Odd Movie Quotes

Grief can destroy you --or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. OR you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn't allow yourself to consider the sacredness of it. But when it's over and you're alone, you begin to see that it wasn't just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can't get off your knees for a long time, you're driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

She sees ghosts,” said Samuel, impatient with my whining. "I see dead people,” I deadpanned back. Oddly, it was Uncle Mike who laughed. I hadn’t thought he’d be a moviegoer.

Odd's fish, m'dear! The man can't even tie his own cravat!

Never tell me the odds!

During your struggle society is not a bunch of flowers, it is a bunch of cactus.

Grief can destroy you—or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. “And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

When making his music, he [Elvis Presley] had been the essence of cool, but in his movies he was often a self-parody embarrassing to watch. Colonel Parker, his manager, who had picked movie scrips for him, had served Elvis less well than the monk Rasputin had served Czar Nicholas and Alexandra.

Horror movies...odd how they became a guideline for survival.

Of course, one must always remember that although The Sound of Music is the most feel-good movie musical of all time, it is crammed full of Nazis.

They should." "Should be like a wood bee," she said. It was a private joke, a mocking appreciation of the slipperiness of even the simplest hope, a nonce catchphrase like so many others lifted from favorite movies or TV shows that served as a rote substitute for conversation and bound them like shut-in twins, each other's best and, most often, only audience.

When she returned, she smiled and said, "We were at the movies once, and this dork took two phone calls during the film. Later we followed him, and Andre broke both his legs with a baseball bat." This proved that even the most evil people could occasionally have a socially responsible impulse.

Odd's fish, m'dear, would you have me challenge the poor countess to a duel?

Movies teach us valuable life lessons. They teach us if we reach deep enough inside ourselves, we can overcome whatever problems we’re dealing with, regardless of the odds.

High school is nothing like it looks in the movies. No one sings, there’s no catchy dance numbers, and in Arizona no one even has lockers.

This isn’t a stupid horror movie, odd one. It’s never too late to do the intelligent thing.

In one way, at least, our lives really are like movies. The main cast consists of your family and friends. The supporting cast is made up of neighbors, co-workers, teachers, and daily acquaintances. There are also bit players: the supermarket checkout girl with the pretty smile, the friendly bartender at the local watering hole, the guys you work out with at the gym three days a week. And there are thousands of extras --those people who flow through every life like water through a sieve, seen once and never again. The teenager browsing a graphic novel at Barnes & Noble, the one you had to slip past (murmuring "Excuse me") in order to get to the magazines. The woman in the next lane at a stoplight, taking a moment to freshen her lipstick. The mother wiping ice cream off her toddler's face in a roadside restaurant where you stopped for a quick bite. The vendor who sold you a bag of peanuts at a baseball game. But sometimes a person who fits none of these categories comes into your life. This is the joker who pops out of the deck at odd intervals over the years, often during a moment of crisis. In the movies this sort of character is known as the fifth business, or the chase agent. When he turns up in a film, you know he's there because the screenwriter put him there. But who is screenwriting our lives? Fate or coincidence? I want to believe it's the latter. I want that with all my heart and soul.

In filmmaking circles, there is a simple axiom that describes the structure of a great character journey: somebody wants something badly, and goes for it, against all odds. (Another variation is, a person falls into a hole, and tries to get out.) If you think about any movie you’ve ever liked, any character you’ve ever rooted for, it’s because they wanted something you could relate to and they struggled, risking life and limb, to achieve it. What’s true about movies is also true about life: You tell me what you want, and I’ll tell you who you are.

He turned to Harley, the oddly muscular eight-year-old son of Hephaestus. "Want to come with? I might need help with the projector." "A projectile! Yes!" Harley pumped his fist. "A projector," Connor corrected. "And you can't make it do anything but show the movie. No exploding upgrades. No turning it into a killer robot." "Aww ..." Harley scowled in disappointment, but he followed Connor to the Big House.

There’s no middle ground in modern movies; you either save a kingdom and marry a princess or you are shot to death by assassins hired by the evil corporation that you are trying to bring to justice in the courtroom of a corrupt judge.

And so I wrote this book as a tribute to these most pathetic of creatures, in hopes that I might succeed in two noble pursuits: 1) helping even one person meet the horror movie odds, and 2) avoid being evicted from my apartment for back rent.

Although my perception might have been distorted by melancholy, it seemed to me that most of those people were in pairs, the larger percentage of them holding hands, as if they were extras in a movie of high romance, accessorizing a scene for which the director's purpose might have been to say that life was a parade lived two-by-two, as it had been since before Noah's fabled ark and as it would be always.

I came across Piper deep in conversation with Jet one afternoon and when I asked her what they were talking about she shrugged and said Dog Things. Sometimes the loneliness of being the odd man out in these conversation got to me but most of the time I just ignored it. I like old movies. She talks to dogs.

On the wall in the living room, not far from Hinman’s body, were the words POLITICAL PIGGY, printed in the victim’s own blood. Whiteley also told Buckles that they had arrested a suspect in connection with the murder, one Robert “Bobby” Beausoleil, a young hippie musician. He had been driving a car that belonged to Hinman, there was blood on his shirt and trousers, and a knife had been found hidden in the tire well of the vehicle. The arrest had occurred on August 6; therefore he had been in custody at the time of the Tate homicides. However, it was possible that he hadn’t been the only one involved in the Hinman murder. Beausoleil had been living at Spahn’s Ranch, an old movie ranch near the Los Angeles suburb of Chatsworth, with a bunch of other hippies. It was an odd group, their leader, a guy named Charlie, apparently having convinced them that he was Jesus Christ. Buckles, Whiteley would later recall, lost interest when he mentioned hippies. “Naw,” he replied,

Overcoming deficits is an essential part of the fabric of our culture. Our books, movies, and folklore are filled with stories of the underdog who beats one-in-a-million odds. And

quietly practiced a street twang. I tried to conjure up all the female badasses I’ve seen in the movies

No doubt, you’ve heard this story before. Marcus wrote a bestselling book about it, Lone Survivor, which became a hit movie starring Mark Wahlberg.

Sunny put on eyebrows, eyelashes, makeup, matching pajamas, a silk robe, and then say looking at herself in the vanity mirror in her bathroom. She had experienced moments in her life when she realized that she was actually alive and living in the world, instead of watching a movie starring herself, or narrating a book with herself as the main character. This was not one of those moments. She felt like she was drifting one centimeter above her physical self, a spirit at odds with its mechanical counterpart. She stood up carefully. Everything looked just right.

These days, all I ask of Fate is that the people she hurls into my life, whether they are evil or good, or morally bipolar, should be amusing to one degree or another...Most good people have a sense of humor. The problem is finding smile-inducing evil people, because the evil are mostly humorless, though in the movies they frequently get some of the best lines. With few exceptions, the morally bipolar are too preoccupied with justifying their contradictory behaviors to learn to laugh at themselves, and I’ve noticed they laugh at other people more than with them.

When our citizens are determined to openly wear pistols on their belts to go shopping at Walmart, that signifies to me a failure on the part of the macho ideal. Ostensibly, the handgun is displayed to let evildoers know, in no uncertain terms, that this is not a person with whom to trifle. It then follows that the wearing of the pistol presumes a situation in which the bearer will need to shoot someone, rendering the brandishing of the weapon a badge of fear, does it not? It occurs to me that if we keep on turning to such “masculine” methodology to solve our conflicts, the only inevitable ending is a bunch of somebody’s family lying in a bloody schoolhouse, movie theater, or smoking Japanese city. I guess we just hope it’s not our family? I don’t like the odds.

But sometimes a person who fits none of these categories comes into your life. This is the joker who pops out of the deck at odd intervals over the years, often during a moment of crisis. In the movies this sort of character is known as the fifth business, or the change agent. When he turns up in a film, you know he’s there because the screenwriter put him there. But who is screenwriting our lives? Fate or coincidence?

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

Oddly, our mall had a small movie theater that showed foreign and independent films. I loved going there, loved how what I saw often confused or embarrassed me, how the movies there made me think in ways that only books did.

You can't just give up on a movie during the dark night of the soul, he'd said. What's that? I asked. That's the point in a film when all hope is lost and the protagonists must dig deeper than ever before to prevail against the odds stacked against them.

It’s not just that,” Chief Porter said. “A guy who once would have raped and killed a woman, now a lot of times he also has to cut off her lips and mail them to us or take her eyes for a souvenir and keep them in his freezer at home. There’s more flamboyant craziness these days.” Giving the buttered cinnamon roll a reprieve, Ozzie said, “Maybe it’s all these superhero movies with all their supervillains. Some psychopath who used to be satisfied raping and murdering, these days he thinks that he should be in a Batman movie, he wants to be the Joker or the Penguin.” “No real-life bad guy wants to be the Penguin,” I assured him. “Norman Bates was happy just dressing up like his mother and stabbing people,” Chief Porter said, “but Hannibal Lecter has to cut off their faces and eat their livers with fava beans. The role models have become more intense.

She gives over to him her desiccated but oddly perfect smile, a smile such as flickered from the old black-and-white movie screens, coy and certain, a smile like a thread of pure melody, that when she was young must have seemed likely to lift her life far above where it eventually settled

I have never liked looking at myself in a mirror. I don't know why exactly. I'm not movie-star handsome, but I'm not the Creature from the Black Lagoon, either. I'm pretty much a face in the crowd, which is a blessing when, like me, you have a reason not to draw attention to yourself. There's just something unsettling about studying your reflection. It's not a matter of being dissatisfied with your face or of being embarrassed by your vanity. Maybe it's that when you gaze into your own eyes, you don't see what you wish to see--or glimpse something that you wish weren't there.

How could anything be the same? The red of blood lay over the market road in slick pools mingled with a yellow spread of dal someone must have brought in anticipation of a picnic after the parade, and there were flies on it, left behind odd slippers, and a sad pair of broken spectacles, even a tooth. It was rather like the government warning about safety that appeared in the cinema before the movie with the image of a man cycling to work, a poor man but with a wife who loved him, and she had sent his lunch with him in a tiffin container; then came a blowing of horns and small, desperate cycle tinkle, and a messy blur clearing into the silent still image of a spread of food mingled with blood. Those mismatched colors, domesticity shuffled with death, sureness running into the unexpected, kindness replaced by the image of violence, always made the cook feel like throwing up and weeping both together.

The movie is about a woman who falls in love with a monster. Her love magically transforms the monster into a handsome man. At the very end of the movie, after the monster becomes a man, the woman does something very odd. She presses her lips against his. I can’t help wondering what it might feel like to do that.

Follow your doctor’s orders. For me that means antidepressants and behavioral therapy. Exercise thirty minutes a day, six days a week. Get sunlight, or if you can’t, use light therapy. Do not overuse your light therapy lamp even though you want to. Treat yourself like you would your favorite pet. Plenty of fresh water, lots of rest, snuggles as needed, allow yourself naps. Avoid negativity. That means the news, people, movies. It will all be there when you’re healthy again. The world will get on without your seeing it. Forgive yourself. For being broken. For being you. For thinking those are things that you need forgiveness for. Those terrible things you tell yourself? Can you imagine if the person you love most were telling themselves those things? You’d think they were crazy. And wrong. They think the same about you. Those negative things you are thinking are not rational. Remember that depression lies and that your brain is not always trustworthy. Give yourself permission to recover. I’m lucky that I can work odd hours and take mental health days but I still feel shitty for taking them. Realize that sometimes these slow days are necessary and healthy and utterly responsible. Watch Doctor Who. Love on an animal. Go adopt a rescue, or if you can’t, go to the shelter and just snuggle a kitten. Then realize that that same little kitten that you’re cradling isn’t going to accomplish shit but is still wonderful and lovely and so important. You are that kitten. Get up. Go brush your teeth. Go take a hot shower. If you do nothing else today just change into a new pair of pajamas. It helps. Remember that you are not alone. There are crisis lines filled with people who want to help. There are people who love you more than you know. There are people who can’t wait to meet you because you will teach them how unalone they are. You are so worthy of happiness and it will come.

Where I live now, in the UK, it’s hard to get a rifle and next to impossible to secure a handgun. Yet somehow, against all odds, British people feel free. Is it that they don’t know what they’re missing? Or is the freedom they feel the freedom of not being shot to death in a classroom or shopping mall or movie theater?

I smile at my friends, but Mer and Rashmi and Josh are distracted, arguing about something that happened over dinner. St. Clair sees me and smiles back. "Good?" I nod.He looks pleased and ducks into the row after me. I always sit four rows up from the center, and we have perfectseats tonight.The chairs are classic red. The movie begins,and the title screen flashes up. "Ugh,we have to sit through the credits?" Rashmi asks. They roll first,like in all old films. I read them happily. I love credits. I love everything about movies. The theater is dark except for the flicker of blacks and whites and grays on-screen. Clark Gable pretends to sleep and places his hand in the center of an empty bus seat. After a moment of irritation,Claudette Colbert gingerly plucks it aside and sits down. Gable smiles to himself,and St. Clair laughs. It's odd,but I keep finding myself distracted. By the white of his teeth through the darkness.By a wavy bit of his hair that sticks straight out to the side. By the soft aroma of his laundry detergent. He nudges me to silently offer the armrest,but I decline and he takes it.His arm is close to mine,slightly elevated. I glance at his hands.Mine are tiny compared to his large,knuckly boy hands. And,suddenly,I want to touch him. Not a push,or a shove,or even a friendly hug. I want to feel the creases in his skin,connect his freckles with invisible lines,brush my fingers across the inside of his wrist. He shifts. I have the strangest feeling that he's as aware of me as I am of him. I can't concentrate. The characters on the screen are squabbling, but for the life of me, I don't know what about. How long have I not been paying attention? St. Clair coughs and shifts again. His leg brushes against mine.It stays there. I'm paralyzed. I should move it; it feels too unnatural.How can he not notice his leg is touching my leg? From the corner of my eye,I see the profile of his chin and nose,and-oh,dear God-the curve of his lips. There.He glanced at me. I know he did. I bore my eyes into the screen, trying my best to prove that I am Really Interested in this movie.St. Clair stiffens but doesn't move his leg.Is he holding his breath? I think he is.I'm holding mine. I exhale and cringe-it's so loud and unnatural. Again.Another glance. This time I turn, automatically,just as he's turning away. It's a dance,and now there's a feeling in the air like one of us should say something.Focus,Anna. Focus. "Do you like it?" I whisper. He pauses. "The film?" I'm thankful the shadows hide my blush. "I like it very much," he says. I risk a glance,and St. Clair stares back. Deeply.He has not looked at me like this before.I turn away first, then feel him turn a few beats later. I know he is smiling,and my heart races.

In American Lit class once, we discussed America as a metaphor tying it into how the country is represented in books, movies, songs. You know, America is a melting pot. America is a mixed salad. America is a shining city on a hill. America is the country where a skinny kid with a funny name can defeat the odds and become president. But America doesn’t seem like any of those things anymore. Maybe it never was.

At one point the worst thing to happen was the odd stabbing or slashing, the violence that we live with nowadays used to only be seen in Hollywood gangster movies such as Gangs of New York, Menace to Society and Boys and the Hood. Even when we were reading about the crack hitting London, no one in Scotland would have thought in their wildest dreams that it would have taken off in our cities, towns and now even highland villages.

America’s primary institution of learning—the movies—has taught us that when we find ourselves in a strange and eerily quiet place with lots of doors, waiting behind one of them will be either a psychopathic killer or a monster of supernatural or extraterrestrial origin. Of course, if it’s an Adam Sandler comedy, behind the door will lurk a goofy dude waiting to deliver a joke involving poop, pee, or genitals. I wasn’t in such a comedy, but that was all right, because I preferred a psychopath or a monster.

Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

Stories like Bukowski’s are the bread and butter of our cultural narrative. Bukowski’s life embodies the American Dream: a man fights for what he wants, never gives up, and eventually achieves his wildest dreams. It’s practically a movie waiting to happen. We all look at stories like Bukowski’s and say, “See? He never gave up. He never stopped trying. He always believed in himself. He persisted against all the odds and made something of himself!” It is then strange that on Bukowski’s tombstone, the epitaph reads: “Don’t try.

Overcoming deficits is an essential part of the fabric of our culture. Our books, movies, and folklore are filled with stories of the underdog who beats one-in-a-million odds. And this leads us to celebrate those who triumph over their lack of natural ability even more than we recognize those who capitalize on their innate talents. As a result, millions of people see these heroes as being the epitome of the American Dream and set their sights on conquering major challenges. Unfortunately, this is taking the path of most resistance.

can destroy you—or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

Grief can destroy you—or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

Juliet knew that, to many people, she might seem to be odd and solitary—and so, in a way, she was. But she had also had the experience, for much of her life, of feeling surrounded by people who wanted to drain away her attention and her time and her soul. And usually, she let them. Be available, be friendly (especially if you are not popular)—that was what you learned in a small town and also in a girls’ dormitory. Be accommodating to anybody who wants to suck you dry, even if they know nothing about who you are. She looked straight at this man and did not smile. He saw her resolve, there was a twitch of alarm in his face.

Regular polysemy is also fenced in by fastidious semantic restrictions. You can use France to refer to the land, the state, or the leadership but not to the people: it's odd to say France eats a lot but stays thin. You can work for a newspaper or a magazine, but not for a book or a movie. Words for edible objects can be used for the gloop that results when they are mashed up-some carrot, some salmon, some apple, some egg-but not if the objects come in aggregates rather than individually. That's why Mexican restaurants serve refried beans, not refried bean, and why the puree serve in Indian restaurants is called lentils, not lentil.

Lake Natron resided in northern Tanzania near an active volcano known as Ol Doinyo Lengai. It was part of the reason the lake had such unique characteristics. The mud had a curious dark grey color over where Jack had been set up for observation, and he noted that there was now an odd-looking mound of it to the right of one of the flamingo’s nests. He zoomed in further and further, peering at it, and then realized what he was actually seeing. The dragon had crouched down beside the nests and blended into the mud. From snout to tail, Jack calculated it had to be twelve to fourteen feet long. Its wings were folded against its back, which had small spines running down the length to a spiky tail. It had a fin with three prongs along the base of the skull and webbed feet tipped with sharp black talons. He estimated the dragon was about the size of a large hyena. It peered up at its prey with beady red eyes, its black forked tongue darting out every few seconds. Its shoulder muscles bunched and its hind legs tensed. Then it pounced. The dark grey dragon leapt onto one of flamingoes atop its nest and seized it by the throat. The bird squawked in distress and immediately beat its wings, trying to free itself. The others around them took to the skies in panic. The dragon slammed it into the mud and closed its jaws around the animal’s throat, blood spilling everywhere. The flamingo yelped out its last breaths and then finally stilled. The dragon dropped the limp carcass and sniffed the eggs before beginning to swallow them whole one at a time. “Holy shit,” Jack muttered. “Have we got a visual?” “Oh, yeah. Based on the size, the natives and the conservationists were right to be concerned. It can probably wipe out a serious number of wildlife in a short amount of time based on what I’m seeing. There’s only a handful of fauna that can survive in these conditions and it could make mincemeat out of them.” “Alright, so what’s the plan?” “They told me it’s very agile, which is why their attempts to capture it haven’t worked. I’m going to see if it responds to any of the usual stimuli. So far, they said it doesn’t appear to be aggressive.” “Copy that. Be careful, cowboy.” “Ten-four.” Jack glanced down at his utility belt and opened the pocket on his left side, withdrawing a thin silver whistle. He put it to his lips and blew for several seconds. Much like a dog whistle, Jack couldn’t hear anything. But the dragon’s head creaked around and those beady red eyes locked onto him. Jack lowered the whistle and licked his dry lips. “If I were in a movie, this would be the part where I said, ‘I’ve got a bad feeling about this.’” The dragon roared, its grey wings extending out from its body, and then flew straight at him.

Bob Cavallo remembers early on in the process, ‘We were at odds with each other. Our contract was up; five years had gone by since Purple Rain. We met at the Four Seasons with his lawyer and his accountant, me and Steve Fargnoli to discuss some kind of rapprochement because he had fired us. Basically he said, “I’ll work with you again but you’ve got to help me make this movie.” I read the treatment and said, “This could be an interesting thing,” and I said, “I’ll try to put you together with some young hip writers and maybe we can come up with a script quickly, ’cause this is pretty detailed.” And he went, “What are you talking about? That is the script.” It was thirty pages. And he said, “I’m going to shoot it, I know exactly how to do it.” So I said, “Maybe we could get this on Broadway for you. Would you be interested in that?” And he said, “No.” Now he was pissed that I didn’t think this was a good enough script, so we shook hands and that was the end of it. Then, about a year later, we were suing each other. But even when we sued each other, it was kinda funny. I said, “How could you not pay me?” He said, “How could you sue me?” He said, “You can’t have my children, those songs. You’re gonna give your involvement in those songs to your grandchildren?” And I said, “Yeah, I put ten years of my life into you, and you sucked all the air out of the room. I couldn’t really manage anybody else except for your friends.

I can think of only two movies with women killers we’re meant to sympathize with, and both because they’d been sexually assaulted—Thelma and Louise and Monster. And to be honest, I don’t imagine anyone would call the women in these films heroes. The popular comic book mercenary Red Sonja is, perhaps, a proper hero, but is, once again, motivated by a sexual assault. Male heroes are heroic because of what’s been done to women in their lives, often—the dead child, the dead wife. Women heroes are also heroic for what’s been done to women … to them. We build our heroes, too often, on terrible things done to women, instead of creating, simply, heroes who do things, who persevere in the face of overwhelming odds because it’s the right thing to do.

Things happened so casually. There was no added friction to the running of time, no solemnity…. Life kept going as it always did…as if what had happened was nothing at all. But it wasn’t to me. Suddenly, I was not at home in any place anymore. They all became strangers—faceless, emotionless people I could not understand or relate to. And I slowly distanced myself from their world…and, since then, I haven’t really been there for most of it…. When they lowered their coffins into the ground, I found myself in a horror movie with no one to save me. I understood that I would not see them again. But oddly, they appear in my mind all the time. I see their smile; I can hear their laughter. It makes me smile back…I forget they are gone…and my step quickens to take me home to them. For a few seconds, I believe they are waiting for me as if no time has passed at all….

In the climactic scene of many Hollywood science-fiction movies, humans face an alien invasion fleet, an army of rebellious robots or an all-knowing super-computer that wants to obliterate them. Humanity seems doomed. But at the very last moment, against all the odds, humanity triumphs thanks to something that the aliens, the robots and the super-computers didn’t suspect and cannot fathom: love. The hero, who up till now has been easily manipulated by the super-computer and has been riddled with bullets by the evil robots, is inspired by his sweetheart to make a completely unexpected move that turns the tables on the thunderstruck Matrix. Dataism finds such scenarios utterly ridiculous. ‘Come on,’ it admonishes the Hollywood screenwriters, ‘is that all you could come up with? Love? And not even some platonic cosmic love, but the carnal attraction between two mammals? Do you really think that an all-knowing super-computer or aliens who managed to conquer the entire galaxy would be dumbfounded by a hormonal rush?

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? Loretta was always a cranky old bitch. No sense of humor. Even when I was a kid she hated me. Thought I was a bad influence on her precious grandchild. Don’t know where she got that idea from. She moved out to Arizona years ago. Like a lot of women her age, she still enjoys a good tug on the slot machine—hence her frequent trips to Sin City. Apparently this is one such trip. Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

Many potential readers will skip the shopping cart or cash-out clerk because they have seen so many disasters reported in the news that they’ve acquired a panic mentality when they think of them. “Disasters scare me to death!” they cry. “I don’t want to read about them!” But really, how can a picture hurt you? Better that each serve as a Hallmark card that greets your fitful fevers with reason and uncurtains your valor. Then, so gospeled, you may see that defeating a disaster is as innocently easy as deciding to go out to dinner. Remove the dread that bars your doors of perception, and you will enjoy a banquet of treats that will make the difference between suffering and safety. You will enter a brave new world that will erase your panic, and release you from the grip of terror, and relieve you of the deadening effects of indifference —and you will find that switch of initiative that will energize your intelligence, empower your imagination, and rouse your sense of vigilance in ways that will tilt the odds of danger from being forever against you to being always in your favor. Indeed, just thinking about a disaster is one of the best things you can do —because it allows you to imagine how you would respond in a way that is free of pain and destruction. Another reason why disasters seem so scary is that many victims tend to see them as a whole rather than divide them into much smaller and more manageable problems. A disaster can seem overwhelming when confronted with everything at once —but if you dice it into its tiny parts and knock them off one at a time, the whole thing can seem as easy as eating a lavish dinner one bite at a time. In a disaster you must also plan for disruption as well as destruction. Death and damage may make the news, but in almost every disaster far more lives are disrupted than destroyed. Wit­ness the tornado that struck Joplin, Missouri, in May 2011 and killed 158 people. The path of death and destruction was less than a mile wide and only 22 miles long —but within thirty miles 160,000 citizens whose property didn’t suffer a dime of damage were profoundly disrupted by the carnage, loss of power and water, suspension of civic services, and inability to buy food, gas, and other necessities. You may rightfully believe your chances of dying in a disaster in your lifetime may be nearly nil, but the chances of your life being disrupted by a disaster in the next decade is nearly a sure thing. Not only should you prepare for disasters, you should learn to premeditate them. Prepare concerns the body; premeditate concerns the mind. Everywhere you go, think what could happen and how you might/could/would/should respond. Use your imagination. Fill your brain with these visualizations —run mind-movies in your head —develop a repertoire —until when you walk into a building/room/situation you’ll automatically know what to do. If a disaster does ambush you —sure you’re apt to panic, but in seconds your memory will load the proper video into your mobile disk drive and you’ll feel like you’re watching a scary movie for the second time and you’ll know what to expect and how to react. That’s why this book is important: its manner of vivifying disasters kickstarts and streamlines your acquiring these premeditations, which lays the foundation for satisfying your needs when a disaster catches you by surprise.

Paris,” a Seventh Army soldier wrote his wife. “It was wonderful, but I slept on the floor because the bed was just too much like sleeping in butter.” A woman working for the OSS described fleets of vélos, odd contraptions like “canvas-covered bathtubs and drawn or propelled by motorcycles or bicycles,” carting around GIs “who little count the cost in their exuberance at being alive.” The writer Simone de Beauvoir concluded that “the easygoing manner of the young Americans incarnated liberty itself.” Troops packed movie theaters along the Champs-Élysées, and two music halls featured vaudeville shows. Post Number One of the American Legion served hamburgers and bourbon, and bars opened with names intended to entice the homesick, like The Sunny Side of the Street and New York. Army special services organized activities ranging from piano recitals to jitterbug lessons, while distributing thousands of hobby kits for sketching, clay modeling, and leather craft. The Bayeux Tapestry, long tucked away for safekeeping, reemerged in an exhibit at the Louvre, with the segment depicting the Norman defeat of the Anglo-Saxons in 1066 tactfully

expression that I took to be surprised agreement. Because Birdie seemed to expect me to elucidate, I fumbled out what I thought she might want to say herself: “Grief can destroy you—or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

Loss is the hardest thing,” I said. “But it’s also the teacher that’s the most difficult to ignore.” Her fanning hand went still. She regarded me with an expression that I took to be surprised agreement. Because Birdie seemed to expect me to elucidate, I fumbled out what I thought she might want to say herself: “Grief can destroy you—or focus you. You can decide a relationship was all for nothing if it had to end in death, and you alone. Or you can realize that every moment of it had more meaning than you dared to recognize at the time, so much meaning it scared you, so you just lived, just took for granted the love and laughter of each day, and didn’t allow yourself to consider the sacredness of it. But when it’s over and you’re alone, you begin to see it wasn’t just a movie and a dinner together, not just watching sunsets together, not just scrubbing a floor or washing dishes together or worrying over a high electric bill. It was everything, it was the why of life, every event and precious moment of it. The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can’t get off your knees for a long time, you’re driven to your knees not by the weight of the loss but by gratitude for what preceded the loss. And the ache is always there, but one day not the emptiness, because to nurture the emptiness, to take solace in it, is to disrespect the gift of life.

Dear PrettyKitty29, Hi, my name is Liam Brody. From the looks of your charming website, you've heard of me. Believe it or not, I've heard of you too. I was recently tipped off about your little gossip community. I probably shouldn't call it little. You are one of the busiest gossip communities on the Internet. Congratulations. I'm always impressed with people who manage to stay indoors so much. You must have a sufficient amount of Vitamin D. I noticed that you seem to have an odd and probably unwarranted agenda against me. Almost every bitter post about me is put up by lovely you. I also noticed that your hatred has spread successfully among your users. Wow. What an influence you have on gossip hungry teens and housewives. Again, congratulations. I apologize for dating models, PrettyKitty29. I just think they're more attractive than other people. Some people steal, some people do drugs, some people sell them. I date models. It could probably be worse. I could be someone who makes bribes. Speaking of those, I was emailing you to let you know that despite the sarcasm throughout this email, I find your strangely influential website interesting and am willing to make a substantial payment to you if you stop posting negative stories and put a few nice ones instead. I don't know what a gossip community moderator gets paid, but I'm sure that regardless, you could use a few extra bucks. It would pay for food delivery, movies On Demand, and other indoor pleasures that I'm sure you partake in. Please let me know. Best, Liam Brody.

And then I saw him speak. Years later, after writing dozens upon dozens of presidential speeches, it would become impossible to listen to rhetoric without editing it in my head. On that historic Iowa evening, Obama began with a proclamation: “They said this day would never come.” Rereading those words today, I have questions. Who were “they,” exactly? Did they really say “never”? Because if they thought an antiwar candidate with a robust fund-raising operation could never win a divided three-way Democratic caucus, particularly with John Edwards eating into Hillary Clinton’s natural base of support among working-class whites, then they didn’t know what they were talking about. All this analysis would come later, though, along with stress-induced insomnia and an account at the Navy Mess. At the time, I was spellbound. The senator continued: “At this defining moment in history, you have done what the cynics said you couldn’t do.” He spoke like presidents in movies. He looked younger than my dad. I didn’t have time for a second thought, or even a first one. I simply believed. Barack Obama spoke for the next twelve minutes, and except for a brief moment when the landing gear popped out and I thought we were going to die, I was riveted. He told us we were one people. I nodded knowingly at the gentleman in the middle seat. He told us he would expand health care by bringing Democrats and Republicans together. I was certain it would happen as he described. He looked out at a sea of organizers and volunteers. “You did this,” he told them, “because you believed so deeply in the most American of ideas—that in the face of impossible odds, people who love this country can change it.

Trash first. Then supplies. Stepping forward, I kicked a pile of takeout containers to one side, wanting to clear a path to the cabinets so I could look for latex gloves. But then I stopped, stiffening, an odd scratching sound coming from the pile I’d just nudged with my foot. Turning back to it, I crouched on the ground and lifted a greasy paper at the top of the mess. And that’s when I saw it. A cockroach. In Ireland. A giant behemoth of a bug, the likes I’d only ever seen on nature programs about prehistoric insects. Okay, perhaps I was overexaggerating its size. Perhaps not. Honestly, I didn’t get a chance to dwell on the matter, because the roach-shaped locust of Satan hopped onto my hand. I screamed. Obviously. Jumping back and swatting at my hand, I screamed again. But evil incarnate had somehow crawled up and into the sleeve of my shirt. The sensation of its tiny, hairy legs skittering along my arm had me screaming a third time and I whipped off my shirt, tossing it to the other side of the room as though it was on fire. “What the hell is going on?” I spun toward the door, finding Ronan Fitzpatrick and Bryan Leech hovering at the entrance, their eyes darting around the room as though they were searching for a perpetrator. Meanwhile, I was frantically brushing my hands over my arms and torso. I felt the echo of that spawn of the devil’s touch all over my body. “Cockroach!” I screeched. “Do you see it? Is it still on me?” I twisted back and forth, searching. Bryan and Ronan were joined in the doorway by more team members, but I barely saw them in my panic. God, I could still feel it. I. Could. Still. Feel. It. Now I knew what those hapless women felt like in horror movies when they realized the serial killer was still inside the house.

Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? .... Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.

What’s sacred to me? thought Fate. The vague pain I feel at the passing of my mother? An understanding of what can’t be fixed? Or the kind of pang in the stomach I feel when I look at this woman? And why do I feel a pang, if that’s what it is, when she looks at me and not when her friend looks at me? Because her friend is nowhere near as beautiful, thought Fate. Which seems to suggest that what’s sacred to me is beauty, a pretty girl with perfect features. And what if all of a sudden the most beautiful actress in Hollywood appeared in the middle of this big, repulsive restaurant, would I still feel a pang each time my eyes surreptitiously met this girl’s or would the sudden appearance of a superior beauty, a beauty enhanced by recognition, relieve the pang, diminish her beauty to ordinary levels, the beauty of a slightly odd girl out to have a good time on a weekend night with three slightly peculiar men and a woman who basically seems like a hooker? And who am I to think that Rosita Méndez seems like a hooker? thought Fate. Do I really know enough about Mexican hookers to be able to recognize them at a glance? Do I know anything about innocence or pain? Do I know anything about women? I like to watch videos, thought Fate. I also like to go to the movies. I like to sleep with women. Right now I don’t have a steady girlfriend, but I know what it’s like to have one. Do I see the sacred anywhere? All I register is practical experiences, thought Fate. An emptiness to be filled, a hunger to be satisfied, people to talk to so I can finish my article and get paid. And why do I think the men Rosa Amalfitano is out with are peculiar? What’s peculiar about them? And why am I so sure that if a Hollywood actress appeared all of a sudden Rosa Amalfitano’s beauty would fade? What if it didn’t? What if it sped up? And what if everything began to accelerate from the instant a Hollywood actress crossed the threshold of El Rey del Taco?

timelines register the pain of her loss for the first time. “I’m sorry, honey.” He remembers the day she died, eight weeks ago. She had become almost childlike by that point, her mind gone. He had to feed her, dress her, bathe her. But this was better than the time right before, when she had enough cognitive function left to be aware of her complete confusion. In her lucid moments, she described the feeling as being lost in a dreamlike forest—no identity, no sense of when or where she was. Or alternatively, being absolutely certain she was fifteen years old and still living with her parents in Boulder, and trying to square her foreign surroundings with her sense of place and time and self. She often wondered if this was what her mother felt in her final year. “This timeline—before my mind started to fracture—was the best of them all. Of my very long life. Do you remember that trip we took—I think it was during our first life together—to see the emperor penguins migrate? Remember how we fell in love with this continent? The way it makes you feel like you’re the only people in the world? Kind of appropriate, no?” She looks off camera, says, “What? Don’t be jealous. You’ll be watching this one day. You’ll carry the knowledge of every moment we spent together, all one hundred and forty-four years.” She looks back at the camera. “I need to tell you, Barry, that I couldn’t have made it this long without you. I couldn’t have kept trying to stop the inevitable. But we’re stopping today. As you know by now, I’ve lost the ability to map memory. Like Slade, I used the chair too many times. So I won’t be going back. And even if you returned to a point on the timeline where my consciousness was young and untraveled, there’s no guarantee you could convince me to build the chair. And to what end? We’ve tried everything. Physics, pharmacology, neurology. We even struck out with Slade. It’s time to admit we failed and let the world get on with destroying itself, which it seems so keen on doing.” Barry sees himself step into the frame and take a seat beside Helena. He puts his arm around her. She snuggles into him, her head on his chest. Such a surreal sensation to now remember that day when she decided to record a message for the Barry who would one day merge into his consciousness. “We have four years until doomsday.” “Four years, five months, eight days,” Barry-on-the-screen says. “But who’s counting?” “We’re going to spend that time together. You have those memories now. I hope they’re beautiful.” They are. Before her mind broke completely, they had two good years, which they lived free from the burden of trying to stop the world from remembering. They lived those years simply and quietly. Walks on the icecap to see the Aurora Australis. Games, movies, and cooking down here on the main level. The occasional trip to New Zealand’s South Island or Patagonia. Just being together. A thousand small moments, but enough to have made life worth living. Helena was right. They were the best years of his lives too. “It’s odd,” she says. “You’re watching this right now, presumably four years from this moment, although I’m sure you’ll watch it before then to see my face and hear my voice after I’m gone.” It’s true. He did. “But my moment feels just as real to me as yours does to you. Are they both real? Is it only our consciousness that makes it so? I can imagine you sitting there in four years, even though you’re right beside me in this moment, in my moment, and I feel like I can reach through the camera and touch you. I wish I could. I’ve experienced over two hundred years, and at the end of it all, I think Slade was right. It’s just a product of our evolution the way we experience reality and time from moment to moment. How we differentiate between past, present, and future. But we’re intelligent enough to be aware of the illusion, even as we live by it, and so,

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

You can talk to me, Clay,” I said with a little hope.  I really began to wonder if he could speak.  When he didn’t respond, I spoke again.  “Okay, do you want to go out or stay in?” He moved to the couch and sat in the middle, his choice clear.  Stay in tonight. I hesitated.  The chair, set at an odd angle to the TV, gave you a sore neck if you tried to watch a movie from there.  That meant I’d need to sit next to him to watch a movie.  But I felt so exposed in a skirt and sleeveless shirt. I wasn’t sure if I could sit next to him for a full movie. While I debated my options, he watched me closely. “I’m going to go change,” I stammered. “I’ll be right back.” I turned and made it one step before the back of my shirt snagged on something.  Surprised, I looked over my shoulder and found Clay standing right behind me.  He held a fold of my shirt between his thumb and forefinger.  I could see the glint of his brown eyes behind the still damp strands of his hair.  He tilted his head back toward the couch and gave a slight tug on my shirt.  My stomach dropped, and I couldn’t tell if it was in a good way or a bad one. When I hesitated, he gave another tug.  I surrendered, turned back, and sat on the couch. He padded over to the movies, made a selection I couldn’t see, and crouched to start it.  It amazed me that he knew how to do that.  Then again, he watched everything Rachel and I did.  I wondered if anything escaped his notice. He pressed play, stood, and walked toward me with fluid strides.  I felt graceless in comparison.  He settled next to me and watched the previews.  I tried to focus on them, too, but couldn’t.  Instead, I noticed our bare feet, the scratch on the wall next to the TV, his leg lightly pressed against mine, the sound of the water as it slowly dripped from the showerhead in the bathroom, his hands loosely resting on his lap.  The long list of unimportant details would not let my mind settle. It was midway through the movie when my mind calmed enough to notice we watched an action-comedy I’d wanted to see.  I’d just mentioned it to Rachel this past week.  She must have gotten it after that. Slowly, I began to relax and enjoy the movie.  I even laughed aloud at one point.  Clay’s echoing chuckle startled me, but in a good way.  So, he could do more than growl as a dog.  His deep laugh sounded pleasant. When

The perfect girl what can I say; to be so close yet, feel miles away. I want to run to her, but have to walk out the door going the other way. The only words spoken to her are- ‘Have a nice day.’ I think about her and the summer, and what it could have been with her. It reminds me of- sixteen, you are on my mind all the time. I think about you. It is like a vision of the stars shining, ribbon wearing, bracelet making, and holding hands forever. All the sunflowers in the hayfields and kissing in the rain, no more brick walls, no more falling teardrops of pain, and no more jigsaw puzzle pieces would remain. True love should not be such a game; does she feel the same. She is everything that I cannot have, and everything I lack. What if every day could be like this- Diamond rings, football games, and movies on the weekends? It is easy to see she belongs to me; she is everything that reminds me of ‘sixteen’ everything that is in my dreams. Everything she does is amazing, but then again, I am just speculating, and fantasizing about Nevaeh Natalie, who just turned the age of sixteen! Nevaeh- I recall my first boy kiss was not at all, what I thought it was going to be like. I was wearing a light pink dress, and flip-flops that were also pink with white daisy flowers printed on them. I loosened my ponytail and flipped out my hair until my hair dropped down my back, and around my shoulders. That gets A guy going every time, so I have read online. He was wearing ripped-up jeans and a Led Zeppelin t-shirt. He said that- ‘My eyes sparkled in blue amazement, which was breathtaking, that he never saw before.’ Tell me another line… I was thinking, while Phil Collins ‘Take Me Home’ was playing in the background. I smiled at him, he began to slowly lean into me, until our lips locked. So, enjoy, he kissed me, and my heart was all aflutter. When it happened, I felt like I was floating, and my stomach had butterflies. My eyes fastened shut with no intentions of me doing so during the whole thing. When my eyes unfastened my feelings of touch engaged, and I realized that his hands are on my hips. His hands slowly moved up my waist, and my body. I was trembling from the exhilaration. Plus, one thing led to another. It was sort of my first time, kissing and playing with him you know a boy, oh yet not really, I had gotten to do some things with Chiaz before like, in class as he sat next to me. I would rub my hand on it under the desks- yeah, he liked that, and he would be. Oh, how could I forget this… there was this one time in the front seat of his Ford pickup truck, we snuck off… and this was my first true time gulping down on him, for a lack of a better term. As I had my head in his lap and was about to move up for him to go in me down there, I was about to get on top and let him in me. When we both heard her this odd, yet remarkably loud scream of bloody murder! Ava was saying- ‘You too were going to fuck! What the fuck is going on here? Anyways, Ava spotted us before he got to ‘Take me!

Spending time around her house, I came across a cache of 16mm movies in her basement. It turned out that Barbara [Stanwyck] had a lot of her own movies, and I convinced her to spend some time watching them with me. I ran the projector. She had prints of Union Pacific, Ball of Fire, and Baby Face, among others. She didn't particularly like watching them, but she did enjoy reminiscing about their production: how she got the part, what the location was like, that sort of thing. She liked people with humor and always spoke highly of Gary Cooper, Joel McCrea, and Frank Capra. Oddly enough, she wasn't crazy about Preston Sturges; she seemed to feel that he expended all his charm and humor for his movies and that there wasn't anything left for his actors. In broad outline, all this sounds a little bit like the scene in Sunset Boulevard where Gloria Swanson sits with William Holden and watches a scene from Queen Kelly, rhapsodizing about her own face. But Barbara couldn't have cared less about how she looked; as I watched her films with her, it was clear that, for her, the movies were a job she loved, as well as a social occasion for a woman who was otherwise something of a loner.

Mike Romano slipped into the confessional. The screen behind the lattice grill slid open. “Bless me, Father, for I have sinned.” “For the love of God, Romano, not again.” “Will you hear my confession, Father?” “No.” “What do you mean?” “I mean you haven’t sinned. You didn’t sin yesterday or the day before, last week or last month, and you haven’t sinned today.” “How do you know? “I’m playing the odds.” “I need absolution.” “No, you don’t. You need some fun. Go have a beer, see a movie, take in a comedy show. Do some damn thing that’ll make you laugh.” “It’s your job. You have to do it.” “Jesus, Mary, and Joseph! I absolve you from your imaginary sins in the name of the Father and of the Son and of the Holy Spirit, Amen. Get lost.” “That’s not right. It’s not the whole thing.” The priest slammed the sliding screen shut.

The sheer volatility of people’s judgment of the odds—their sense of the odds could be changed by two hours in a movie theater—told you something about the reliability of the mechanism that judged those odds.

I am not super-attached to my career,' Audrey Tautou says in that sultry, Gallic voice of hers, a glint of recklessness in her big brown eyes. 'I have several plan Bs: I want to become a sailor; I like to draw; I would love to learn many things, but I don’t have time…' She trails off, leaving an uncertain silence hanging over the Kensington hotel room where we’ve met to discuss her latest film, a delightful comic confection called Beautiful Lies. 'That is the problem, you know,' she continues, more carefully. 'That is the reason why I will quit acting very soon.' She lets out a strange little laugh, a creaky exhalation, as if her own admission has taken her by surprise... 'I didn’t want to have this power,' she says, with a shrug. 'I would rather have freedom; and to find that you have to stop being in big, exposed movies. I don’t surf on the big waves. When I see them coming, I take my board and go straight back to the beach.'... 'I am always surprised to be chosen by a director for a role because I never understand why they like me,' she says. Surely, I suggest, that is false modesty, coming from one of Europe’s most bankable stars. 'Oh no, really, I am serious,' she says, leaning forward and planting her feet back on the carpet. 'I am always surprised to be cast.' Does her track record – in Jeunet’s hits; or in Stephen Frears’s acclaimed Dirty Pretty Things, or as a compellingly self-possessed Coco Chanel in Anne Fontaine’s 2009 biopic – not give her at least a little confidence? 'No,' she says with a scowl, 'pas du tout.' 'A few months ago, I watched one of my old movies and I thought to myself, 'Oh, Jesus!’ Thank God that at the point I made that film I didn’t realise the extent to which I was terrible. Oh, mon dieu! Mon dieu!' But surely, I say, she can take from that the reassurance that she has only improved as an actress. 'Or,' she says, jabbing a finger in the air, 'I say to myself, does it simply mean that if in another 10 years I rewatch the films I am making today I will say, 'Oh mon dieu, how terrible I was then.’ She laughs that odd, breathy laugh again and then looks me dead in the eye. 'You have to be very careful in this life.

[On D. W. Griffith] Even in Griffith’s best work there is enough that is poor, or foolish, or merely old-fashioned, so that one has to understand, if by no means forgive, those who laugh indiscriminately at his good work and his bad. (With all that “understanding,” I look forward to killing, some day, some specially happy giggler at the exquisite scene in which the veteran comes home, in The Birth of a Nation) But even his poorest work was never just bad. Whatever may be wrong with it, there is in every instant, so well as I can remember, the unique purity and vitality of birth or of a creature just born and first exerting its unprecedented, incredible strength; and there are, besides, Griffith’s overwhelming innocence and magnanimity of spirit; his moral and poetic earnestness; his joy in his work; and his splendid intuitiveness, directness, common sense, daring, and skill as an inventor and as an artist. Aside from his talent or genius as an inventor and artist, he was all heart; and ruinous as his excesses sometimes were in that respect, they were inseparable from his virtues, and small beside them. He was remarkably good, as a rule, in the whole middle range of feeling, but he was at his best just short of his excesses, and he tended in general to work out toward the dangerous edge. He was capable of realism that has never been beaten and he might, if he had been able to appreciate his powers as a realist, have found therein his growth and salvation. But he seems to have been a realist only by accident, hit-and-run; essentially, he was a poet. He doesn’t appear ever to have realized one of the richest promises that movies hold, as the perfect medium for realism raised to the level of high poetry; nor, oddly enough, was he much of a dramatic poet. But in epic and lyrical and narrative visual poetry, I can think of nobody who has surpassed him, and of few to compare with him. And as a primitive tribal poet, combining something of the bard and the seer, he is beyond even Dovshenko, and no others of their kind have worked in movies.

Netflix’s algorithm has a deeper (even if still quite limited) understanding of your tastes than Amazon’s, but ironically that doesn’t mean Amazon would be better off using it. Netflix’s business model depends on driving demand into the long tail of obscure movies and TV shows, which cost it little, and away from the blockbusters, which your subscription isn’t enough to pay for. Amazon has no such problem; although it’s well placed to take advantage of the long tail, it’s equally happy to sell you more expensive popular items, which also simplify its logistics. And we, as customers, are more willing to take a chance on an odd item if we have a subscription than if we have to pay for it separately.

I said, "I'm satisfied teaching the martial arts." "Not me," Arnold responded. "Bodybuilding is just a stepping-stone to me. I plan on becoming a real estate mogul, and from there, I plan to get into the movies." I had to smile as I said to myself, "How's he going to be an actor when he can hardly speak English?

After seeing a movie that dramatizes nuclear war, they worried more about nuclear war; indeed, they felt that it was more likely to happen. The sheer volatility of people's judgement of the odds--their sense of the odds could be changed by two hours in a movie theater--told you something about the reliability of the mechanism that judged those odds.

Movie theaters began turning the show on in the lobby when it aired, to keep people from going home to listen to the radio.

special ease, and so be disproportionately weighted in any judgment. Danny and Amos had noticed how oddly, and often unreliably, their own minds recalculated the odds, in light of some recent or memorable experience. For instance, after they drove past a gruesome car crash on the highway, they slowed down: Their sense of the odds of being in a crash had changed. After seeing a movie that dramatizes nuclear war, they worried more about nuclear war; indeed, they felt that it was more likely to happen. The sheer volatility of people’s judgment of the odds—their sense of the odds could be changed by two hours in a movie theater—told you something about the reliability of the mechanism that judged those odds.

JOURNALIST— (3) TERRIFIED TO DISAPPOINT MISS HABER AND HER READERS, WE WILL TRY TO ACCOMMODATE HER “FASCINATING RUMORS, SO FAR UNCHECKED” BY BUSTING UP OUR MARRIAGE EVEN THOUGH WE STILL LIKE EACH OTHER. JOANNE & PAUL NEWMAN This was a stunner, and it got folks talking. The Newmans’ marriage, then eleven years along, was considered stable: all those kids, the famed Connecticut home, the films they’d worked on together, the collaborative success of Rachel, Rachel. It didn’t seem right. Gossipy movie fan magazines had often tried to goose a few sales out of articles speculating that the Newmans were at odds with each other (“Shout by Shout: Paul Newman’s Bitter Fights with His Wife”; “Strange Rumors About Hollywood’s ‘Happiest Marriage’”) or that forty-three-year-old Newman was feeling randy and seeking consolations outside the home (“Paul Newman’s Just at That Age”; “Is Paul Newman’s Joanne Too Possessive?”). Invariably, they all stopped short of actually announcing real trouble or accusing Newman of adultery. The Newmans were supposed to be examples. But this strange advertisement didn’t so much squelch rumors as give people reason to wonder about them. They didn’t have to wait long for a fuller story. Later that year a gossip magazine

Since fear keeps us out of danger, you’d think we’d always want to avoid things we’re afraid of. But sometimes we willingly scare ourselves. People go on roller coasters. People go to horror movies. And people elect new politicians every four years.

He wanted her to keep the piece of tinder safe. She wasn’t sure whether she felt honoured or scared. No one had ever trusted her with something so important. ‘Wait,’ Percy said. ‘You mean you guys shared a blackout? Are you guys both going to pass out from now on?’ ‘Nope,’ Ella said. ‘Nope, nope, nope. No more blackouts. More books for Ella. Books in Seattle.’ Hazel gazed over the water. They were sailing through a large bay, making their way towards a cluster of downtown buildings. Neighbourhoods rolled across a series of hills. From the tallest one rose an odd white tower with a saucer on the top, like a spaceship from the old Flash Gordon movies Sammy used to love. No more blackouts? Hazel thought. After enduring them for so long, the idea seemed too good to be true.

We had our goal, and the first question we asked was What makes someone a movie star (as opposed to simply an actor)? Movie stars tend to play likable characters who embody and depict the best of humanity: courage, ingenuity, success against the odds. I loved the idea of being a better person in a movie than I was in real life. I could protect people, I could kill bad things, I could fly, all the women would love me- they have to, it says right here in the script. I came up with a way to describe what makes a great movie star character: I call it the three Fs of movie stardom: You have to be able to fight, you have to be funny, and you have to be good at sex. Beneath the three Fs are our deepest human yearnings: fighting equates to safety, security and physical survival. Being funny equates to joy, happiness, and freedom from all negativity. And being good at sex equates to the promise of love. p214

A silence overtook the odd family in their odd surroundings as loss became the mockery of the moment, and they were caught up in the emotional release that is common in a theater audience after the sudden ending of a tragic movie; the curtain closes and the people are still in their seats, numb and sighing their way back into reality.

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.

What made a movie buff different from others was the amount of freakish details they chose to fill their heads with. The typical movie-goer remembered the big lines, the ones that you could find on the film’s shirts and posters. Just a bunch of tag-lines used for promotion. A true movie buff memorized the odd ones that said more about the story’s theme or characters. A true buff read up on the movie’s history.

...But sometimes a person who fits none of these categories comes into your life. This is the joker who pops out of the deck at odd intervals over the years, often during a moment of crisis. In the movies this sort of character is known as the fifth business, or the change agent. When he turns up in a film, you know he’s there because the screenwriter put him there. But who is screenwriting our lives?

I'd like to be able to do that too, matey. Window-shop, go to the odd movie. What’s window-shopping really like, eh? If it’s too much of a feast, you’d better not tell me.

What happens over the next few months is like the plot of a children's movie, the kind where a dog finds its owner in spite of insurmountable odds and prohibitive geography.

Finally it was my turn. I held up the bottom of my gown and delicately stepped onto the ramp. For some odd reason I was reminded of the movie Titanic and the scene where Rose stepped off solid ground in her dress for the last time. All I was missing was a wide brimmed hat and a prescription grade case of resentment. Day, Kristen (2014-09-22). Forsaken (Book #1) (Daughters of the Sea) (p. 198). Kristen Day Books. Kindle Edition.

In the movies, they always make sure the hero kills only in self-defense, typically in the instant before the bad guy gets the drop on him. Even in that film Miyamoto had mentioned, Dirty Harry, Clint Eastwood blows away a guy who had kidnapped, tortured, and killed a teenage girl only when the guy goes for a gun. To me, that’s all bullshit. More than anything else, killing is about survival. About doing everything you can to deceive, and cheat, and stack the odds in your own favor. You don’t wait for the other guy to go for his gun; you shoot him before he has a chance. If he has his back to you, that’s even better. If you can call in an air strike, that’s better still. You don’t just do everything you possibly can to prevent a fight from being fair—preventing the fight from being fair is the entire point. Do you want the enemy to have as good a chance of killing you as you have of killing him? Or do you want to make sure he gets no chance at all? As far as I’m concerned, the people who think a fair fight is desirable can go ahead and die in one.

WOMEN AND CHILDREN.” STILL? You’re on the Titanic II. It has just hit an iceberg and is sinking. And, as last time, there are not enough lifeboats. The captain shouts, “Women and children first!” But this time, another voice is heard: “Why women?” Why, indeed? Part of the charm of the cosmically successful movie Titanic is the period costume, period extravagance, period class prejudice. An audience can enjoy these at a distance. Oddly, however, of all the period mores in the film, the old maritime tradition of “women and children first” enjoys total acceptance by modern audiences. Listen to the booing and hissing at the on-screen heavies who try to sneak on with—or ahead of—the ladies. But is not grouping women with children a raging anachronism? Should not any self-respecting modern person, let alone feminist, object to it as patronizing and demeaning to women? Yet its usage is as common today as it was in 1912. Consider these examples taken almost at random from recent newspapers: Dateline Mexico:

Between the carnival barker nature of our society—in which the winner, winner, winners are pronounced and paraded about with great fanfare so as to perpetuate the dream—and our overt obsession with wealth as a society, it appears as though more than half the people in our lives are rich. And yes, clearly, we can consciously separate the reality of those that we interact with personally from those whom we merely watch from a distance. But make no mistake, the American Dream appears alive and well when half of the people that you can name are millionaires, and it doesn’t matter whether you know any of them personally. Really, this illusion is probably worse now than ever, because we live in a world in which Facebook allows us to hoard past acquaintances like trinkets in the junk drawer. These people have about as much direct interaction with us as the millionaires who are trotted before us on the newsstands, on the radio, on the television, at the stadium, in the movies, in the bookstore, and of course, in Congress. The fact of the matter is, you can almost certainly name more winners of the American Dream than you can personal friends, even if you include all of your acquaintances. This means, every time we see yet another famous person on TV, we are likely watching someone who is the beneficiary of the American Dream. And some of those Dreamers may even have a good story about how they rose from poverty to achieve their accomplishments, which is often held up as evidence that you, no matter who you are, or from whence you came, with hard work, can become a bona fide multimillionaire. No, you really can’t. It’s a mirage. A charade. A farce. An illusion, in which a long shot is presented as if it’s even odds.

My father was the son of immigrants. He had worked since childhood and held two jobs most of his adult life. In the evenings, he would often fall asleep in his chair, his feet in a basin of warm water, too exhausted to talk. Always he had worked for other people, on their terms, for their goals...All throughout my childhood, there was a game my father and I would play. He would talk about his house, the house he would someday own...I was almost twenty when he and Mom bought a little place on Long Island and he retired. For a while, his dream seemed complete. 'Are you enjoying yourselves?' I asked [when I'd visit]. 'Well,' Mom said, 'your father is afraid that someone will break in and take away everything we've worked for. He's still working because he wants to put in an alarm system.' My heart sank. I asked how much it would cost. My mother evaded me and said they would have it in just a little while. Months later, my father continued to look weary. Concerned, I asked when they would be taking their vacation. My father shook his head. 'Not this year -- we can't leave the house empty.' I suggested a house sitter. My father was horrified. 'Oh no,' he told me. 'You know how people are. Even your friends never take care of your things the way they would take care of their own.' They never took another vacation. In the end, my parents rarely left the house together, not even to go to the movies. There could be a fire or some other sort of vague and unnamed disaster. And my father worked odd jobs until he died. The house turned out to have far greater control over him than any of his former employers ever had. If we fear loss enough, in the end the things we possess will come to possess us.

I also had the distinct impression that, when he’d leaned into my space, he’d tried to smell me, and he’d managed to do it without coming across as a creepy creeper. Admittedly, if he were less epically good-looking, he might have come across as a creepy creeper. But, as he had the body of a gladiator and the face of a movie star, I felt flustered, flattered, and turned on. The fact that I felt flattered made me feel like an idiot. I hated this about myself. I hated that, even though I knew better, good looks negated odd behavior. His odd behavior being that he was attempting to use all five of his senses to experience me while trapping us in an elevator; I didn’t doubt that, if I’d given him any indication that I was in favor of his advances, he would have tried to taste me as well. I shivered at the thought, a wave of warmth spreading from my chest to the pit of my stomach, stinging and sudden, like a hot flash.

1.              “Following the leader” 2.              “Fork it over” 3.              “Look out!” 4.              “Nerves of steel” 5.              “Odd ball” 6.              “Top dawg” 7.              “Scene from a Disney movie” 8.              “Greetings!” 9.              “What’s wrong with this picture?” 10.              “Here’s Your Sign” 11.              “Sharing” 12.              “No pain, no gain” 13.              “Wing it” 14.              “More than meets the eye” 15.              “Jammin’” 16.              “It’s in the bag” 17.              “It ain’t over ‘till . . .” 18.              “Happy Camper” 19.              “Shiny” 20.              “Easy as pi” 21.              “Heroes of a different sort” 22.              “Cut your losses” 23.              “Crime doesn’t pay” 24.              “Tough nut to crack” 25.              “Beauty is in the eye” 26.              “Red-handed” 27.              “Whatever floats your boat” 28.              “Stand off” 29.              “Blue” 30.              “Tragedy!

Marina leaned her head against him and sniffled. It was common in this day and age, when waiting someplace, to look around at your involuntary companions and imagine you were trapped with them someplace more dire: a hostage situation or a building on fire, something requiring teamwork and survival. Could you build the camaraderie promised in movies about such times, or would you fall apart? Phil Needle looked around and realized, quietly but sharply, that he and his wife would not survive this. Gwen's disappearance would slaughter them. YOU WANT IT WHEN? was the caption on the poster. It was talking about office work, and the sad fact, true at the time, that people want things right away and that other people don't care about that. The poster reminded people that it didn't matter what you wanted. Where was she? Where did somebody put her? Where were those ragged thumbs of hers, and her odd, tiny earlobes? Was he about to become one of those guys, clutching a photograph of Gwen, on the news every year in support of an extreme new crime law? Were they becoming one of those families used as a murmured example of the wickedness of the world, as a worst-case scenario to comfort those whose daughter was merely pregnant or paralyzed? Would there be a funeral, everyone sweating in black clothes in the summer and squinting in sunglasses? Oh God, would there be a hasty peer-group shrine, wherever she was found, with cheap flowers and crappy poetry melting in the rain? Would her college fund sit forgotten for a while in the bank, like a tumor thought benign, and then be emptied impulsively on some toy to cheer himself up? He had seen in a magazine a handsome automobile some months ago, shiny as clean water.

She was talking about those odds and ends of “futuristic” Thirties and Forties architecture you pass daily in American cities without noticing; the movie marquees ribbed to radiate some mysterious energy, the dime stores faced with fluted aluminum, the chrome-tube chairs gathering dust in the lobbies of transient hotels.

It’s up to you to navigate the obstacles and the difficulties and constantly drive toward success despite all odds against you. The best stories, movies, and inspiring real-life accounts always have major hardships followed by great triumphs. Why would your story be any different?