Network Film Quotes

We're living longer, we social network alone with our screens, and our depth of feeling gets shallower. Soon it'll be nothing but a tide pool, then a thimble of water, then a micro drop.

Have you seen the world lately, McGrath? The cruelty, the lack of connection? If you're an artist, I'm sure you can't help but wonder what it's all for. We're living longer, we social network alone with our screens, and our depth of feeling gets shallower. Soon it'll be nothing but a tide pool, then a thimble of water, then a micro drop.

...Television is cretinizing me – I can feel it. Soon I’ll be like the TV artists. You know the people I mean. Girls who subliminally model themselves on kid-show presenters, full of faulty melody and joy, Melody and Joy. Men whose manners show newscaster interference, soap stains, film smears. Or the cretinized, those who talk on buses and streets as if TV were real, who call up networks with strange questions, stranger demands...If you lose your rug, you can get a false one. If you lose your laugh, you can get a false one. If you lose your mind, you can get a false one.

We’re living longer, we social network alone with our screens, and our depth of feeling gets shallower.

I've always been 15 to 20 years ahead. As one of the first publishers to publish digitally in 2000 to become a digital publishing pioneer, before the Kindle and the height of digital book publishing in 2012-2015; I had digital books published, was one of the first on Amazon as an independent publisher, and became a beta for them years later. 20 Years before streaming networks like Amazon Prime, Netflix, and Hulu became the giants that they are in streaming; I envisioned a digital library of films and videos (even wrote about one in a scenario in my contemporary fiction book Loving Summer years later), which now became a form of streaming on-demand video today. This all comes from vision, being able to see far ahead through imagination as well as real evidence. When you can see this; you are truly blessed and gifted." Kailin Gow, Futurist, STEM Books Bestselling Award-winning Author and Publisher

Games are subject to far more scrutiny than network television or Hollywood films and often are condemned by people who do not play them.

The video, Carrie's video, was a snuff film, Russ. A fucking snuff film.

If “piracy” means using value from someone else’s creative property without permission from that creator–as it is increasingly described today – then every industry affected by copyright today is the product and beneficiary of a certain kind of piracy. Film, records, radio, cable TV… Extremists in this debate love to say “You wouldn’t go into Barnes & Noble and take a book off of the shelf without paying; why should it be any different with online music?” The difference is, of course, that when you take a book from Barnes & Noble, it has one less book to sell. By contrast, when you take an MP3 from a computer network, there is not one less CD that can be sold. The physics of piracy of the intangible are different from the physics of piracy of the tangible.

To gain control over a large number of people you do not have to place them in containers with suction caps attached to their bodies like in the film “The Matrix”. It is enough to create an all-encompassing information network because then people will automatically take their places in its cells.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

what it’s all for. We’re living longer, we social network alone with our screens, and our depth of feeling gets shallower. Soon it’ll be nothing but a tide pool, then a thimble of water, then a micro drop. They say in the next twenty years we’re going to merge with computer chips to cure aging and become immortal. Who wants an eternity of being a machine?

The one universal balm for the trauma of war was tea. It was the thing that helped people cope. People made tea during air raids and after air raids, and on breaks between retrieving bodies from shattered buildings. Tea bolstered the network of thirty thousand observers who watched for German aircraft over England, operating from one thousand observation posts, all stocked with tea and kettles. Mobile canteens dispensed gallons of it, steaming, from spigots. In propaganda films, the making of tea became a visual metaphor for carrying on. “Tea acquired almost a magical importance in London life,” according to one study of London during the war. “And the reassuring cup of tea actually did seem to help cheer people up in a crisis.” Tea ran through Mass-Observation diaries like a river. “That’s one trouble about the raids,” a female diarist complained. “People do nothing but make tea and expect you to drink it.” Tea anchored the day—though at teatime, Churchill himself did not actually drink it, despite reputedly having said that tea was more important than ammunition. He preferred whiskey and water. Tea was comfort and history; above all, it was English. As long as there was tea, there was England. But now the war and the strict rationing that came with it threatened to shake even this most prosaic of pillars.

The implications of the shift to digital distribution in the games market is heightened due to an advantage not found with video—not only can distributors of product made for the major console platforms (Nintendo Wii, Microsoft Xbox, Sony PlayStation) eliminate inventory risk if games are downloaded via online networks such as Xbox Live Arcade, but game distributors also have the ability to update games with patches, new levels, and character add-ons.

Diving into a compelling novel is also healthful for your body budget. This is more than mere escapism; when you get involved in someone else’s story, you aren’t as involved in your own. Such mental excursions engage part of your interoceptive network, known as the default mode network, and keep you from ruminating (which would be bad for the budget). If you are not a reader, see a compelling film. If the story is sad, have a good cry, which is also beneficial to the budget.8

But too often the media are instead complacent, satisfied with pictures over understanding, conflict over content, profit over purpose. The media amuse and distract rather than disturb and focus. The media excel at entertainment and escape. They too often allow us to avoid the real troubles of the world with barking broadcasters, lavish films, sooth-ing songs, endless e-mail, and infinite networking. At times, the media are even complicit in the division and deprivation that disfigure this globe. They profit from tragedy. They produce a “pornography of grief.

The self-consciousness that mocks all attempts at spontaneous action or enjoyment derives in the last analysis from the waning belief in the reality of the external world, which has lost its immediacy in a society pervaded by "symbolically mediated information." The more man objectifies himself in his work, the more reality takes on the appearance of illusion. As the workings of the modern economy and the modern social order become increasingly inaccessible to everyday intelligence, art and philosophy abdicate the task of explaining them to the allegedly objective sciences of society, which themselves have retreated from the effort to master reality into the classification of trivia. Reality thus presents itself, to laymen and "scientists" alike, as an impenetrable network of social relations-as "role playing," the "presentation of self in everyday life." To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions, all of them equally contemporaneous to the contemporary mind.* In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay. Life becomes a work of art, while "the first art work in an artist," in Norman Mailer's pronouncement, "is the shaping of his own personality.

The one universal balm for the trauma of war was tea. It was the thing that helped people cope. People made tea during air raids and after air raids, and on breaks between retrieving bodies from shattered buildings. Tea bolstered the network of thirty thousand observers who watched for German aircraft over England, operating from one thousand observation posts, all stocked with tea and kettles. Mobile canteens dispensed gallons of it, steaming, from spigots. In propaganda films, the making of tea became a visual metaphor for carrying on. “Tea acquired almost a magical importance in London life,” according to one study of London during the war. “And the reassuring cup of tea actually did seem to help cheer people up in a crisis.” Tea ran through Mass-Observation diaries like a river. “That’s one trouble about the raids,” a female diarist complained. “People do nothing but make tea and expect you to drink it.

The mechanistic reason for Gell-Mann Amnesia is the hub-and-spoke topology of the pre-internet information environment. Suppose you were an expert in computer science, another person was an expert on Japan, a third knew about the bond market, and so on. You are spokes that are all connected to the hub (say, The New York Times) but not each other. Each spoke has superior local information, and can falsify NYT reports in their own domain, but has no mechanism for coordinating with other spokes, let alone establishing a superior hub. Until the internet, the blockchain, and the advent of cryptohistory. The long-term consequence of Gell-Mann Amnesia is Gell-Mann America. People know now that we are systematically misled about the present. But at least we live in the present, so we have local information that can falsify many news stories. We do not live in the past, so all we know is that we may be wildly off-base in our understanding of history. There are no people from the past around to give first hand accounts…though we can read their books and sometimes watch their films.

Concepts of memory tend to reflect the technology of the times. Plato and Aristotle saw memories as thoughts inscribed on wax tablets that could be erased easily and used again. These days, we tend to think of memory as a camera or a video recorder, filming, storing, and recycling the vast troves of data we accumulate throughout our lives. In practice, though, every memory we retain depends upon a chain of chemical interactions that connect millions of neurons to one another. Those neurons never touch; instead, they communicate through tiny gaps, or synapses, that surround each of them. Every neuron has branching filaments, called dendrites, that receive chemical signals from other nerve cells and send the information across the synapse to the body of the next cell. The typical human brain has trillions of these connections. When we learn something, chemicals in the brain strengthen the synapses that connect neurons. Long-term memories, built from new proteins, change those synaptic networks constantly; inevitably, some grow weaker and others, as they absorb new information, grow more powerful.

Critics are also overwhelmingly male—one survey of film review aggregator site Rotten Tomatoes found only 22 percent of the critics afforded “top critic” status were female.14 More recently, of course, we have become accustomed to a second set of gatekeepers: our friends and family and even random strangers we’ve decided to follow on social media, as well as “peer” reviewers on sites like Goodreads and IMDb. But peer review sites are easily skewed by a motivated minority with a mission (see the Ghostbusters reboot and the handful of manbabies dedicated to its ruination) or by more stubborn and pervasive implicit biases, which most users aren’t even aware they have. (The data crunchers at FiveThirtyEight.com found that male peer reviewers regularly drag down aggregate review scores for TV shows aimed at women, but the reverse isn’t true.)15 As for the social networks we choose? They’re usually plagued by homophily, which is a fancy way to say that it’s human nature to want to hang out with people who make us feel comfortable, and usually those are people who remind us of us. Without active and careful intervention on our part, we can easily be left with an online life that tells us only things we already agree with and recommends media to us that doesn’t challenge our existing worldview.

The Biggest Property Rental In Amsterdam Amsterdam has been ranked as the 13th best town to live in the globe according to Mercer contacting annual Good quality of Living Review, a place it's occupied given that 2006. Which means that the city involving Amsterdam is among the most livable spots you can be centered. Amsterdam apartments are equally quite highly sought after and it can regularly be advisable to enable a housing agency use their internet connections with the amsterdam parkinghousing network to help you look for a suitable apartment for rent Amsterdam. Amsterdam features rated larger in the past, yet continuing plan of disruptive and wide spread construction projects - like the problematic North-South town you live line- has intended a small scores decline. Amsterdam after rated inside the top 10 Carolien Gehrels (Tradition) told Dutch news company ANP that the metropolis is happy together with the thirteenth place. "Of course you want is actually the first place position, however shows that Amsterdam is a fairly place to live. Well-known places to rent in Amsterdam Your Jordaan. An old employees quarter popularised amang other things with the sentimental tunes of a quantity of local vocalists. These music painted an attractive image of the location. Local cafes continue to attribute live vocalists like Arthur Jordaan and Tante Leeni. The Jordaan is a network of alleyways and narrow canals. The section was proven in the Seventeenth century, while Amsterdam desperately needed to expand. The region was created along the design of the routes and ditches which already existed. The Jordaan is known for the weekly biological Nordermaarkt on Saturdays. Amsterdam is famous for that open air market segments. In Oud-zuid there is a ranging Jordan Cuypmarkt open year long. This part of town is a very popular spot for expats to find Expat Amsterdam flats due in part to vicinity of the Vondelpark. Among the largest community areas A hundred and twenty acres) inside Amsterdam, Netherlands. It can be located in the stadsdeel Amsterdam Oud-Zuid, western side from the Leidseplein as well as the Museumplein. The playground was exposed in 1865 as well as originally named the "Nieuwe Park", but later re-named to "Vondelpark", after the 17th one hundred year author Joost lorrie den Vondel. Every year, the recreation area has around 10 million guests. In the park can be a film art gallery, an open air flow theatre, any playground, and different cafe's and restaurants.

In a 1963 performance entitled "Who R U?" at the San Francisco Museum of Art, Stern and Callahan added highway sounds to the mix, moving them from speaker to speaker in the showroom. They also had individuals placed in booths around a central auditorium, miked their conversations, and replayed them simultaneously in an eighteen-channel remix. By 1965 this show had morphed into a program called "We R All One," in which USCO deployed slide and film projections, oscilloscopes, music, strobes, and live dancers to create a sensory cacophony. At the end of the performance, the lights would go down, and for ten minutes the audience would hear multiple "Om's" from the speakers. According to Stern, the show was designed to lead viewers from "overload to spiritual meditation."19 In the final moments, the audience was to experience the mystical unity that ostensibly bound together USCO's members.

One issue that I always had with book and film portrayals of the ‘rise of intelligent machines’ was that they always seemed to create these ‘superhuman’ entities that were like human beings in a box, just much smarter and faster than we were (and inevitably seemed to want to destroy the human race). I didn’t see it happening like that, not the ‘first’ time, anyway. The desire to see a novel that explored the rise of the first intelligent machine network, but not characterizing it as a human-like entity, was my inspiration for writing Darknet.

Especially for the younger generation, the Internet is not some standalone, separate domain where a few of life’s functions are carried out. It is not merely our post office and our telephone. Rather, it is the epicenter of our world, the place where virtually everything is done. It is where friends are made, where books and films are chosen, where political activism is organized, where the most private data is created and stored. It is where we develop and express our very personality and sense of self. To turn that network

Dateline is a major prime-time news show in America, reaching millions of viewers on the NBC network. So it should have been very good news when the show’s producers informed us that they wanted to do a segment on Steve, and they wanted to film it in Queensland. “We want to experience him firsthand in the bush,” the producer told me cheerfully ove the phone. Do you really, mate? I wanted to say. I had been with Steve in the bush. It was the most fantastic experience, but I wasn’t sure he understood how remote the bush really was. I simply responded with all the right words about how excited we were to have Dateline come film. The producers wanted two totally different environments in which to film. We chose the deserts of Queensland with the most venomous snake on earth, and the Cape York mangroves--crocodile territory. Great! responded Dateline. Perfect! Only…the host was a woman, who had to look presentable, so she needed a generator for her blow-dryer. And a Winnebago, because it wasn’t really fair to ask her to throw a swag on the ground among the scorpions and spiders. This film shoot would mean a bit of additional expense. We weren’t just grabbing Sui and the Ute and setting out. But the exposure we would get on Dateline would be good for wildlife conservation, our zoo, and tourism. I telephoned a representative of the Queensland Tourism and Travel Commission in Los Angeles. “I wonder if you could help us out,” I asked. “This Dateline segment will showcase Queensland to people in America.” Could Queensland Tourism possibly subsidize the cost of a generator and a Winnebago? Silence at the end of the line. “What you are showing off of Queensland,” a voice carefully explained, “is not how we want tourists to see our fair country.” The most venomous snake on earth? Giant crocodiles? No, thanks. “But people are fascinated by dangerous animals,” I began to argue. I was wasting my time. There was no convincing him. We scraped up the money ourselves, and off we went with the Dateline crew into the bush.

Dateline is a major prime-time news show in America, reaching millions of viewers on the NBC network. So it should have been very good news when the show’s producers informed us that they wanted to do a segment on Steve, and they wanted to film it in Queensland. “We want to experience him firsthand in the bush,” the producer told me cheerfully ove the phone. Do you really, mate? I wanted to say. I had been with Steve in the bush. It was the most fantastic experience, but I wasn’t sure he understood how remote the bush really was. I simply responded with all the right words about how excited we were to have Dateline come film.

The largest network of national digital libraries, Europeana, brings together cultural objects in digital format from many of the countries in Europe. Instead of building a single global digital library, these national initiatives can be linked together in a way that helps people find information across geographic boundaries. Europeana provides anyone with access to over 23 million digitized cultural objects in Europe, including books, manuscripts, maps, paintings, films, museum objects, archival records, and other digitized materials. Thanks to funding from the European Commission, Europeana draws its content from a network of more than 1,500 cultural heritage institutions that provide metadata either directly or via aggregators in order to facilitate access to locally stored objects.

two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.

She remembered watching a movie from some years ago, when she’d had nothing else to do while snowed in at a Denver hotel, something with Kellie Martin on The Women’s Network. A detective identified a singer’s killer by studying the audience in concert footage. The killer—a stalker—showed up in every film.

As hospitals in New York City filled up with acutely sick patients, a new conspiracy theory was hatched on social media. Lunatics claimed that the hospitals were actually empty, and they stalked the entrances and parking lots with their cell phone cameras to come up with “proof.” Look, they said, there aren’t many cars in the parking lot! Dr. Bray, at Elmhurst, heard this shit secondhand. “They think the hospital is empty,” she said, positively stunned. Bray wondered: Where are they getting this stuff? The answer, in part, was Fox. The network often mainstreamed ideas from the far right fringe, and that’s exactly what Fox News contributor Sara Carter did on March 29, during a segment on a Sunday night talk show. “You can see it on Twitter,” she said. “People are saying, ‘Film your hospital,’ people are driving by their hospitals and they’re not seeing—in the ones that I’m seeing—they’re not seeing anybody in the parking lots. They’re not seeing anybody drive up. So, people are wondering what’s going inside the hospital.” Bray’s reaction: She wished her hospital was empty. “This is worse than war,” she said. In Geneva, the head of the World Health Organization said countries like the U.S. were in the eye of the Covid-19 storm. In Washington, Dr. Anthony Fauci went on TV and warned Americans to brace for 100,000-plus deaths from the coronavirus. He said millions could be infected. But the president had something else on his mind. He tweeted that his ratings were “so high.” This was the Fox News presidency in action. Here’s how it happened.

As hospitals in New York City filled up with acutely sick patients, a new conspiracy theory was hatched on social media. Lunatics claimed that the hospitals were actually empty, and they stalked the entrances and parking lots with their cell phone cameras to come up with “proof.” Look, they said, there aren’t many cars in the parking lot! Dr. Bray, at Elmhurst, heard this shit secondhand. “They think the hospital is empty,” she said, positively stunned. Bray wondered: Where are they getting this stuff? The answer, in part, was Fox. The network often mainstreamed ideas from the far right fringe, and that’s exactly what Fox News contributor Sara Carter did on March 29, during a segment on a Sunday night talk show. “You can see it on Twitter,” she said. “People are saying, ‘Film your hospital,’ people are driving by their hospitals and they’re not seeing—in the ones that I’m seeing—they’re not seeing anybody in the parking lots. They’re not seeing anybody drive up. So, people are wondering what’s going inside the hospital.” Bray’s reaction: She wished her hospital was empty. “This is worse than war,” she said. In

49.​TRUE OR FALSE: 2006’S CASINO ROYALE WAS THE FIRST BOND MOVIE THAT COULD BE WATCHED IN CHINA. True. It was the first film in the James Bond series that the Chinese censor board approved. 50.​TRUE OR FALSE: THE FIRST INTERRACIAL KISS IN TELEVISION HISTORY HAPPENED ON STAR TREK. True. Although the network originally didn’t want to air it, William Shatner reportedly sabotaged all of the other shoots, forcing the network to run the kiss. 51.​TRUE OR FALSE: THE FIRST TELEVISION COMMERCIAL EVER WAS A CAR COMMERCIAL. False. It was actually a commercial for watches, and it aired in 1941. 52.​TRUE OR FALSE: ACTOR JIM CAVIEZEL WAS STRUCK BY LIGHTNING WHILE PORTRAYING JESUS IN THE PASSION OF THE CHRIST. True. Caviezel suffered a large number of calamities during the filming, but this one seemed like a bit of an omen. 53.​TRUE OR FALSE: BRYAN ADAMS’ FAMOUS SONG “SUMMER OF ‘69” IS NAMED AFTER THE SEX POSITION, NOT THE YEAR. True. In fact, Adams was just 9 years old during the summer of 1969. 54.​TRUE OR FALSE: THE ROLLING STONES PERFORMED IN BACK TO THE FUTURE 3. False. But ZZ Top did! 55.​TRUE OR FALSE: THE WORD “FUCK” WAS ONCE SAID OVER 1,000 TIMES IN ONE MOVIE. False. But Swearnet: The Movie came close with the word appearing 935 times—a record amount! 56.​TRUE OR FALSE: BATTLEFIELD EARTH WAS WRITTEN BY THE FOUNDER OF SCIENTOLOGY. True. L. Ron Hubbard was a well-known science fiction writer in addition to being the founder of Scientology.

What else did Network drop on us?" There was a too-long silence that meant she was going to hate what Dmitri said next. "Network wants us to provide a 'native guide' for a crew filming on Elfhome…" "You want me to play babysitter?" "No, they asked for a guide, they're getting you as a producer, and you're going to keep them out of trouble even if you need to hogtie them, which I know you're fully capable of." "I don't do babysitting!" "It's not babysitting, and you're very good at it, otherwise Hal wouldn't be alive now." Chesty went to point on a strangle vine staging a surprise rear attack. Jane sighed. When was Hal ever going to learn that these things were more like octopuses than snakes? "That is debatable," she said as Hal went down with a yelp.

Then what's he doing here?" "Trying to get eaten!" Jane turned to face Chloe square on. "Taggart is here is with world famous naturalist, Nigel Reid, to film a network show called Chased by Monsters. They want to film Nigel coming face to face with Elfhome wildlife and hopefully surviving the experience." She let her sarcasm drip through since most Pittsburghers were slightly disdainful of newcomers. "If any of Channel Five's viewers hears of any monsters in the Pittsburgh-area – other than reporter Chloe Polanski – please let us know.

Hillary’s America was met with outrage on the Left, but no one could rebut a single fact in the book or movie. Even my most incriminating allegations proved invulnerable. I noted that, in 1860, the year before the Civil War, no Republican owned a slave; all the four million slaves at the time were owned by Democrats. Now this generalization could easily be refuted by someone providing a list of Republicans who owned slaves. The Left couldn’t do it. One assiduous researcher finally sought to dispute me with a single counterexample. Ulysses S. Grant, he pointed out, once inherited a slave from his wife’s family. I conceded the point but reminded him that, at the time, Ulysses S. Grant was not a Republican. Fearful that they had no substantive answer to Hillary’s America, the mainstream media went into complete denial. If you watched the major networks or public television, or listened to National Public Radio, you would have no idea that Hillary’s America even existed. The book was Number One on the New York Times bestseller list and the movie was the top-grossing documentary of the year. Both were dense with material directly relevant to the ongoing election debate. Yet they were completely ignored by a press that was squarely in the Hillary camp. Despite the failed fulminations and widespread denial, however, the book and movie had an effect. Many people credit it with motivating Republicans and persuading undecideds and thus helping Trump get to the White House. I have no idea how to measure this effect. I do know my book and film helped shape the election narrative. They helped expose Hillary as a gangster and the Democrats as her accomplices with a long history of bigotry and exploitation to account for. In the 2016 election, for the first time the Democrats could not drop the race bomb and get away with it.

I like most of my fellow Republicans and conservatives was a victim of the progressive paradigm, embedded in all our institutions of culture, from academia to Hollywood to the media. In this case, the story that we had accepted, like suckers, was the idea that fascism and Nazism are inherently “right wing.” The Left is really good at inventing and disseminating these paradigms. When one of them falls, they simply reach for another. In my previous book and film, Hillary’s America, I challenged another powerful leftist paradigm. This is the paradigm that the progressives and the Democrats are the party of emancipation, equality, and civil rights. I showed instead that they are the party of slavery and Indian removal, of segregation and Jim Crow, of racial terrorism and the Ku Klux Klan, and of opposition to the civil rights movement of the 1960s. My goal was to strip away the race card from the Democrats—a card they had been successfully playing against Republicans for a generation. Incredibly the Democrats had taken full credit for the civil rights movement, even though Republicans are the ones who got it passed, and even though the opposition to it came almost entirely from the Democratic Party. Democrats accused Republicans—the party of emancipation and opposition to segregation, bigotry, and white supremacy—of being the party of bigotry and white supremacy. Talk about transference. This was my introduction to the Left’s political strategy of shifting the blame for racism onto the party that had historically opposed racism in all its forms. So successful were the Democrats in this con that in 2005 a head of the Republican National Committee, Ken Mehlman, went around apologizing to black groups for sins that had actually been committed, not by the Republicans, but by the Democrats. 5 Equally astonishing, the Democrats have never admitted their racist history, never taken responsibility for what they did, never apologized for it, never paid one penny of restitution for their crimes. What intrigued me most was how one can get away with such a big lie. The answer is you have to dominate all the large megaphones of the culture, from academia to the movies to the major media. With this cultural arsenal at their disposal, big liars can spin out falsehoods with the confidence that no one else has a large enough megaphone to challenge them. They can have their lies taught in classrooms, made into movies and TV shows, and reported in the everyday media as the unvarnished truth. This is how big lies come to be widely believed, sometimes even by the people who are being lied about. Hillary’s America was met with outrage on the Left, but no one could rebut a single fact in the book or movie. Even my most incriminating allegations proved invulnerable. I noted that, in 1860, the year before the Civil War, no Republican owned a slave; all the four million slaves at the time were owned by Democrats. Now this generalization could easily be refuted by someone providing a list of Republicans who owned slaves. The Left couldn’t do it. One assiduous researcher finally sought to dispute me with a single counterexample. Ulysses S. Grant, he pointed out, once inherited a slave from his wife’s family. I conceded the point but reminded him that, at the time, Ulysses S. Grant was not a Republican. Fearful that they had no substantive answer to Hillary’s America, the mainstream media went into complete denial. If you watched the major networks or public television, or listened to National Public Radio, you would have no idea that Hillary’s America even existed. The book was Number One on the New York Times bestseller list and the movie was the top-grossing documentary of the year. Both were dense with material directly relevant to the ongoing election debate. Yet they were completely ignored by a press that was squarely in the Hillary camp.

But the main reason Trump won the nomination—and later the general election—was simpler than any of that: he fit the times. Trump had explored running for president twice before, and the voters had shown little interest. This time around, he turned half the country’s unease and confusion about what was happening to America into a powerful political response. In his own way, he articulated the anger that many middle- and working-class Americans felt over the excesses and condescension of the Democratic Party, the coastal elites, and especially the mainstream news media. Trump had diagnosed a decisive divide in the nation: the alienation of average Americans from the increasingly smug and isolated elites that had mismanaged the country and appeared content to preside over a declining America. They felt the old-boy system in Washington had sold them out and that it was time to disrupt the system. Many ordinary Americans were especially sick of the radical progressives’ shrill disparagement of America and scornful attacks on traditional values, and they were deeply frustrated by the wildly partisan role played by the media. In short, in 2016 many voters felt like the character Howard Beale in the 1976 film Network: “I’m as mad as hell, and I’m not going to take this anymore!” Trump’s pugnacious style worked. These frustrated Americans found in him a fighter willing to punch back, go toe-to-toe with the press, and mount a full-throated defense of America and middle-class values. They were tired of the cooing doublespeak of professional politicians and wanted someone who would tell it like it is—straight from the shoulder—and someone willing to follow through and actually do what other politicians said they would do but never did. Trump’s combativeness also enabled him to break through the distortions and smothering hostility of the partisan media and talk right past them, straight to the American people. For many, supporting Trump was an act of defiance—a protest. The more over the top he was, the more they savored the horrified reaction of the elites, especially the media. Arguments that Trump wasn’t presidential missed the point. Trump’s supporters already knew he didn’t conform to presidential norms. Their question was: Where had presidential norms gotten them? They wanted someone who didn’t conform. The Left was taking a wrecking ball to the country. Many fed up Americans wanted to strike back with their own wrecking ball.

Kieran Rose, chair and co-founder of the Gay & Lesbian Equality Network, accuses the protesters of practising ‘more radical than thou’ politics. ‘I don’t see disability or refugee groups calling for a boycott,’ he says. ‘It’s an immature kind of politics, as if nobody else has opinions on immigration. You must engage with the democratically elected government. The only way not to be criticised is to do nothing. We think it’s entirely appropriate to invite the minister to a festival around the theme of “family values”. The festival has a right to invite him and there’s no connection between sexual orientation and politics. Your social class has more to do with it.’ On the face of it, there is no particular reason why gays should be on the left. In other countries, particularly in the US, many have seen their interests as being more closely aligned with the libertarian right and with neo-liberalism, agrees Sheehan. ‘Lesbians and gays don’t fit into any particular political group,’ he says. ‘Maybe activism has tended to be of the left, but there are also many people who identify socially but not politically with the community. But a lesbian and gay film festival will always be a political event when a gay couple can’t walk down a Dublin street hand in hand.

Right-wing TV networks did not exist in 1917, but in that year was born a presidential tool even more powerful, a lavishly financed government propaganda agency that operated in every medium of the day: films, books, posters, newspaper articles, and a corps of 75,000 speakers who gave more than seven million talks everywhere from movie houses to revival tents. In addition, the federal government also attacked the press, both during and well after the First World War.

explore Becker’s concept of the art world but in relation to Henry Jenkin’s use of the idea in relation to fandom and fan conventions. In Jenkins’ view, an art world involves networks of artistic production, distribution, consumption, circulation and the exhibition and forums for the sale of artworks. In this regard, argues Jenkins, fan conventions are not simply events in which fans can interact with fellow fans, but they also perform a key role in the distribution of knowledge about media productions and are one of the modes by which producers promote cultural products such as comic books, science fiction novels, new film and TV releases, or online/game releases (typified by events such as Comic Con). More importantly, Jenkins argues, conventions provide spaces in which producers have the opportunity to communicate directly with the consumers of their cultural products

But Hicks had his greatest moment on D-Day. Equipped with a film spool recorder, he gave a gripping account of an attack in progress by enemy planes upon a landing craft. This recording, edited to a ten-minute broadcast, has become a classic: it was aired on every network for days, and established Hicks as a top battle correspondent

WE ENTER THE stacks. This library does not use the Dewey decimal system, instead relying on the librarians’ intuitive, psycho-geographical layout. Starting on the left-hand side with subjects local to San Francisco, things proceed outward and along the aisles into the American West, World Geography and Natural History, Extraction, Transportation, Infrastructure, Housing, Art, Film, Networked Media, Material Culture, Language and Gender, Race and Ethnicity, U.S. Political History, Geopolitics and Un-American Activities, and finally, a section called Abstract and Off-Earth.

Our revenue was three hundred billion dollars last year alone. My father built it from the ground up when he took over a small newspaper in New York in the seventies. Then he bought more papers, both domestic and international, then a television station, then a cable network, then a film studio. It grew from there. We’re now considered one of the most successful and influential businesses on the planet.

SCANDALS AND MISMANAGEMENT If Secretary Clinton’s political career had ended with her defeat for the Democratic presidential nomination in 2008, her skills as a manager would have been judged by her disorganized and drama-filled campaign for the presidency and her disastrous Health Care Task Force as First Lady. President Obama, who defeated her calamitously run campaign, should have been wary of nominating Clinton to a post that was responsible for tens of thousands of federal employees throughout the world. While her tenure in Foggy Bottom didn’t have the highly publicized backstabbing element that tarnished her presidential campaign, Secretary Clinton’s deficiencies as a manager were no less evident. There was one department within State that Secretary Clinton oversaw with great care: the Global Partnerships Initiative (GPI), which was run by long-time Clinton family aide Kris Balderston. Balderston was known in political circles for creating a “hit list” that ranked members of Congress based on loyalty to the Clintons during the 2008 presidential primaries.[434] Balderston was brought to Foggy Bottom to “keep the Clinton political network humming at State.”[435] He focused his efforts on connecting CEOs and business interests—all potential Clinton 2016 donors—to State Department public/private partnerships. Balderston worked alongside Clinton’s long-time aide Huma Abedin, who was given a “special government employee” waiver, allowing her to work both as Secretary Clinton’s deputy chief of staff, and for other private sector clients. With the arrangement, Abedin would serve as a consultant to the top Clinton allied firm, Teneo, in a role in which, as the New York Times reported, “the lines were blurred between Ms. Abedin’s work in the high echelons of one of the government’s most sensitive executive departments and her role as a Clinton family insider.”[436] Secretary Clinton and her allies have placed great emphasis on the secretary of state’s historic role in promoting American business interests overseas, dubbing the effort “economic statecraft.”[437] The efforts of the GPI, Abedin, and Balderston ensured that Secretary Clinton’s “economic statecraft” agenda would be rife with the potential for conflicts of interest reminiscent of the favor-trading scandals that emanated from her husband’s White House. While the political office and donor maintenance program was managed with extreme meticulousness, Secretary Clinton ignored her role as manager of the rest of the sprawling government agency.[438] When it came to these more mundane tasks, Secretary Clinton was not on top of what was really going on in the department she ran. While Secretary Clinton was preoccupied with being filmed and photographed all around the world, the State Department was plagued by chronic management problems and scandals, from visa programs to security contractors. And when Secretary Clinton did weigh in on management issues, it was almost always after a raft of bad press forced her to, and not from any proactive steps she took. In fact, she and her department’s first reaction in certain instances was to silence critics or intimidate whistleblowers, rather than get to the bottom of what was actually going on. The events that unfolded in Benghazi were the worst example of Secretary Clinton neglecting her managerial responsibilities. This pattern of behavior, which led to the tragedy, was characteristic of her management style throughout her four years at Foggy Bottom. “Economic Statecraft” A big part of Secretary Clinton’s record-breaking travel—112 countries visited—was her work as a salesperson for select U.S. business interests.[439] Today, her supporters would have us believe her “economic statecraft” agenda was a major accomplishment.[440] Yet, as always seems to be the case with the Clintons, there was one family that benefited more than any other from all this economic statecraft—the Clinton family.

even a documentary film, Transcendent Man (2009), and a science fiction film, Transcendence, in which a brain implant allows you to control a computer network.

He consumed TV like the late Roger Ebert must have watched movies. I imagine that, after being a film critic for almost a half century, it was difficult for Ebert to enjoy a movie just for the fun of it. He must have always been analyzing the plotline, character development, and cinematography. Trump was the same way about network news programming. He commented on the sets, the graphics, the wardrobe choices, the lighting, and just about every other visual component of a broadcast.

Steve was home for a visit. He was showing visitors how they fed the crocs. John was amazed. When the show was over, John and Steve talked for a long time. John asked what it was like catching crocs. Steve gave him some of the films he’d shot in the bush. John put the films away and made his commercial. When he took them out again, he couldn’t believe what he was seeing. The croc was terrifying to John. But Steve didn’t seem at all afraid. Crikey, Steve was saying, this little beauty sure is hungry. John couldn’t believe how excited Steve was about the croc. This guy really thought a croc was the most beautiful thing he’d ever seen! He was waving his arms around and making all kinds of strange animal sounds. Gorgeous was one of Steve’s favorite words. Everything seemed gorgeous to him. The croc’s razor-sharp, glistening teeth were gorgeous. Its lashing tail was gorgeous. Steve Irwin’s life seemed to be one great big gorgeous adventure. John watched the raw videos over and over. An idea was bubbling in his brain. He called Steve. Would Steve mind if he showed the films to Australia’s Channel Ten network? Crikey! Steve said.

Jack Webb had been active in radio for several years before Dragnet propelled him to national prominence. He had arrived at KGO, the ABC outlet in San Francisco, an unknown novice in 1945. Soon he was working as a staff announcer and disc jockey. His morning show, The Coffee Club, revealed his lifelong interest in jazz music, and in 1946 he was featured on a limited ABC-West network in the quarter-hour docudrama One out of Seven. His Jack Webb Show, also 1946, was a bizarre comedy series unlike anything else he ever attempted. His major break arrived with Pat Novak: for 26 weeks Webb played a waterfront detective in a series so hard-boiled it became high camp. He moved to Hollywood, abandoning Novak just as that series was hitting its peak. Mutual immediately slipped him into a Novak sound-alike, Johnny Modero: Pier 23, for the summer of 1947. He played leads and bit parts on such series as Escape, The Whistler, and This Is Your FBI. He began a film career: in He Walked by Night (1948), Webb played a crime lab cop. The film’s technical adviser was Sergeant Marty Wynn of the Los Angeles police. Webb and Wynn shared a belief that pure investigative procedure was dramatic enough without the melodrama of the private eye. The seeds of Dragnet were sown on a movie set.

Hollywood Hotel was the first major network show to broadcast from the West Coast. The film capital was rich in nationally known talent untapped by radio. It had remained untapped because of a telephone company policy that cost the networks up to $1,000 to reverse radio circuits: everything then was geared to broadcast from east to west, and it was sometimes said that a producer could bring a film star east for a five-day train trip for less money than it cost him to air a radio show from California. In 1934 the radio centers were Chicago and New York. This all changed with Hollywood Hotel. Hostess Louella Parsons immediately offset the technical tariff by persuading the elite of the film world to appear on the show without pay. Parsons was then the most feared and powerful newspaper columnist in Hollywood: her column, which appeared across the nation in Hearst newspapers, was widely seen as a maker or breaker of films and careers. She lined up stars who otherwise might be paid $1,000 for a single radio appearance, and scheduled as many as half a dozen each

Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and

Meanwhile, on Raghav’s wish list was a film company. He was a Hindi film buff, but he was not in any way star-struck. He simply thought it was a good business idea, and that the time was right. Vandana, who had a lot of connections in the film industry, was to be a part of the venture. Raghav launched the film company as a personal venture, though TV18 was a minority investor, with a holding of 20 per cent. In June, the Indian Film Company raised Rs 400 crore at London’s Alternative Investment Market, much to Raghav’s amazement. ‘Almost any guy with even half a track record and a gleam of new economy, media or technology in his eye could go to London, float a company which hardly did anything, probably even if revenues were zero, and pick up equity. We did exactly that with our film fund. We had no track record in the film business. Zero.’ But investors were more than willing to throw money around in 2007.

The early days of Inner Sanctum gave a generous mix of classics and original stories. Boris Karloff was a regular, appearing in, among others, the Poe classics The Telltale Heart and The Fall of the House of Usher. Peter Lorre was heard in The Horla, by Maupassant, and George Coulouris, Paul Lukas, and Claude Rains were also starred performers. But Karloff propelled it: fueled by his film portrayals of Frankenstein’s monster, he appeared more than 15 times in 1941–42. While the network was under pressure from parents’ groups to curtail graphic violence, Karloff wanted even more gore. His public expected it, he argued.

The long-term consequence of Gell-Mann Amnesia is Gell-Mann America. People know now that we are systematically misled about the present. But at least we live in the present, so we have local information that can falsify many news stories. We do not live in the past, so all we know is that we may be wildly off-base in our understanding of history. There are no people from the past around to give first hand accounts…though we can read their books and sometimes watch their films.

Why? More than 20 years ago, Reason Magazine ran a story that still holds up well today, called Hollywood’s Missing Movies, about how the film industry airbrushed the drama of the Cold War out of the 20th century. So it’s not just that the movie industry ran positive portrayals of US establishment journalists, they also ran positive portrayals of out-and-out communists - but I repeat myself