has previously suffered escapable shock, and then she suffers inescapable shock, she will be happier than if she has previously not suffered escapable shock — for if she hasn’t, she will only know about being shocked inescapably. But if she has been inescapably shocked before, and she is put in the conditions where she was inescapably shocked before, she will behave as if being shocked, mostly. Her misery doesn’t require acts. Her misery requires conditions. If an animal is inescapably shocked once, and then the second time she is dragged across the electrified grid to some non-shocking space, she will be happier than if she isn’t dragged across the electrified grid. The next time she is shocked, she will be happier because she will know there is a place that isn’t an electrified grid. She will be happier because rather than just being dragged onto an electrified grid by a human who then hurts her, the human can then drag her off of it. If an animal is shocked, escapably or inescapably, she will manifest deep reactions of attachment for whoever has shocked her. If she has manifested deep reactions of attachment for whoever has shocked her, she will manifest deeper reactions of attachment for whoever has shocked her and then dragged her off the electrified grid. Perhaps she will develop deep feelings of attachment for electrified grids. Perhaps she will develop deep feelings of attachment for what is not the electrified grid. Perhaps she will develop deep feelings of attachment for dragging. She may also develop deep feelings of attachment for science, laboratories, experimentation, electricity, and informative forms of torture. If an animal is shocked, she will manufacture an analgesic response. These will be incredible levels of endogenous opioids. This will be better than anything. Then later, there will be no opioids, and she will go back to the human who has shocked her looking for more opioids. She will go to the shocking condition — called “science” — and there in the condition she will flood with endogenous opioids, along with cortisol and other things which feel arousing. Eventually all arousal will feel like shock. She will not be steady, though, in her self-supply of analgesic. She will not always be able to dwell in science, as much as she now believes she loves it. That humans are animals means it is possible that the animal model of inescapable shock explains why humans go to movies, lovers stay with those who don’t love them, the poor serve the rich, the soldiers continue to fight, and other confused, arousing things. Also, how is capitalism not an infinite laboratory called “conditions”? And where is the edge of the electrified grid?

different levels of punishment (or more to the point, nonpunishment) for each. The rich have always gotten breaks and the poor have always had to swim upstream. The new truth is infinitely darker and more twisted. The new truth is a sci-fi movie, a dystopia. And in this sci-fi world the issues aren’t justice and injustice, but biology and mortality. We have a giant, meat-grinding bureaucracy that literally alters the physical makeup of its citizens, systematically grinding down the losers into a smaller, meeker, lower race of animal while aggrandizing the winners, making them bigger than life, impervious, super-people. Again, the poor have always faced the sharp end of the stick. And the rich have always fought ferociously to protect their privilege, not just in America but everywhere.

Dynamism occurs in two matrixes of sequence. I mean matrix in the same sense as in the movie The Matrix—an environment or context in which things happen. Water is the matrix of tea, meaning that tea happens in water. Cyberspace is the matrix of e-mail, meaning that e-mail happens in cyberspace. The matrix of sequence in space is time, meaning that everything that happens happens in time. The matrix of sequence outside of space is eternity. Many people think that eternity is infinite time, but that isn’t how the Bible describes it. Eternity is a separate matrix of sequence in that every point of time is present to every point of eternity. That is why prophecy is possible. God lives in eternity, and from every point of the dynamic matrix of eternity, all of time is present.

Greg realised these weren’t his closing images at all. They were the opening images of the new movie of his life, the movie he’d be happy to watch on an infinite loop. His life would be a collection of the most wondrous pearls scattered over a beach of gold in this new Eden. He’d have to polish every moment, to make each gleam and shine like a perfect mirror because he might be seeing himself reflected back in those mirror moments. Forever.

Christ is there for anyone who really wants Him. Heaven is open to anyone who actually wants to go. But we only want to go to Heaven if we want a life that is completely consumed by Christ and nothing else. If we want a life that is only partly Christ, we don’t want Heaven. We may as well admit it now while there’s still time. If Christ is not close to our primary joy in life, how can we go to a place where He is the only joy? If we are content to make Christ only a part of our lives here, how can we go to a place where there is no life apart from Him? I ask these questions of myself before I ask them of anyone else. I certainly know that my life doesn’t revolve entirely around Christ at present, but the more important question I must face is this: Do I want it to? Many of us think we desire Heaven because we imagine it as a place of self-centered pleasure. We believe that the happiness of Heaven is much like the happiness we find on earth. So if we enjoy eating good food, watching movies, playing sports, whatever, we fantasize that Heaven will be like some sort of resort where we can eat all the cheesecake we want and have access to an infinite Netflix library and maybe toss the pigskin around with Johnny Unitas on a football field in the clouds. But if this is the only kind of happiness we desire—a selfish, indulgent kind of happiness—then we clearly do not desire the happiness of Heaven.