Program Movie Quotes

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

It's no wonder we don't defend the land where we live. We don't live here. We live in television programs and movies and books and with celebrities and in heaven and by rules and laws and abstractions created by people far away and we live anywhere and everywhere except in our particular bodies on this particular land at this particular moment in these particular circumstances.

You have no sense of your true duty, which is to be a man and preserve humanity. You imitate wise men so badly and bandits so well. Your movies and radio programs are full of murder.

Holiness begins in our minds and works out to our actions. This being true, what we allow to enter our minds is critically important. The television programs we watch, the movies we may attend, the books and magazines we read, the music we listen to, and the conversations we have all affect our minds.

When my turn on the program comes, I am not nervous at all—because all this is happening out of time, out of space. I am, for a moment, a figure of my own fantasy, and I play my appointed role as if I were in the movies.

The process begins during the off-season program, when players spend countless hours together and become heavily invested in the season before it even starts. It continues during these weekly meetings, when players stand and deliver heartfelt testimonials. You can't play for Ladouceur unless you're willing to stand in front of your teammates and bare your soul. You can't play unless you're willing to cry.

A truly magnificent thing about the way the brain was coded, Sam thought, was that it could say “Excuse me” while meaning “Screw you.” Unless they were unreliable or clearly established as lunatics or scoundrels, characters in novels, movies, and games were meant to be taken at face value—the totality of what they did or what they said. But people—the ordinary, the decent and basically honest—couldn’t get through the day without that one indispensable bit of programming that allowed you to say one thing and mean, feel, even do, another.

Jokes and movies, comic books and professional wrestling, television shows and news programs—they all present dramatic interpretations of facts and fiction in the format of a narrative for the same reason we put chairs in cars.

The program for this evening is not new. You've seen this entertainment through and through: You've seen your birth, your life and death, you might recall all the rest. Did you have a good world when you died... enough to base a movie on?

When we read a magazine, we consume. When we watch a television program, we consume. Whatever we consume affects our body and mind. If we consume toxic magazine articles, movies, or video games, they will feed our craving, our anger, and our fear.

I've often told people that the greatness of this football program will emerge when The Streak ends. I hope you will all live up to that. It's all numbers. It's nothing. It's not what we're about. It's not what this school represents." -Coach Frank Allocco

Besides stage magic props and settings, ritually abusing groups use technology, such as that described by Katz and Fotheringham. Military/political groups have the most sophisticated technologies, and much training or programming is now done with virtual reality equipment. Movies and holograms are used to deceive a child into believing in things that are unreal. When a client says to you “I don't know if it's real; how can it be real?” remember that there are several options, not just two: (1) It happened just as s/he remembers; (2) it did not happen at all; (3) something happened, but due to technology and/or trickery it was not what s/he thinks it was; (4) the thought that the memory must be unreal is itself a program, as described in Chapter Twelve, “Maybe I made it up." p55

I've heard youngsters use some of George Lucas' terms––"the Force and "the dark side." So it must be hitting somewhere. It's a good sound teaching, I would say. The fact that the evil power is not identified with any specific nation on this earth means you've got an abstract power, which represents a principle, not a specific historical situation. The story has to do with an operation of principles, not of this nation against that. The monster masks that are put on people in Star Wars represent the real monster force in the modern world. When the mask of Darth Vader is removed, you see an unformed man, one who has not developed as a human individual. What you see is a strange and pitiful sort of undifferentiated face. Darth Vader has not developed his humanity. He's a robot. He's a bureaucrat, living not in terms of himself but of an imposed system. This is the threat to our lives that we all face today. Is the system going to flatten you out and deny you your humanity, or are you going to be able to make use of the system to the attainment of human purposes? How do you relate to the system so that you are not compulsively serving it? . . . The thing to do is to learn to live in your period of history as a human being ...[b]y holding to your own ideals for yourself and, like Luke Skywalker, rejecting the system's impersonal claims upon you. Well, you see, that movie communicates. It is in a language that talks to young people, and that's what counts. It asks, Are you going to be a person of heart and humanity––because that's where the life is, from the heart––or are you going to do whatever seems to be required of you by what might be called "intentional power"? When Ben Knobi says, "May the Force be with you," he's speaking of the power and energy of life, not of programmed political intentions. ... [O]f course the Force moves from within. But the Force of the Empire is based on an intention to overcome and master. Star Wars is not a simple morality play. It has to do with the powers of life as they are either fulfilled or broken and suppressed through the action of man.

The battle against good and evil is raging now! Look at your television programming and movie advertisements presenting the occult…the demonic…the satanic…the practice of witchcraft and sorcery in popular books…the open hostility toward Christianity and the revival of anti-Semitism. The fight is on for the hearts and minds of our children in ours homes, our schools, our universities, and our society.

Is the phrase "Deliciously politically incorrect" used with the same gay abandon in the U.S.? You come across it all the time here, and it usually means, quite simply, that a book or a movie or a TV program is racist and/or sexist and/or homophobic; there is a certain kind of cultural commentator who mysteriously associates these prejudices with a Golden Age during which we were allowed to do a lot of things that we are not allowed to do now. (The truth is that there's no one stopping them from doing anything. What they really object to is being recognized as the antisocial pigs that they really are.)

In my utopia, human solidarity would be seen not as a fact to be recognised by clearing away "prejudice" or burrowing down to previously hidden depths but, rather, as a goal to be achieved. It is to be achieved not by inquiry but by imagination, the imaginative ability to see strange people as fellow sufferers. Solidarity is not discovered by reflection but created. It is created by increasing our sensitivity to the particular details of the pain and humiliation of other, unfamiliar sorts of people. Such increased sensitivity makes it more difficult to marginalise people different from ourselves by thinking, "They do not feel as 'we' would," or "There must always be suffering, so why not let 'them' suffer?" This process of coming to see other human beings as "one of us" rather than as "them" is a matter of detailed description of what unfamiliar people are like and of redescription of what we ourselves are like. This is a task not for theory but for genres such as ethnography, the journalist's report, the comic book, the docudrama, and, especially, the novel. Fiction like that of Dickens, Olive Schreiner, or Richard Wright give us the details about kinds of suffering being endured by people to whom we had previously not attended. Fiction like that of Choderlos de Laclos, Henry James, or Nabokov gives us the details about what sorts of cruelty we ourselves are capable of, and thereby lets us redescribe ourselves. That is why the novel, the movie, and the TV program have, gradually but steadily, replaced the sermon and the treatise as the principal vehicles of moral change and progress.

Movie and television stars lay down the law of fashions, manners, speech, and even moral behavior. It has been proven that a movie or a television program can brainwash.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

All of us resist growth to some extent. It’s built in; I’m convinced of it. To paraphrase Tom Hanks’s character in the movie A League of Their Own, if growth were easy, everybody would be doing it. But that’s what makes it great.

Café Flore is packed, shimmering, every table filled. Bentley notices this with a grim satisfaction but Bentley feels lost. He’s still haunted by the movie Grease and obsessed with legs that he always felt were too skinny though no one else did and it never hampered his modeling career and he’s still not over a boy he met at a Styx concert in 1979 in a stadium somewhere in the Midwest, outside a town he has not been back to since he left it at eighteen, and that boy’s name was Cal, who pretended to be straight even though he initially fell for Bentley’s looks but Cal knew Bentley was emotionally crippled and the fact that Bentley didn’t believe in heaven didn’t make him more endearing so Cal drifted off and inevitably became head of programming at HBO for a year or two. Bentley sits down, already miked, and lights a cigarette. Next to them Japanese tourists study maps, occasionally snap photos. This is the establishing shot.

The program for this evening is not new. You've seen this entertainment through and through. You've seen your birth, your life and death, you might recall all the rest. Did you have a good world when you died, enough to base a movie on?

The program for this evening is not new. You've seen this entertainment through and through. You've seen your birth, your life and death. You might recall all the rest. Did you have a good world when you died, enough to base a movie on?

Phrases offered to the grief-stricken, such as “time heals all wounds” and “the day will come when you reach closure” irritated him, and there were times when he sat silent, seeming half-buried in some sediment of sorrow. “Closure? When someone beloved dies there is no ‘closure.’” He disliked television programs featuring tornado chasers squealing “Big one! Big one!” and despised the rat-infested warrens of the Internet, riddled with misinformation and chicanery. He did not like old foreign movies where, when people parted, one stood in the middle of the road and waved. He thought people with cell phones should be immolated along with those who overcooked pasta. Calendars, especially the scenic types with their glowing views of a world without telephone lines, rusting cars or burger stands, enraged him, but he despised the kittens, motorcycles, famous women and jazz musicians of the special-interest calendars as well. “Why not photographs of feral cats? Why not diseases?” he said furiously. Wal-Mart trucks on the highway received his curses and perfumed women in elevators invited his acid comment that they smelled of animal musk glands. For years he had been writing an essay entitled “This Land Is NOT Your Land.

As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

... and the warm air smelled of mildew and some instinct, programmed by all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me that it would never be quite the same again. In fact it never was.

Load your bookshelves with the best literature you can find. Hang beautiful, thought-provoking art work around your house. Watch history and science documentaries as well as good movies and television programs. Listen to beautiful music (which, of course, is open to interpretation).

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

Understatement has become part of the tradition. A proposal to build a history room to house the football team's memorabilia was immediately shelved when many former players complained. What makes this program so special is what you carry in your heart, they argued, not what you hang on the wall.

...a bad diet will eventually kill our dreams. It's essential that we constantly evaluate the nutritional value of what we are feeding ourselves. It may come down to how many hours of television we're viewing, the quality of the programs we're watching, what music we're listening to, the material we're reading, the conversations we're having, the movies we're seeing, the Web sites we're visiting, the video games we're playing, or the people with whom we're associating. As harmless as these may sometimes seem, excessive consumption of things that induce negative thinking, bad habits, and wrong behavior will thwart our potential. A good litmus test is to ask yourself if you're giving more airtime to the media, educators, politicians, economists, pop stars, friends, or tradition than you are to God's Word. To see our dreams actualized, God's Word and His will must take precedence over everything else.

When I tried to access one of the other entertainment libraries, Vintage Movies, the system informed me that I wouldn't be granted access to a wider selection of entertainment options until I had received an above-average rating in three consecutive employee performance reviews. Then the system asked me if I wanted more information on the Indentured Employee Entertainment Reward Program. I didn't.

In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

What about television?" a young man asked. "It's an octopus. It's no longer just a little box, it's the Love Machine." "Why the Love Machine?" a reporter asked. "Because it sells love. It creates love. Presidents are chosen by their appeal on that little box. It's turned politicians into movie stars and movie stars into politicians. It can you engaged if you use a certain mouthwash. It claims you'll have women hanging on your coattails if you use a certain hair cream. It tells the kids to eat their cereal if they want to be like their baseball idol. But like all great lovers, the Love Machine is a fickle bastard. It has great magnetism--but it has no heart. In place of a heart beats a Nielsen rating. And when the Nielsen falters, the program dies. It's the pulse and heart of the twentieth century--The Love Machine.

The numbers really grew when we were at war, when all the fellas who used to be inside their homes watching TV saw that the action movies they were watching inside were actually happening outside, and so they came out of their homes to join the fun, because even though we were firing real guns, it was all a game for most of us. Scrooge, former leader of the Rebellion Raiders street gang that once boasted of having some ten thousand members

Too soon the two weeks were over and we were back in Lugano, and there we learned about Disaster. We weren’t completely ignorant. We knew about disaster from our previous schools and previous lives. We’d had access to televisions and newspapers. But the return to Lugano marked the beginning of Global Awareness Month, and in each of our classes, we talked about disaster: disaster man-made and natural. We talked about ozone depletion and the extinction of species and depleted rain forests and war and poverty and AIDS. We talked about refugees and slaughter and famine. We were in the middle school and were getting, according to Uncle Max, a diluted version of what the upper-schoolers were facing. An Iraqi boy from the upper school came to our history class and talked about what it felt like when the Americans bombed his country. Keisuke talked about how he felt responsible for World War II, and a German student said she felt the same. We got into heated discussions over the neglect of infant females in some cultures, and horrific cases of child abuse worldwide. We fasted one day each week to raise our consciousness about hunger, and we sent money and canned goods and clothing to charities. In one class, after we watched a movie about traumas in Rwanda, and a Rwandan student told us about seeing his mother killed, Mari threw up. We were all having nightmares. At home, Aunt Sandy pleaded with Uncle Max. “This is too much!” she said. “You can’t dump all the world’s problems on these kids in one lump!” And he agreed. He was bewildered by it all, but the program had been set up the previous year, and he was the new headmaster, reluctant to interfere. And though we were sick of it and about it, we were greedy for it. We felt privileged there in our protected world and we felt guilty, and this was our punishment.

Szabo reckoned that the future of libraries was a combination of a people’s university, a community hub, and an information base, happily partnered with the Internet rather than in competition with it. In practical terms, Szabo felt the library should begin offering classes and voter registration and literacy programs and story times and speaker series and homeless outreach and business services and computer access and movie rentals and e-book loans and a nice gift shop. Also, books.

I hate computers. My hatred is entrenched, and I nourish it daily. I’m comfortable with it, and no community outreach program will change my mind. I hate computers for getting their own section in the New York Times and for lengthening commercials with the mention of a Web site address. Who really wants to find out more about Procter & Gamble? Just buy the toothpaste or laundry detergent, and get on with it. I hate them for creating the word org and I hate them for e-mail, which isn’t real mail but a variation of the pointless notes people used to pass in class. I hate computers for replacing the card catalog in the New York Public Library and I hate the way they’ve invaded the movies. I’m not talking about their contribution to the world of special effects. I have nothing against a well-defined mutant or full-scale alien invasion — that’s good technology. I’m talking about their actual presence in any given movie. They’ve become like horses in a western — they may not be the main focus, but everybody seems to have one.

People are desperate to stay unconscious. We observe how often people flick on the television set the minute they enter a room and then walk around in a dream-like state, constantly being programmed by the data poured into them. People are terrified of facing themselves. They dread even a moment of aloneness. Thus the constant frantic activities: the endless socializing, talking, texting, reading, music playing, working, traveling, sightseeing, shopping, overeating, gambling, movie-going, pill-taking, drug-using, and cocktail-partying.

A truly magnificent thing about the way the brain was coded, Sam thought, was that it could say "Excuse me" while meaning "Screw you." Unless they were unreliable or clearly established as lunatics or scoundrels, characters in novels, movies, and games were meant to be taken at face value—the totality of what they did or what they said. But people—the ordinary, the decent and basically honest—couldn't get through the day without that one indispensable bit of programming that allowed you to say one thing and mean, feel, even do, another.

To love is to lose, Sam. Unfortunately, it’s just that simple. Maybe not today but someday. Maybe not when she’s too young and you’re too young, but you see that being old doesn’t help. Maybe not your wife or your girlfriend or your mother, but you see that friends die, too. I could not spare you this any more than I could spare you puberty. It is the inevitable condition of humanity. It is exacerbated by loving but also simply by leaving your front door, by seeing what’s out there in the world, by inventing computer programs that help people. You are afraid of time, Sam. Some sadness has no remedy. Some sadness you can’t make better.” “So what the hell do I do?” “Be sad.” “For how long?” “Forever.” “But then why isn’t everyone walking around miserable all the time?” “Because ice cream still tastes good. And sunny and seventy-five is still a lovely day. And funny movies make you laugh, and work is sometimes fulfilling, and a beer with a friend is nice. And other people love you too.” “And that’s enough?” “There is no enough. You are the paragon of animals, my love. You aspire to such greatness, to miracle, to newness and wonder. And that’s great. I’m so proud of you. But you forgot about the part that’s been around for time immemorial. Love, death, loss. You’ve run up against it. And there’s no getting around or over it. You stop and build your life right there at the base of that wall. But it’s okay. That’s where everyone else is too. Everyone else is either there or on their way. There is no other side, but there’s plenty of space there to build a life and plenty of company. Welcome to the wall, Sam.

Step 7. Alter Your Coping Mechanisms Instead of gorging on chocolate pie when you’re hungry, angry, lonely, or tired, fill up on leftover Mexican Potato Salad or “Fried” Rice. Better yet, go for a walk; play your favorite sport; start working on an enjoyable project or hobby; visit a friend or go to a movie (and eat popcorn without butter). The best responses are those that involve physical activity, since they do double duty by reducing intake of fat calories and increasing calorie expenditure. If you must alleviate your frustration by eating, eat the right foods.

Tarantulas have also received a lot of bad press in the movies. Many movies and television programs starring such noted actors as Sean Connery, The Three Stooges, Harrison Ford, and William Shatner, have featured tarantulas as dangerous to humans or menaces to civilization. The Tarantula That Ate Tokyo is a long-standing joke among horrormovie buffs. The fact is that these movies play with the ignorance and fears passed on for generations by unenlightened people. Nobody would pay to see the movie The Beagle That Ate Boston since everybody knows what a beagle really is. Few know tarantulas as well.

I don’t know if the other defectors had the same problems, but for me the most difficult part of the program was learning to introduce myself in class. Almost nobody knew how to do this, so the teachers taught us that the first thing you say is your name, age, and hometown. Then you can tell people about your hobbies, your favorite recording artist or movie star, and finally you can talk about “what you want to be in the future.” When I was called on, I froze. I had no idea what a “hobby” was. When it was explained that it was something I did that made me happy, I couldn’t conceive of such a thing. My only goal was supposed to be making the regime happy. And why would anyone care about what “I” wanted to be when I grew up? There was no “I” in North Korea—only “we.” This whole exercise made me uncomfortable and upset. When the teacher saw this, she said, “If that’s too hard, then tell us your favorite color.” Again, I went blank. In North Korea, we are usually taught to memorize everything, and most of the time there is only one correct answer to each question. So when the teacher asked for my favorite color, I thought hard to come up with the “right” answer. I had never been taught to use the “critical thinking” part of my brain, the part that makes reasoned judgments about why one thing seems better than another. The teacher told me, “This isn’t so hard. I’ll go first: My favorite color is pink. Now what’s yours?” “Pink!” I said, relieved that I was finally given the right answer. In South Korea, I learned to hate the question “What do you think?” Who cared what I thought? It took me a long time to start thinking for myself and to understand why my own opinions mattered. But after five years of practicing being free, I know now that my favorite color is spring green and my hobby is reading books and watching documentaries. I’m not copying other people’s answers anymore.

If you are not playing your A-game, what game are you playing? Are you waiting for the sun to come out? Do you need an umbrella? This is not a B-Movie for B-listers. Is there anything worse, anything more sickening, than people not giving it their all? Get off your fucking knees, get off your fucking asses, get off your fucking bellies, and fucking do something with your lives. What the fuck are you waiting for? This is not a dress rehearsal. This is fucking it. Right here, right now. Well? Have you forgotten your lines? If you’re not going to show up when it matters, fuck off. Get with the fucking program. If you’re not ready to perform, get off the fucking stage.

Science is more than a body of knowledge; it is a way of thinking. I have a foreboding of an America in my children’s or grandchildren’s time—when the United States is a service and information economy; when nearly all the key manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness. The dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30-second sound bites (now down to 10 seconds or less), lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance. As I write, the number-one videocassette rental in America is the movie Dumb and Dumber. “Beavis and Butthead” remain popular (and influential) with young TV viewers. The plain lesson is that study and learning—not just of science, but of anything—are avoidable, even undesirable.

All television programs are rooted in drama and conflict: good versus evil, cops versus robbers, doctors versus devastating illnesses, space explorers versus evil alien invaders. Siskel & Ebert was the first and perhaps greatest TV show in history where the struggle between the two antagonists was entirely intellectual. Tensions were never resolved with fistfights or shoot-outs, but with conversation and analysis. Hell, for the entirety of their twenty years on television, Roger and Gene clashed and quarreled without ever getting out of their seats-comfy chairs in a Chicago studio designed to look like a cozy movie theater balcony. And yet their verbal sparring matches often contained more suspense than the movies they reviewed.

In 1964, long-playing vinyl records sounded great. It was the age of high fidelity, and even your parents were likely to have a good-sounding console or tube components and a nice set of speakers, A&R, KLH, and so on. All the telephones worked, and they sounded good, too. Rarely did anyone ever lose a call, and that was usually on an overseas line. Anyone could work a TV set, even your grandmother. Off, on, volume, change the channel, period. By then, just about everyone had an aerial on the roof, and the signal was strong: ten, twelve simple channels of programming, not all good, but lots of swell black-and-white movies from the thirties and forties, all day and most of the night. No soul-deadening porn or violence. Decent news programs and casual entertainment featuring intelligent, charming celebrities like Steve Allen, Groucho Marx, Jack Paar, Jack Benny, Rod Serling, and Ernie Kovacs. Yeah, call me old Uncle Fuckwad, I don’t care. William Blake’s “dark Satanic mills” of the industrial revolution may have enslaved the bodies of Victorian citizens, but information technology is a pure mindfuck. The TV Babies have morphed into the Palm People. For example, those people in the audience who can’t experience the performance unless they’re sending instant videos to their friends: Look at me, I must be alive, I can prove it, I’m filming this shit. You know what? I refuse to look at you. You’re a corpse. And you prove that every day, with everything you do and everything you say. Wake up, ya dope! Outside

Delusions Dissociative disorders, even those created by mind controllers, are not psychosis, but this program will create the most common symptom used to diagnose schizophrenia. The child is hurt while on a turntable, with people and television sets and cartoons and photographs all around the turntable. New alters created by the torture are instructed that they must obey their instructions and become the people around them, people on television, or other alters when they are told to. When this program is triggered, the survivor will hear “voices” of the people whom the "copy alters” are imitating, or will have many confused alters popping out who think they are actually other people or movie stars. The identities of the copy alters change when the survivor's surrounding change.

The laws that keep us safe, these same laws condemn us to boredom. Without access to true chaos, we’ll never have true peace. Unless everything can get worse, it won’t get any better. This is all stuff the Mommy used to tell him. She used to say, “The only frontier you have left is the world of intangibles. Everything else is sewn up too tight.” Caged inside too many laws. By intangibles, she meant the Internet, movies, music, stories, art, rumors, computer programs, anything that isn’t real. Virtual realities. Make-believe stuff. The culture. The unreal is more powerful than the real. Because nothing is as perfect as you can imagine it. Because it’s only intangible ideas, concepts, beliefs, fantasies that last. Stone crumbles. Wood rots. People, well, they die. But things as fragile as a thought, a dream, a legend, they can go on and on.

I saw a guy the other day at a wedding, and I told him my theory on why we’ve seen this explosion in comedies in the past fifteen years. Number one, America is tacking hard to the right. That sort of extremism always kind of kicks up the need to create comedy. But the second thing is Avid. What’s Avid? It’s a digital movie-editing program that directors use, and it’s incredibly helpful. I think Avid is hugely responsible for this boom in comedy. In the past, one would have to shoot the film and edit it, which was a big deal. Now, filmmakers can record the laughs from a test audience at a screening, and we can then cut to the rhythm of those laughs, the rhythm of the audience. We synchronize the laughs with the film. We can really get our timing down to a hundredth of a second. You can decide where you want your story to kick in, where you want a little bit of mood, where you want a hard laugh line. All of this can really be calibrated to these test screenings that we do. It doesn’t mean that it becomes mathematical. It still ultimately means that you have to make creative choices, but you can just really get a lot out of it. Sort of like surgery with a laser compared with a regular scalpel. We’re able to download a movie onto the computer and literally do all our edits in minutes. The precision is incredible. You play back the audio of the test screening and get everything timed just right. Like, “This laugh is losing this next line; let’s split the difference here.” You’re able to achieve this rolling energy. You can try experimental edits, and do multiple test screenings, and it’s all because you can move so fast with this program. Comedy is the one genre that I think has just really benefited from this more than any other.

In order to understand what this lady was saying about her upstairs neighbors,” I went on, because no one else was saying anything, “you have to turn the situation around. If the two sweet homosexuals hadn’t fed the cats at all but instead had pelted them with stones or tossed poisoned pork chops down to them from their balcony, then they would have been just plain dirty faggots. I think that’s what Claire meant about Guess Who’s Coming to Dinner? That the friendly Sidney Poitier was a sweet boy too. That the person who made that movie was absolutely no better than the lady in that program. In fact, Sidney Poitier was supposed to serve as a role model. An example for all those other nasty Negroes, the uppity Negroes. The dangerous Negroes, the muggers and the rapists and the crack dealers. When you people put on a good-looking suit like Sidney’s and start behaving like the perfect son-in-law, we white folks will be your friends.

Della & I are drunk at the top of Mont-Royal. We have an open blue plastic thermos of red wine at our feet. It's the first day of spring & it's midnight & we've been peeling off layers of winter all day. We stand facing each other, as if to exchange vows, chests heaving from racing up & down the mountain to the sky. My face is hurting from smiling so much, aching at the edges of my words. She reaches out to hold my face in her hands, dirty palms form a bowl to rest my chin. I’m standing on a tree stump so we’re eye to eye. It’s hard to stay steady. I worry I may start to drool or laugh, I feel so unhinged from my body. It’s been one of those days I don’t want to end. Our goal was to shirk all responsibility merely to enjoy the lack of everyday obligations, to create fullness & purpose out of each other. Our knees are the colour of the ground-in grass. Our boots are caked in mud caskets. Under our nails is a mixture of minerals & organic matter, knuckles scraped by tree bark. We are the thaw embodied. She says, You have changed me, Eve, you are the single most important person in my life. If you were to leave me, I would die. At that moment, our breath circling from my lungs & into hers, I am changed. Perhaps before this I could describe our relationship as an experiment, a happy accident, but this was irrefutable. I was completely consumed & consuming. It was as though we created some sort of object between us that we could see & almost hold. I would risk everything I’ve ever known to know only this. I wanted to honour her in a way that was understandable to every part of me. It was as though I could distill the meaning of us into something I could pour into a porcelain cup. Our bodies on top of this city, rulers of love. Originally, we were celebrating the fact that I got into Concordia’s visual arts program. But the congratulatory brunch she took me to at Café Santropol had turned into wine, which had turned into a day for declarations. I had a sense of spring in my body, that this season would meld into summer like a running-jump movie kiss. There would be days & days like this. XXXX gone away on a sojurn I didn’t care to note the details of, she simply ceased to be. Summer in Montreal in love is almost too much emotion to hold in an open mouth, it spills over, it causes me to not need any sleep. I don’t think I will ever feel as awake as I did in the summer of 1995.

Starting with a Statement •What a beautiful day.What’s your favorite season of the year? •I was truly touched by that movie.How did you like it? Why? •This is a wonderful restaurant.What is your favorite restaurant? Why? •What a great conference! Tell me about the sessions you attended. •I was absent last week.What did I miss? •That was an interesting program after lunch.What did you think? •Presidential campaigns seem to start immediately after the inauguration.What do you think of the campaign process? •I am so frustrated with getting this business off the ground.Do you have any ideas? •I am excited about our new mayor.How do you think her administration will be different from her predecessor’s? •Your lawn always looks so green.What is your secret? •We’ve been working together for months now.I’d like to get to know you better.Tell me about some of your outside interests. •You worked pretty hard on that stair stepper.What other equipment do you use? •You always wear such attractive clothes.What are your favorite stores? •What a beautiful home.How do you manage to run a house with four children? •I read in the newspaper that our governor has taken another trip overseas.What do you think of all his travel?

Movies create the parameters against which we measure our lives.  They can either be a force for positive change or reinforce existing structures.  Mason asks, “How do we take control of the hallucination?”  The series itself is a response:  The Invisibles is a fictional work that’s programmed to redefine the way we view reality.  Download this series into your mind, and you’ll come out the other side changed. This also ties into the way that Mason has discussed movies over the course of the series.  By finding the evolutionary message in non-intellectual, popular works like Speed and Independence Day, Mason is trying to take control of the hallucination.  Any work of art does not exist in a vacuum.  We assess it through cultural and social lenses, biased by our own circumstances and background.  Mason seeks out Invisible messages in everything he sees, and because that’s what he’s looking for, he finds them.  His goal is to teach everyone to think like that, to not see the intended pro-America or pro-hetero-normative message of a typical studio film, to instead find something subversive lurking in the most mundane entertainments.  If people build their lives in response to the films they see, then controlling the way they perceive the films means controlling the future direction of their lives. Next,

Walking back through the mall to the exit nearest our part of the parking lot, we passed one shop which sold computers, printers, software, and games. It was packed with teenagers, the kind who wear wire rims and know what the new world is about. The clerks were indulgent, letting them program the computers. Two hundred yards away, near the six movie houses, a different kind of teenager shoved quarters into the space-war games, tensing over the triggers, releasing the eerie sounds of extraterrestrial combat. Any kid back in the computer store could have told the combatants that because there is no atmosphere in space, there is absolutely no sound at all. Perfect distribution: the future managers and the future managed ones. Twenty in the computer store, two hundred in the arcade. The future managers have run on past us into the thickets of CP/M, M-Basic, Cobal, Fortran, Z-80, Apples, and Worms. Soon the bosses of the microcomputer revolution will sell us preprogrammed units for each household which will provide entertainment, print out news, purvey mail-order goods, pay bills, balance accounts, keep track of expenses, and compute taxes. But by then the future managers will be over on the far side of the thickets, dealing with bubble memories, machines that design machines, projects so esoteric our pedestrian minds cannot comprehend them. It will be the biggest revolution of all, bigger than the wheel, bigger than Franklin’s kite, bigger than paper towels.

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.

Why, he asked, do all of our policing efforts have to be so reactive, so negative, and so after the fact? What if, instead of just focusing on catching criminals—and serving up ever harsher punishments—after they committed the crime, the police devoted significant resources and effort to eliminating criminal behavior before it happens? To quote Tony Blair, what if they could be tough on crime but also tough on the causes of crime?3 Out of these questions came the novel idea for Positive Tickets, a program whereby police, instead of focusing on catching young people perpetrating crimes, would focus on catching youth doing something good—something as simple as throwing litter away in a bin rather than on the ground, wearing a helmet while riding their bike, skateboarding in the designated area, or getting to school on time—and would give them a ticket for positive behavior. The ticket, of course, wouldn’t carry a fine like a parking ticket but instead would be redeemable for some kind of small reward, like free entry to the movies or to an event at a local youth center—wholesome activities that also had the bonus of keeping the young people off the streets and out of trouble. So how well did Richmond’s unconventional effort to reimagine policing work? Amazingly well, as it turned out. It took some time, but they invested in the approach as a long-term strategy, and after a decade the Positive Tickets system had reduced recidivism from 60 percent to 8 percent. You might not think of a police department as a place where you would expect to see Essentialism at work, but in fact Ward’s system of Positive Tickets is a lesson in the practice of effortless execution. The way of the Nonessentialist is to go big on everything: to try to do it all, have it all, fit it all in. The Nonessentialist operates under the false logic that the more he strives, the more he will achieve, but the reality is, the more we reach for the stars, the harder it is to get ourselves off the ground. The way of the Essentialist is different. Instead of trying to accomplish it all—and all at once—and flaring out, the Essentialist starts small and celebrates progress. Instead of going for the big, flashy wins that don’t really matter, the Essentialist pursues small and simple wins in areas that are essential.

Nope. Look. The Raft is a media event. But in a much more profound, general sense than you can possibly imagine." "Huh?" "It's created by the media in that without the media, people wouldn't know it was here, Refus wouldn't come out and glom onto it the way they do. And it sustains the media. It creates a lot of information flow-movies, news reports - - you know." "So you're creating your own news event to make money off the information flow that it creates?" says the journalist, desperately trying to follow. His tone of voice says that this is all a waste of videotape. His weary attitude suggests that this is not the first time Rife has flown off on a bizarre tangent. "Partly. But that's only a very crude explanation. It really goes a lot deeper than that. You've probably heard the expression that the Industry feeds off of biomass, like a whale straining krill from the ocean." "I've heard the expression, yes." "That's my expression. I made it up. An expression like that is just like a virus, you know -- it's a piece of information -- data -- that spreads from one person to the next. Well, the function of the Raft is to bring more biomass. To renew America. Most countries are static, all they need to do is keep having babies. But America's like this big old clanking, smoking machine that just lumbers across the landscape scooping up and eating everything in sight. Leaves behind a trail of garbage a mile wide. Always needs more fuel... "Now I have a different perspective on it. America must look, to those poor little buggers down there, about the same as Crete looked to those poor Greek suckers. Except that there's no coercion involved. Those people down there give up their children willingly. Send them into the labyrinth by the millions to be eaten up. The Industry feeds on them and spits back images, sends out movies and TV programs, over my networks, images of wealth and exotic things beyond their wildest dreams, back to those people, and it gives them something to dream about, something to aspire to. And that is the function of the Raft. It's just a big old krill carrier." Finally the journalist gives up on being a journalist, just starts to slag L. Bob Rife openly. He's had it with this guy. "That's disgusting. I can't believe you can think about people that way." "Shit, boy, get down off your high horse. Nobody really gets eaten. It's just a figure of speech. They come here, they get decent jobs, find Christ, buy a Weber grill, and live happily ever after. What's wrong with that?

As the subject watches the movies, the MRI machine creates a 3-D image of the blood flow within the brain. The MRI image looks like a vast collection of thirty thousand dots, or voxels. Each voxel represents a pinpoint of neural energy, and the color of the dot corresponds to the intensity of the signal and blood flow. Red dots represent points of large neural activity, while blue dots represent points of less activity. (The final image looks very much like thousands of Christmas lights in the shape of the brain. Immediately you can see that the brain is concentrating most of its mental energy in the visual cortex, which is located at the back of the brain, while watching these videos.) Gallant’s MRI machine is so powerful it can identify two to three hundred distinct regions of the brain and, on average, can take snapshots that have one hundred dots per region of the brain. (One goal for future generations of MRI technology is to provide an even sharper resolution by increasing the number of dots per region of the brain.) At first, this 3-D collection of colored dots looks like gibberish. But after years of research, Dr. Gallant and his colleagues have developed a mathematical formula that begins to find relationships between certain features of a picture (edges, textures, intensity, etc.) and the MRI voxels. For example, if you look at a boundary, you’ll notice it’s a region separating lighter and darker areas, and hence the edge generates a certain pattern of voxels. By having subject after subject view such a large library of movie clips, this mathematical formula is refined, allowing the computer to analyze how all sorts of images are converted into MRI voxels. Eventually the scientists were able to ascertain a direct correlation between certain MRI patterns of voxels and features within each picture. At this point, the subject is then shown another movie trailer. The computer analyzes the voxels generated during this viewing and re-creates a rough approximation of the original image. (The computer selects images from one hundred movie clips that most closely resemble the one that the subject just saw and then merges images to create a close approximation.) In this way, the computer is able to create a fuzzy video of the visual imagery going through your mind. Dr. Gallant’s mathematical formula is so versatile that it can take a collection of MRI voxels and convert it into a picture, or it can do the reverse, taking a picture and then converting it to MRI voxels. I had a chance to view the video created by Dr. Gallant’s group, and it was very impressive. Watching it was like viewing a movie with faces, animals, street scenes, and buildings through dark glasses. Although you could not see the details within each face or animal, you could clearly identify the kind of object you were seeing. Not only can this program decode what you are looking at, it can also decode imaginary images circulating in your head.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.

The 50-inch TCL Roku TV balances picture quality and value for money. And this is also what happens when America’s top TV brand and the world’s most popular streaming services content instantly and from one single place. You have everything on the Roku from live TV to game console or if you wish choose from over 1500 streaming channels. This is also the widest selection any smart TV has ever had. Find that perfect movie or TV show easily across top streaming channels by title, actor or director with the acclaimed Roku ‘Search’ feature. On the Roku, you will find more than 200,000 streaming movies and shows that you can choose from. The Remote is simple and puts control into the users’ hands and lets you instantly choose your preferred content from anywhere. Use the Roku Mobile app on your smartphone or tablet to control your Roku TV. Cast your personal media, videos and photos and even music to the big screen. With a 120 Hz refresh rate, the TV displays images at 1080p. It has a built-in wireless and not one, but three HDMI ports that provide a high definition multimedia interface. Wired calls the TCL Roku TV ‘The First Smart TV worth using’. The TCL TV has a Roku box built into it. It is a smart TV that includes the Roku operating system, which is also the favorite OS for most users. The OS is considered as one of the best compared to all the other products and definitely better than any other smart TVs. Recently, the Roku TV was displayed at the prestigious CES 2018 with a brand new OS. We all know a lot about Roku and there are lots of Roku fans across the United States. The recently released series of Roku OS 8 comes with some new and improved features. All Roku TVs have a ‘Tuner’ input that enables you to plug into an antenna and look for channels. In the new Roku TV, the ‘Tuner’ input is available on the Home screen itself; which makes it very easy to navigate to it without fumbling Once you select the ‘Tuner’ input it takes you to the last tuned channel You will also get a preview of what is playing right now The Roku OS 8 also comes with a Smart Guide where you will get a 14-day preview of what is available on all the channels that the Roku TV has scanned for Scroll through the Smart Guide to find out your next programming on the list The experience is fluid with no judder or lag; users will be able to scan through the Smart Guide very easily All you have to do is use the HD antenna and the Roku TV will pop up all the entertainment information In addition to the Smart Guide, there is also a new feature called ‘More Ways to Watch’ Anytime Roku identifies a content that is on the Smart Guide, which is also available on other Roku channels it is marked with a ‘*’. This indicates that there are more ways to watch a single programming content You also don’t have to wait to watch your favorite programming Wherever you see the ‘*’at any time on the Smart Guide, hit the ‘Ok’ button on your remote and watch it on another Roku channel instantly The pricing for the channel or programming is also displayed If you have a Roku set top box that is connected to a different TV (other than the Roku), there is a new feature in the ‘Search’ where Roku will tell you the channel on which a particular programming is available with the precise timing. The Roku OS 8 has already been pushed out to all the players and TVs. The same OS 8 version is available for Roku Set top boxes as well. If any problem in Roku setup, please call us @+1-877-302-5260

The keystroke to open the Preferences dialog box in every Apple program — Mail, Safari, iMovie, Photos, TextEdit, Preview, and on and on — is always the same: -comma. Better yet, that standard is catching on in other apps, too, like Word, Excel, and PowerPoint.

Take WALL-E, for example, which was known, early on, as Trash Planet. For a long time, that movie ended with our googly-eyed trash compactor robot saving his beloved droid, EVE, from destruction in a dumpster. But there was something about that ending that nagged, that never quite felt right. We had countless discussions about it, but Andrew Stanton, the director, was having difficulty putting his finger on what was wrong, let alone finding a solution. The confusing thing was that the romantic plotline seemed right. Of course WALL-E would save EVE—he’d fallen in love with her the moment he saw her. In a sense, that was precisely the flaw. And it was Brad Bird who pointed that out to Andrew in a Braintrust meeting. “You’ve denied your audience the moment they’ve been waiting for,” he said, “the moment where EVE throws away all her programming and goes all out to save WALL-E. Give it to them. The audience wants it.” As soon as Brad said that, it was like: Bing! After the meeting, Andrew went off and wrote an entirely new ending in which EVE saves WALL-E, and at the next screening, there wasn’t a dry eye in the house.

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.

When God’s Lightning was first founded, as a splinter off Women’s Liberation, it had as its slogan “No More Sexism,” and its original targets were adult bookstores, sex-education programs, men’s magazines, and foreign movies. It was only after meeting “Smiling Jim” Trepomena of Knights of Christianity United in Faith that Atlanta discovered that both male supremacy and orgasms were part of the International Communist Conspiracy. It was at that point, really, that God’s Lightning and orthodox Women’s Lib totally parted company, for the orthodox faction, just then, were teaching that male supremacy and orgasms were part of the International Kapitalist Conspiracy.)

All of our savings were consumed in the effort to bring my dog over. Steve loved Sui so much that he understood completely why it was worth it to me. The process took forever, and I spent my days tangled in red tape. I despaired. I loved my life and I loved the zoo, but there were times during that desperate first winter when it seemed we were fighting a losing battle. Then our documentaries started to air on Australian television. The first one, on the Cattle Creek croc rescue, caused a minor stir. There was more interest in the zoo, and more excitement about Steve as a personality. We hurried to do more films with John Stainton. As those hit the airwaves, it felt like a slow-motion thunderclap. Croc Hunter fever began to take hold. The shows did well in Sydney, even better in Melbourne, and absolutely fabulous in Brisbane, where they beat out a long-running number one show, the first program to do so. I believe we struck a chord among Australians because Steve wasn’t a manufactured TV personality. He actually did head out into the bush to catch crocodiles. He ran a zoo. He wore khakis. Among all the people of the world, Australians have a fine sense of the genuine. Steve was the real deal. Although the first documentary was popular and we were continuing to film more, it would be years before we would see any financial gain from our film work. But Steve sat down with me one evening to talk about what we would do if all our grand plans ever came to fruition. “When we start to make a quid out of Crocodile Hunter,” he said, “we need to have a plan.” That evening, we made an agreement that would form the foundation of our marriage in regard to our working life together. Any money we made out of Crocodile Hunter--whether it was through documentaries, toys, or T-shirts (we barely dared to imagine that our future would hold spin-offs such as books and movies)--would go right back into conservation. We would earn a wage from working at the zoo like everybody else. But everything we earned outside of it would go toward helping wildlife, 100 percent. That was our deal. As a result of the documentaries, our zoo business turned from a trickle to a steady stream. Only months earlier, a big day to us might have been $650 in total receipts. When we did $3,500 worth of business one Sunday, and then the next Sunday upped that record to bring in $4,500, we knew our little business was taking off. Things were going so well that it was a total shock when I received a stern notice from the Australian immigration authorities. Suddenly it appeared that not only was it going to be a challenge to bring Shasta and Malina to my new home of Australia, I was encountering problems with my own immigration too. Just when Steve and I had made our first tentative steps to build a wonderful life together, it looked as though it could all come tumbling down.

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

There are streaming media devices like Roku, Kodi, or Amazon’s Fire TV Stick that allow you to access most of the same programs that you normally get through a cable subscription. Each of these devices gives you access to thousands of streaming channels. Some are free and some are premium. Even if you pay for two or three of these services, it still results in a significant cost savings. For instance, my setup is simple right now and only costs an average of $40 (as of March 2017), which is significantly less than the $130+ cable bill we once had: Netflix ($7 monthly) Amazon Prime ($99 per year or $8 monthly) Sling TV ($25 monthly) With Netflix and Amazon, you can watch most of the movies, documentaries, and premium TV shows that you love. And with Sling TV, you have access to your favorite network shows. It’s television-on-demand at its best, and more importantly, you don’t have to sit through commercials, which are distracting and reinforce negative spending habits.

Somewhere along the way, I picked up the unspoken belief that I was made for white people. That might sound weird, but it's true. Much of my teaching (and learning) managed to revolve around whiteness - white privilege, white ignorance, white shame, the things white folks "needed" in order to believe racial justice is a worthy cause. Movie discussions on Do the Right Thing or Crash often focused on the white characters, and "privilege walks" focused on making white people recognize the unearned advantages they'd gotten at birth. I worked as if white folks were at the center, the great hope, the linchpin, the key to racial justice and reconciliation - and so I contorted myself to be the voice white folks could hear. It's amazing how white supremacy even invades programs aimed at seeking racial reconciliation.

The next thing you can do is to make a still image of yourself in the situation where you’re afraid. Imagine you are sitting in a movie theater with the still image on screen. Then imagine floating out of yourself in the chair so you can look down and watch yourself, seeing yourself being afraid. Then start the movie. It’s like you’re in a balcony watching yourself in the theater and you’re in the film. Now as you look at yourself being afraid, I want you to stay in that third position and in your mind looking at yourself being afraid and say to yourself, That’s ridiculous. As you look at yourself being terrified, watching yourself being terrified, something inside you will feel different.

Run all the way to the end of the episode, float back down into the theatre, float into the movie, and then run it backward so everybody walks backward and talks backward, and throw in a little circus music so it’s as ridiculous as it could be. Then, clear your mind for ten minutes and then go back and think of what you were afraid of. You will be amazed to discover that your fear has severely diminished if not disappeared entirely.

It may take a few tries at this because habits develop over years, but over time it will be effective. For years and years, this particular woman who was raped had run the same life-size movie in her head over and over again. It became a habit. What she needed to do was to break it up. If you can make the image small enough or, if you can, white it out often enough, that will make a difference. If you can run it backward enough, that will change the feeling. You can also disassociate it. You do this by putting yourself in the picture and pushing it off into the distance. Then you can go inside your mind and replace it with something else because it’s not enough to get over the past, you have to start to look at what you want in the future.

Whenever you get directions from someone, or you give directions to someone, you rely on your own ability to go inside and mentally represent through a movie how to get to wherever it is you need to go. When people create anything, they must create it first in their minds by imagining what it is going to look like.

The qualities of your thoughts, these submodalities, determine how your thoughts affect you. When you make big movies of things you are associated with, generally, the feeling will be more intense. When you make the movie smaller and move it, disassociated, into the distance, the feeling will be smaller. We can also learn how to use our control over submodalities to manifest the kinds of feelings we need when we need them. I like to call this running your own brain.

I keep mentioning television. Remember: There was no internet in the 1980s. What a child knew of the world was what immediately surrounded her in real life—her own family, friends, school, and home—and what glimpses she could get of the larger world through available windows. Television filled in the blanks, I thought, in my understanding of life. I had no way of knowing how many blanks remained unfilled or how correct or incorrect was the mental map I drew of the world based on that understanding. The major TV networks at the time all aired some version of melodramatic afternoon programming for teens. ABC called its afternoon movie series After

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

It was on my third viewing of Henry Levin’s 1959 movie Journey to the Center of the Earth that I first stumbled upon an exercise I still use today. I had left the living room with the TV’s sound turned low, and when I returned for the “exciting conclusion” that the program’s announcer always promised, I came upon my favorite action sequence, in which the protagonists encounter a convincingly real-looking dimetrodon dinosaur. I had long wondered how the filmmakers pulled this off. With the sound down, I could more easily decode the techniques and effects at work. I noticed that the monstrous dinosaur was actually an iguana of some kind with a spine sail glued to its back. I figured out that the ruins of Atlantis were really carefully rendered matte paintings. I identified the camera setups that the filmmakers used to stage the sequence and make the audience believe every second of it. Thereafter, I lowered the sound whenever there was a scene that I wanted to study closely. With my own money, I bought a Bauer

I felt haunted, and borderline’s spirit wasn’t benevolent. To be borderline meant one was unstable, obsessive, dysfunctional, overly attached, simultaneously avoidant, and prone to outbursts fueled by anger. My borderline ghost, it seemed, should have been named Crazy—and in ways, it was. The representations of borderline characters in the media were from shows with the word “crazy” or its synonyms in the title; programs such as Maniac, movies called Fatal Attraction, Mad Love, and Shame. Every story was one I didn’t, couldn’t, aspire to; a narrative that portrayed borderline as an unconquerable, maddening disease where the sufferer was undeniably a “maniac.

The idea of saving 200 people in Program A is literally a “no-brainer,” says Gonzales. Because Program A is framed as a sure gain, “it’s a simple alternative that can be evaluated at very low cognitive cost,” she explains. And this frame suggests no emotional cost, since it calls your attention to the lives saved rather than the lives lost. You can see how little effort the brain takes to evaluate this choice in the top left of Figure 6.1. On the other hand, when a risk is framed negatively—for instance, by stressing those 400 lost lives—then it incites images and ignites emotions. The thought of losing money, like losing lives, is so inherently alarming that it ends up triggering intense activation in an area of your brain called the intraparietal sulcus. This curving wrinkle of tissue, located toward the top of your head behind your ears, appears to function somewhat like a mental movie screen. It enables you to visualize and imagine the consequences of actions not yet taken. The more uncertain the consequences are, the more active the intraparietal sulcus becomes.

This is why the idea of having children has been intentionally socially engineered out of people. The natural impulse to produce offspring has been carefully and deliberately severed from sexual desire, all the cultural and social mores governing sex that funneled the young toward family formation have been demolished. This is why a life of perpetual adolescence is glorified. All of our young people have been psyopsed into adopting the fruitless, nihilistic, and consumeristic lifestyle of the homosexual, whether or not their hearts have been groomed into those particular sexual perversions. The intentionally childless, consumerist, permanent adolescent is gay, whether he sexually desires his same sex or not. It is important for us to be aware that this has been programmed into the hearts of the young, so that we can teach our children to hate it. It is simply not enough to keep your kids from watching movies or having access to the internet when they are in your home. No matter what you do, the magical dark liturgy that runs twenty-four seven will still be out there, and the likelihood that your children will have FOMO (fear of missing out) will be high. But teaching your children to hate it is far more important than keeping it hidden away from them. They should learn specifically why they ought to despise everything from Trashworld. In your house they should mature to recognize that the glories of this disgusting world of ugliness are nothing but hideous monstrosities.

strong and intense just because it is given another medium as “content.” The content of a movie is a novel or a play or an opera. The effect of the movie form is not related to its program content. The “content” of writing or print is speech, but the reader is almost entirely unaware either of print or of speech.

Suraj solar and allied industries, Wework galaxy, 43, Residency Road, Bangalore-560025. Mobile number : +91 808 850 7979 Introduction to Solar Rooftop Systems Understanding Solar Energy Importance of Solar Rooftop Systems Harnessing the power of the sun to generate clean and renewable energy has become increasingly essential in today's world. Solar rooftop systems offer a sustainable solution for both residential and commercial properties to reduce reliance on traditional grid electricity and lower carbon emissions. By understanding the fundamentals of solar energy and recognizing the significance of solar rooftop installations, individuals and businesses in Bangalore can pave the way towards a more environmentally conscious and cost-effective energy future. # Solar Rooftop in Bangalore - Sunease Solar ## Introduction to Solar Rooftop Systems ### Understanding Solar Energy Solar energy is like the coolest kid on the block when it comes to renewable energy sources. It's basically sunlight transformed into electricity, which is pretty neat if you ask me. ### Importance of Solar Rooftop Systems Solar rooftop systems are like the superheroes of the energy world - they harness the power of the sun right from your rooftop. They not only help you save money but also reduce your carbon footprint. Win-win! ## Benefits of Solar Rooftop Installations ### Financial Savings Imagine cutting down on those hefty electricity bills - that's what solar rooftop installations do. They help you save money in the long run while also increasing the value of your property . It resembles having your cake and eating it as well! ### Environmental Impact By switching to solar energy, you're basically giving Mother Earth a virtual high-five. Solar rooftop installations reduce greenhouse gas emissions and help combat climate change. So, you're not just saving money, you're saving the planet. NBD. ### Energy Independence Who doesn't want to be a little more independent, am I right? Solar Rooftop in Bangaloreprovide you with a sense of self-sufficiency when it comes to energy. You're not at the mercy of fluctuating electricity prices anymore. It's like taking control of your energy destiny. ## Solar Rooftop Initiatives in Bangalore ### Government Policies and Incentives Bangalore is all about that solar love. The government has rolled out various policies and incentives to promote solar rooftop installations. It resembles they're saying, "Here's something special to do your change to sun oriented considerably better." ### Community Programs and Awareness Communities in Bangalore are coming together to spread the good word about solar energy. From awareness campaigns to collective installations, they're making sure everyone knows that solar is the way to go. It's like a solar revolution, but with a cool community twist. ## Sunease Solar: A Leader in Solar Rooftop Solutions ### Company Overview Sunease Solar is basically the Gandalf of solar rooftop solutions - wise, reliable, and always there when you need them. They're experts in the field, making the switch to solar as easy as pie (solar-powered pie, of course). ### Product Offerings From sleek solar panels to cutting-edge inverters, Sunease Solar has it all. They offer top-notch products that are not only efficient but also look pretty darn good on your rooftop. It's like having the Ferraris of solar installations. ### Customer Success Stories Customers love Sunease Solar, and for good reason. Their success stories speak volumes about the quality of service and satisfaction they provide. It's like a feel-good movie, but with solar panels instead of actors. 5. Key Features of Solar Rooftop Systems Panel Efficiency and Durability When it comes to Solar Rooftop in Bangalore, panel efficiency and durability are key factors to consider.

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store.

His name is C. J. Skender, and he is a living legend. Skender teaches accounting, but to call him an accounting professor doesn’t do him justice. He’s a unique character, known for his trademark bow ties and his ability to recite the words to thousands of songs and movies on command. He may well be the only fifty-eight-year-old man with fair skin and white hair who displays a poster of the rapper 50 Cent in his office. And while he’s a genuine numbers whiz, his impact in the classroom is impossible to quantify. Skender is one of a few professors for whom Duke University and the University of North Carolina look past their rivalry to cooperate: he is in such high demand that he has permission to teach simultaneously at both schools. He has earned more than two dozen major teaching awards, including fourteen at UNC, six at Duke, and five at North Carolina State. Across his career, he has now taught close to six hundred classes and evaluated more than thirty-five thousand students. Because of the time that he invests in his students, he has developed what may be his single most impressive skill: a remarkable eye for talent. In 2004, Reggie Love enrolled in C. J. Skender’s accounting class at Duke. It was a summer course that Love needed to graduate, and while many professors would have written him off as a jock, Skender recognized Love’s potential beyond athletics. “For some reason, Duke football players have never flocked to my class,” Skender explains, “but I knew Reggie had what it took to succeed.” Skender went out of his way to engage Love in class, and his intuition was right that it would pay dividends. “I knew nothing about accounting before I took C. J.’s class,” Love says, “and the fundamental base of knowledge from that course helped guide me down the road to the White House.” In Obama’s mailroom, Love used the knowledge of inventory that he learned in Skender’s class to develop a more efficient process for organizing and digitizing a huge backlog of mail. “It was the number-one thing I implemented,” Love says, and it impressed Obama’s chief of staff, putting Love on the radar. In 2011, Love left the White House to study at Wharton. He sent a note to Skender: “I’m on the train to Philly to start the executive MBA program and one of the first classes is financial accounting—and I just wanted to say thanks for sticking with me when I was in your class.

The world of Shindana—of top Mattel brass working side by side with the founders of Operation Bootstrap, the Watts-based job training program under whose auspices the toy company was formed—was a far cry from the way the thirtieth-anniversary issue of Barbie magazine depicted Barbie's world in 1966. "Our inner cities burned but the pot roast couldn't," the caption says under a picture of Barbie at a Tupperware party. "Mom and Dad and the leaders they elected tried to keep a lid on things." As I said in this book's opening chapter, studying Barbie sometimes requires the ability to hold contradictory ideas in one's head at the same time. When it comes to Mattel and representations of racial diversity, this is especially true. Although the Handlers have not been part of Mattel for twenty years, the company can still be viewed as a cousin to the Hollywood studios. Mattel actually did get into the movie business in the seventies, when its Radnitz Productions produced the Academy Award-winning Sounder, another multicultural product that predated the multicultural vogue.

Traditionally, the needs of ethnically diverse consumers had been met by smaller companies—the equivalent, in movie terms, of independent filmmakers. In the seventies, Shindana introduced two Barbie-like fashion dolls: Malaika, taller and stouter than Barbie; and Career Girl Wanda, about three-quarters as tall as Barbie and as proportionately svelte. But in 1991, when Mattel brought out its "Shani" line—three Barbie-sized African-American dolls available with mahogany, tawny, or beige complexions— there could be no doubt that "politically correct" was profitable. "For six years, I had been preaching these demographics—showing pie charts of black kids under ten representing eighteen percent of the under-ten population and Hispanic kids representing sixteen percent—and nobody was interested," said Yla Eason, an African-American graduate of Harvard Business School who in 1985 founded Olmec Corporation, which makes dolls and action figures of color. "But when Mattel came out with those same demographics and said, 'Ethnically correct is the way,' it legitimatized our business." Some say that the toy industry's idea of "ethnically correct" doesn't go far enough, however. Ann duCille, chairman of the African-American Studies Program and an associate professor of English at Wesleyan University, is a severe critic. After studying representations of race in fashion dolls for over a year, she feels that the dolls reflect a sort of "easy pluralism." "I'm not sure I'd go so far as to say I'd rather see no black dolls than see something like Shani or Black Barbie," she told me, "but I would hope for something more—which is not about to happen." Nor is she wholly enamored of Imani and Melenik, Olmec's equivalent of Barbie and Ken. "Supposedly these are dolls for black kids to play with that look like them, when in fact they don't look like them. That's a problematic statement, of course, because there's no 'generic black kid.' But those dolls look too like Barbie for me. They have the same body type, the same long, straight hair—and I think it sends a problematic message to kids. It's about marketing, about business—so don't try to pass it off as being about the welfare of black children." Lisa Jones, an African-American writer who chronicled the introduction of Mattel's Shani dolls for the Village Voice, is less harsh. Too old to have played with Christie—Barbie's black friend, born in 1968—Jones recalls as a child having expressed annoyance with her white classmates by ripping the heads and arms off her two white Barbie dolls. Any fashion doll of color, she thinks, would have been better for her than those blondes. "Having been a little girl who grew up without the images," she told me, "I realize that however they fail to reach the Utopian mark, they're still useful.

Will" Rogers, known as "Oklahoma's Favorite Son,” was born on November 4, 1879, in what was then considered Indian Territory. His career included being a cowboy, writer, vaudeville performer, movie star and political wit. He poked fun at politicians, government programs, gangsters and current events, in a home spun and folksy way, making him one of the most idolized people in America. He became the highest paid Hollywood movie star at the time. Will Rogers died on August 15, 1935 with his friend and pilot Wiley Post, when their small airplane crashed in Alaska. He once said that he wanted his tombstone to read "I joked about every prominent man of my time, but I never met a man I didn’t like.

fleeting fun. This is the kind of love celebrated in most movies, novels, television programs, and songs. You’ve been conditioned to value it above all else and have been told that it’s the only “authentic” love.

It is for this reason that the anxiety about the boundaries between people and machines has taken on new urgency today, when we constantly rely on and interact with machines—indeed, interact with each other by means of machines and their programs: computers, smartphones, social media platforms, social and dating apps. This urgency has been reflected in a number of recent films about troubled relationships between people and their human-seeming devices. The most provocative of these is Her , Spike Jonze’s gentle 2013 comedy about a man who falls in love with the seductive voice of an operating system, and, more recently, Alex Garland’s Ex Machina , about a young man who is seduced by a devious, soft-spoken female robot called Ava whom he has been invited to interview as part of the “Turing Test”: a protocol designed to determine the extent to which a robot is capable of simulating a human. Although the robot in Garland’s sleek and subtle film is a direct descendant of Hesiod’s Pandora—beautiful, intelligent, wily, ultimately dangerous—the movie, as the Eve-like name Ava suggests, shares with its distinguished literary predecessors some serious biblical concerns.

Do you ever watch old black-and-white war movies? The weary soldier advances cautiously out of the brush. There's a clearing ahead: are there any land mines, or is it safe to cross? There aren't any indications that it's a minefield—no signs, barbed wire, or craters. The soldier pokes the ground ahead of him with his bayonet and winces, expecting an explosion. There isn't one. So he proceeds painstakingly through the field for a while, prodding and poking as he goes. Eventually, convinced that the field is safe, he straightens up and marches proudly forward, only to be blown to pieces. The soldier's initial probes for mines revealed nothing, but this was merely lucky. He was led to a false conclusion—with disastrous results. As developers, we also work in minefields. There are hundreds of traps just waiting to catch us each day. Remembering the soldier's tale, we should be wary of drawing false conclusions. We should avoid programming by coincidence—relying on luck and accidental successes—in favor of programming deliberately.

With Evernote Web Clipper you can see the information that you may have saved earlier automatically. For instance, if you are looking for a specific movie or quote, and you have saved the same or something similar in your Evernote account, it will show up on your results. You wouldn’t even need to open the program in your computer or Evernote on

Seven o'clock and you watched it and then you turned it off. The Fifties. It's like that in movies and television programs, but its plot there. The characters get some information from the newscaster and then they turn it off so they can speak. But we were the characters then. We still are, I guess, so it's only a matter of time before we start seeing television shows where the people turn on the news to get some information and then, instead of turning it off so they can speak, they leave it on, and we get swept into some endless video vortex, some film loop, which has us by the eyes and won't let us go.

Preaching is compelling to young secular adults not if preachers use video clips from their favorite movies and dress informally and sound sophisticated, but if the preachers understand their hearts and culture so well that listeners feel the force of the sermon’s reasoning, even if in the end they don’t agree with it. This is not a matter of style or program.

Public travel during seclusion for work and as a result desires to situate for viable services anywhere they amount to acquire exceptional ability. As a result of that included just recently is through car leasing centers. Such takes enormously much less instant in addition to rises initiative effectiveness. Entirely comfort is supplied other than, similar to the rush to take a trip anywhere during the city. Along with if despite which occurs to the automobile was travelling the firm vehicle renting facilities immediately supply by an unique vehicle in order to take place their service quality by applying customary of the team. We can take delight to enjoy any kind of movie also as going. There certainly is no panic of the really train or bus to be missed because you will hold your individual automobile. Correctly there would be no plain time frame. You understand how you can yet assign a Month-to-month auto rental or any sort of such of cream of the crop vehicles. The enormous brand names are also accessible to hire. Corporate specific essentially make use of such exceptional vehicles to show their standard in addition to their personal business worth. Comfy vehicles to some sort of any sort of sector of car have the ability to be teased behalf to their different rates. All resorts of 5-star in addition to 7-star does not include the vehicles, however, work with vehicles. For that reason, we are able to simply envision the well worth of these assigning facilities there are lots of a Month-to-month auto rental and every these service supply with a much better service as different to others. When it comes to such reason vehicle rentals are taking a prospering in the company in addition to the regional marketplace. Therefore, the group needs to support their well worth in the market using providing a type of facilities for their consumers. Not merely in locally nevertheless in bunches of huge business towards other fundamentals requirements. Just as travelling within any of the individual owning if you figure out a little bit magnificent on the edge and seem like acquiring it on the other hand you still cannot for the reason that they won't drop in for you however here by methods of this Auto Lease Dubai you could acquire whatever you figure out in purchasing. The program can be all set according to your choices equally as not according to the typical timings of public transportation. During the Car Rental solution, the client will hold no concerns pertaining to the protection or safeguarding of the auto. One can pick Automobile Lease Dubai along with doing accordingly it will turn into unproblematic to opt for a vehicle of their option even as choices any auto. You be up to the trip to the appropriate location that you wish by applying the aid of this car rental. Called for credentials for transport are the look out of the services nonetheless we have to be reliable that it's a superior company with every obligatory certificate approved. If a person does not be full of the ability to get an automobile even though one could easily hire an automobile as it's not at every little thing costly to utilize this improvement.

Very few kids step out of a youth ministry because the programs are lousy. Kids will actually forgive all kinds of programmatic mediocrity if they are certain they belong. Consider what most teenagers do on weekend nights. They don’t usually have brilliant, hypercreative plans (you’ve seen them meandering through Blockbuster for hours, looking for a movie to rent). They simply “hang out” with their friends. If our youth ministries don’t provide students with the opportunity to be with the kinds of friends they want, it won’t matter how spiritual, cutting-edge or outrageous our programs are; kids will not stick.

It is, however, no time to suggest strategies when the threat has not even been acknowledged to exist. I am in the position of Louis Pasteur telling doctors that their greatest enemy was quite invisible, and quite unrecognized by them. Our conventional response to all media, namely that it is how they are used that counts, is the numb stance of the technological idiot. For the “content” of a medium is like the juicy piece of meat carried by the burglar to distract the watchdog of the mind. The effect of the medium is made strong and intense just because it is given another medium as “content.” The content of a movie is a novel or a play or an opera. The effect of the movie form is not related to its program content. The “content” of writing or print is speech, but the reader is almost entirely unaware either of print or of speech.

Stepfathers have been vilified for ages. Books and movies have always depicted stepfathers as this clog in the family system, not to be accepted. Children are programmed to hate a stepfather from the get-go and they do so with a passion. It doesn’t matter if the child’s father is in the picture or not.

Destiny has called you to be a god. Are you hero enough for the task? Will you switch on your inner “hero program”, or slink off to the shopping mall or the sports stadium and put it off for yet another day? Maybe you’ll take in a movie. So much easier to watch others doing the heavy lifting, and the actors are just faking it anyway. Where are the real heroes? Where are YOU?!

Convinced that a persistent negative emotional state had contributed to his illness, he decided it was equally possible that a more positive emotional state could reverse the damage. While continuing to consult with his doctor, Cousins started a regimen of massive doses of vitamin C and Marx Brothers movies (as well as other humorous films and comedy shows). He found that ten minutes of hearty laughter gave him two hours of pain-free sleep. Eventually, he made a complete recovery. Cousins, quite simply, laughed himself to health. How? Although scientists at the time didn’t have a way to understand or explain such a miraculous recovery, research now tells us it’s likely that epigenetic processes were at work. Cousins’s shift of attitude changed his body chemistry, which altered his internal state, enabling him to program new genes in new ways; he simply downregulated (or turned off) the genes that were causing his illness and upregulated (or turned on) the genes responsible for his recovery.

1. A Rich Life means you can spend extravagantly on the things you love as long as you cut costs mercilessly on the things you don’t. 2. Focus on the Big Wins—the five to ten things that get you disproportionate results, including automating your savings and investing, finding a job you love, and negotiating your salary. Get the Big Wins right and you can order as many lattes as you want. 3. Investing should be very boring—and very profitable—over the long term. I get more excited eating tacos than checking my investment returns. 4. There’s a limit to how much you can cut, but no limit to how much you can earn. I have readers who earn $50,000/year and ones who earn $750,000/year. They both buy the same loaves of bread. Controlling spending is important, but your earnings become super-linear. 5. Your friends and family will have lots of “tips” once you begin your financial journey. Listen politely, then stick to the program. 6. Build a collection of “spending frameworks” to use when deciding on buying something. Most people default to restrictive rules (“I need to cut back on eating out . . .”), but you can flip it and decide what you’ll always spend on, like my book-buying rule: If you’re thinking about buying a book, just buy it. Don’t waste even five seconds debating it. Applying even one new idea from a book is worth it. (Like this one.) 7. Beware of the endless search for “advanced” tips. So many people seek out high-level answers to avoid the real, hard work of improving step by step. It’s easier to dream about winning the Boston Marathon than to go out for a ten-minute jog every morning. Sometimes the most advanced thing you can do is the basics, consistently. 8. You’re in control. This isn’t a Disney movie and nobody’s coming to rescue you. Fortunately, you can take control of your finances and build your Rich Life. 9. Part of creating your Rich Life is the willingness to be unapologetically different. Once money isn’t a primary constraint, you’ll have the freedom to design your own Rich Life, which will almost certainly be different from the average person’s. Embrace it. This is the fun part! 10. Live life outside the spreadsheet. Once you automate your money using the system in this book, you’ll see that the most important part of a Rich Life is outside the spreadsheet—it involves relationships, new experiences, and giving back. You earned it.

browser. The website we are looking for is Make MKV which is a free program that converts a regular DVD disk which is roughly 7 Gig by default into a compressed MKV file type that retains all the quality and sound of