Reality Tv Quotes

Maybe I should, I don't know leave? Because this is starting to sound like one of those reality shows I don't want to be in. Maybe you guys want to take turns in the confessional booth.

For several years, I had been bored. Not a whining, restless child's boredom (although I was not above that) but a dense, blanketing malaise. It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls. It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else. I would have done anything to feel real again.

Reality TV was to me the worst form of entertainment--the modern equivalent of paying sixpence to watch lunatics howling at the wall down at the local madhouse.

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 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 American 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

I don't know about you, but I'm kind of fed up with realism. After all, there's enough reality already; why make more of it? Why not leave realism for the memoirs of drug addicts, the histories of salt, the biographies of porn stars? Why must we continue to read about the travails of divorced people or mildly depressed Canadians when we could be contemplating the shopping habits of zombies, or the difficulties that ensue when living and dead people marry each other? We should be demanding more stories about faery handbags and pyjamas inscribed with the diaries of strange women. We should not rest until someone writes about a television show that features the Free People's World-Tree Library, with its elaborate waterfalls and Forbidden Books and Pirate-Magicians. We should be pining for a house haunted by rabbits. (from the review of Kelly Link's Magic for Beginners in The Guardian)

Remember! Reality's an illusion, the universe is a hologram, buy gold! Byeeee!

some soap opera, you know, real people pretending to be fake people with made-up problems being watched by real people to forget their real problems.

The moral nihilism of celebrity culture is played out on reality television shows, most of which encourage a dark voyeurism into other people's humiliation, pain, weakness, and betrayal.

We have been expropriated from our own language by television, from our songs by reality TV contests, from our flesh by mass pornography, from our city by the police and from our friends by wage-labor.

If we choose to, we can live in a world of comforting illusions. We can allow ourselves to be deceived by false realities. Or we can use them to hide our true intentions.

In the old legends, Arachne had gotten into trouble because of pride. She’d bragged about her tapestries being better than Athena’s, which had led to Mount Olympus’s first reality TV punishment program: 'So You Think You Can Weave Better Than a Goddess?' Arachne had lost in a big way.

Now that everyone could vote from home, via the OASIS, the only people who could get elected were movie stars, reality TV personalities, or radical televangelists..

If people are well paid for reality television and cotton candy and dunking a basketball, why can't they be well paid for changing young minds?

Hermes's eyes twinkled. "Martha, may I have the first package, please?" Martha opened her mouth ... and kept opening it until it was as wide as my arm. She belched out a stainless steel canister-an old-fashioned lunch box thermos with a black plastic top. The sides of the thermos were enameled with red and yellow Ancient Greek scenes-a hero killing a lion; a hero lifting up Cerberus, the three-headed dog. "That's Hercules," I said. "But how-" "Never question a gift," Hermes chided. "This is a collector's item from Hercules Busts Heads. The first season." "Hercules Busts Heads?" "Great show." Hermes sighed. "Back before Hephaestus-TV was all reality programming. Of course, the thermos would be worth much more if I had the whole lunch box-

Sadism dominates the culture. It runs like an electric current through reality television and trash-talk programs, is at the core of pornography, and fuels the compliant, corporate collective. Corporatism is about crushing the capacity for moral choice and diminishing the individual to force him or her into an ostensibly harmonious collective. This hypermasculinity has its logical fruition in Abu Ghraib, the wars in Iraq and Afghanistan, and our lack of compassion for our homeless, our poor, the mentally ill, the unemployed, and the sick. ... We accept the system handed to us and seek to find a comfortable place within it. We retreat into the narrow, confined ghettos created for us and shut our eyes to the deadly superstructure of the corporate state.

Boy bands, fan fiction, soap operas, reality TV, most shows and movies with female main characters . . . We’re still so rarely front and center, even rarer when you consider race and sexuality, and then when we do get something that’s just for us, we’re made to feel bad for liking it. We can’t win.

Wait, maybe I could get a reality TV contract. We could call it Grim in the City.

Barrons Books and Baubles had been ransacked! Tables were overturned, books torn from shelves and strewn everywhere, baubles broken. Even my little TV behind the counter had been destroyed. "Barrons?" I called warily. It was night and the lights were on. My illusory Alina had told me more than an hour had passed. Was it the same night, nearly dawn? Or was it the night following our theft attempt? Had Barrons come back from Wales yet? Or was he still there, searching for me? When I‘d been so rudely ripped from reality, who or what had come through those basement doors? I heard footsteps, boots on hardwood, and turned expectantly toward the connecting doors. Barrons was framed in the doorway. His eyes were black ice. He stared at me a moment, raking me from head to toe. "Nice tan, Ms. Lane. So, where the fuck have you been for the past month?

Confidence is just entitlement. Entitlement has gotten a bad rap because it's used almost exclusively for the useless children of the rich, reality TV stars, and Conrad Hilton Jr., who gets kicked off an airplane for smoking pot in the lavatory and calling people peasants or whatever. But entitlement in and of itself isn't so bad. Entitlement is simply the belief that you deserve something. Which is great. The hard part is, you'd better make sure you deserve it.

Why watch reality TV when I can just open my blinds and look out my window to all the reality I can handle?

Why do I read? To know that I am alive. To know that hope and humanity exist in the world. To remember that some people spend years of their life, not watching reality TV or pornography, but trying to create something meaningful and lasting and beautiful. I read to know what is possible.

I can't recall a single amazing thing I have seen first hand that I didn't immediately reference to amp is of a TV show. You know the awful singsong the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script.

Maybe they'd use biological or chemical weapons instead. Maybe they'd crash the world economy. Maybe they'd turn every program on television into one of those reality shows." "That's mostly done already, Harry." "Oh. Well. I've got to believe that the world is worth saving anyway.

Despite the variety and the differences, and however much we proclaim the contrary, what the media produce is neither spontaneous nor completely “free:” “news” does not just happen, pictures and ideas do not merely spring from reality into our eyes and minds, truth is not directly available, we do not have unrestrained variety at our disposal. For like all modes of communication, television, radio, and newspapers observe certain rules and conventions to get things across intelligibly, and it is these, often more than the reality being conveyed, that shape the material delivered by the media.

Most of the time romance isn't even about love, anyway. It's about escape. Fantasy. Salvation from the mundane. Save me from boredom, from exhaustion, from my undersexed body, from microwave dinners and reality TV, from going to bed alone with a vibrator or a cat. Save me from my desperately ordinary life.

Why isn’t there a reality TV show filled with hot guys doing sweaty, mouthwatering tasks? Oh, right. That’s called sports

I want you to write like Alice Munro.  Stir the world.  Make people see the horror; show them their suffering relatives; show them that they’re not safe.  Let them know that they can’t even begin to imagine what’s happening here.  By making my reality more compelling than reality television is the only way you’ll get their attention. Psychotic and cynical. Who can tell the difference anymore between a severed head and a special effect?  Can you?  I doubt it, and I know you’ve been in the middle of it all and seen the damage first-hand.

I was once asked if I had any ideas for a really scary reality TV show. I have one reality show that would really make your hair stand on end: "C-Students from Yale." George W. Bush has gathered around him upper-crust C-students who know no history or geography, plus not-so-closeted white supremacists, aka Christians, and plus, most frighteningly, psychopathic personalities, or PPs, the medical term for smart, personable people who have no consciences. To say somebody is a PP is to make a perfectly respectable diagnosis, like saying he or she has appendicitis or athlete's foot . . . PPs are presentable, they know full well the suffering their actions may cause others, but they do not care. They cannot care because they are nuts. They have a screw loose! . . . So many of these heartless PPs now hold big jobs in our federal government, as though they were leaders instead of sick. They have taken charge of communications and the schools, so we might as well be Poland under occupation. They might have felt that taking our country into an endless war was simply something decisive to do. What has allowed so many PPs to rise so high in corporations, and now in government, is that they are so decisive. They are going to do something every fuckin' day and they are not afraid. Unlike normal people, they are never filled with doubts, for the simple reasons that they don't give a fuck what happens next. Simply can't. Do this! Do that! Mobilize the reserves! Privatize the public schools! Attack Iraq! Cut health care! Tap everybody's telephone! Cut taxes on the rich! Build a trillion-dollar missile shield! Fuck habeas corpus and the Sierra Club and In These Times, and kiss my ass! There is a tragic flaw in our precious Constitution, and I don't know what can be done to fix it. This is it: Only nut cases want to be president.

My life used to be boring. A damnation here, a curse there, with an occasional blight or two to break routine. Now I have Aisling...She's better than reality TV, Internet porn sites, and the trashloids all put together.' - Jim

History is gossip that's been legitimized, and that's really the case when you get into some of the Roman historians. Wow! They'd be right at home on reality tv.

We live in a world ruled by fictions of every kind—mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.

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.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

The only crime is pride.

Mountains should be climbed with as little effort as possible and without desire. The reality of your own nature should determine the speed. If you become restless, speed up. If you become winded, slow down. You climb the mountain in an equilibrium between restlessness and exhaustion. Then, when you’re no longer thinking ahead, each footstep isn’t just a means to an end but a unique event in itself. This leaf has jagged edges. This rock looks loose. From this place the snow is less visible, even though closer. These are things you should notice anyway. To live only for some future goal is shallow. It’s the sides of the mountain which sustain life, not the top. Here’s where things grow. But of course, without the top you can’t have any sides. It’s the top that defines the sides. So on we go—we have a long way—no hurry—just one step after the next—with a little Chautauqua for entertainment -- .Mental reflection is so much more interesting than TV it’s a shame more people don’t switch over to it. They probably think what they hear is unimportant but it never is.

It is possible to be a fan of reality TV, talent shows and bubblegum pop and still have a brain. You will also see that a great many people know perfectly well how silly and camp and trivial their fandom is. They do not check in their minds when they enter a fan site. Judgement is not necessarily fled to brutish beasts, and men have not quite lost their reason. Which is all a way of questioning whether pop-culture hero worship is really so psychically damaging, so erosive of cognitive faculties, so corrupting of the soul of mankind as we are so often told.

Jesus Christ, MTV would make a mint with a reality TV show about their unit. The relationship drama alone would carry the ratings, forget the actual fieldwork.

Sometimes a girl just needs a dick, a beer, and reality television all within thirty minutes. Never underestimate the power of a quickie.

A pastor can teach you on TV, but he can't pastor you on TV. There's so much to gain by belonging to a church.

Maybe they seeded life on Earth millions of years ago, and now they're here to punish us for turning out to be such a lame species and inventing reality TV and shit?

Sometimes I look around my living room, and the most real thing in the room is the television. It’s bright and vivid, and the rest of my life looks drab. So I turn the damn thing off. That does it every time. Get my life back.

Imagine a single drop of water: that’s the protest. Now put that drop of water into a bucket: that’s the protest movement. Now drop that bucket into Lake Michigan: that’s Reality. But old Cronkite knows the danger of television is that people begin seeing the entire world through that single drop of water. How that one drop refracts the light becomes the whole picture. For

There are worse addictions than reality TV, chocolate and coffee.

Our culture's adjustment to the epistemology of television is by now all but complete; we have so thoroughly accepted its definitions of truth, knowledge and reality that irrelevance seems to us to be filled with import, and incoherence seems eminently sane. And if some of our institutions seem not to fit the template of the times, why it is they and not the template, that seem to us disordered and strange.

The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.

Maybe most other people are messed up, too. It just wasn't aired on TV.

How To Tell If Somebody Loves You: Somebody loves you if they pick an eyelash off of your face or wet a napkin and apply it to your dirty skin. You didn’t ask for these things, but this person went ahead and did it anyway. They don’t want to see you looking like a fool with eyelashes and crumbs on your face. They notice these things. They really look at you and are the first to notice if something is amiss with your beautiful visage! Somebody loves you if they assume the role of caretaker when you’re sick. Unsure if someone really gives a shit about you? Fake a case of food poisoning and text them being like, “Oh, my God, so sick. Need water.” Depending on their response, you’ll know whether or not they REALLY love you. “That’s terrible. Feel better!” earns you a stay in friendship jail; “Do you need anything? I can come over and bring you get well remedies!” gets you a cozy friendship suite. It’s easy to care about someone when they don’t need you. It’s easy to love them when they’re healthy and don’t ask you for anything beyond change for the parking meter. Being sick is different. Being sick means asking someone to hold your hair back when you vomit. Either love me with vomit in my hair or don’t love me at all. Somebody loves you if they call you out on your bullshit. They’re not passive, they don’t just let you get away with murder. They know you well enough and care about you enough to ask you to chill out, to bust your balls, to tell you to stop. They aren’t passive observers in your life, they are in the trenches. They have an opinion about your decisions and the things you say and do. They want to be a part of it; they want to be a part of you. Somebody loves you if they don’t mind the quiet. They don’t mind running errands with you or cleaning your apartment while blasting some annoying music. There’s no pressure, no need to fill the silences. You know how with some of your friends there needs to be some sort of activity for you to hang out? You don’t feel comfortable just shooting the shit and watching bad reality TV with them. You need something that will keep the both of you busy to ensure there won’t be a void. That’s not love. That’s “Hey, babe! I like you okay. Do you wanna grab lunch? I think we have enough to talk about to fill two hours!" It’s a damn dream when you find someone you can do nothing with. Whether you’re skydiving together or sitting at home and doing different things, it’s always comfortable. That is fucking love. Somebody loves you if they want you to be happy, even if that involves something that doesn’t benefit them. They realize the things you need to do in order to be content and come to terms with the fact that it might not include them. Never underestimate the gift of understanding. When there are so many people who are selfish and equate relationships as something that only must make them happy, having someone around who can take their needs out of any given situation if they need to. Somebody loves you if they can order you food without having to be told what you want. Somebody loves you if they rub your back at any given moment. Somebody loves you if they give you oral sex without expecting anything back. Somebody loves you if they don’t care about your job or how much money you make. It’s a relationship where no one is selling something to the other. No one is the prostitute. Somebody loves you if they’ll watch a movie starring Kate Hudson because you really really want to see it. Somebody loves you if they’re able to create their own separate world with you, away from the internet and your job and family and friends. Just you and them. Somebody will always love you. If you don’t think this is true, then you’re not paying close enough attention.

The reality is what you wear matters. If you're a singer and on TV and in the living room of some 12-year-old girl, she's watching what you're wearing and saying and doing... That's what little girls do, so there is a big responsibility and I take it very seriously.

In a way, when TV went digital, we lost a foothold in reality. Now, we'll never truly know if what we're watching is real or has been altered and transmitted to us. Digital culture brought a step away from truth.

She begins to feel that the reality show is the university she never attended. Vicarious reality. Emotion without a value-added tax. Movement without danger. Alma finds her reality. She no longer has a reason to put herself at risk and go out into the hostile, degrading world.

People fear that being trapped inside a box, they will miss out on all the wonders of the world. As long as Neo is stuck inside the matrix, and Truman is stuck inside the TV studio, they will never visit Fiji, or Paris, or Machu Picchu. But in truth, everything you will ever experience in life is within your own body and your own mind. Breaking out of the matrix or travelling to Fiji won’t make any difference. It’s not that somewhere in your mind there is an iron chest with a big red warning sign ‘Open only in Fiji!’ and when you finally travel to the South Pacific you get to open the chest, and out come all kinds of special emotions and feelings that you can have only in Fiji. And if you never visit Fiji in your life, then you missed these special feelings for ever. No. Whatever you can feel in Fiji, you can feel anywhere in the world; even inside the matrix.

I clicked the gate shut and slipped down the alley. Through one fence after another, I caught glimpses of people in their dining rooms and living rooms, eating and watching TV dramas. Food smells drifted into the alley through kitchen windows and exhaust fans. One teenaged boy was practicing a fast passage on his electric guitar, with the volume turned down. In a second floor window, a tiny girl was studying at her desk, an earnest expression on her face. A married couple in a heated argument sent their voices out to the alley. A baby was screaming. A telephone rang. Reality spilled out into the alley like water from an overfilled bowl - as sound, as smell, as image, as plea, as response.

I’m sitting here on the Kaye Gibbons Show, and all I can think is that the whole country is sick. Sick with the idea that it’s good to be known as seen by as many people as possible, to show every part of our lives to the public at large. Whether it’s Facebook photos, blogs, or reality TV, it’s like nobody is content to just live life. The worth of our existence seems to be measured in pixels and megabytes and “likes.” Those of use whose lives can be downloaded seem to have the most value – until someone outrageous comes along to claim their time in the spotlight.

Real love involves a foundation of respect, honesty, and trust, concepts wholly missing from the pale imitations hawked to us by the folks who script 'unscripted' entertainment.

Whenever someone begins pompously complaining that civilization is on a downhill slide, because people participate in harmless behaviors like taking selfies or watching reality television, a good response is to stare at them and respond, “You know, we used to burn people for being witches. That’s what people used to do in their spare time.

Sadism dominates the culture. It runs like an electric current through reality television and trash-talk programs, is at the core of pornography, and fuels the compliant, corporate collective. Corporatism is about crushing the capacity for moral choice and diminishing the individual to force him or her into an ostensibly harmonious collective.

To successfully create illusion, the first thing you need is trust, but to perfect an illusion, the false reality most appear as authentic as the one it hides. Careful attention must be paid to every detail. The slightest of imperfections can, like a pin to a balloon, burst the illusion . . . and the truth behind the illusion becomes revealed.

I never sleep on the plane. I have to be awake and using my mind power to keep it in the air

A good writer is an expert on nothing except himself. And on that subject, if he is wise, he holds his tongue. Some of you may wonder why I am reluctant to submit to interviews on television and radio and in the press. The answer is that nothing that I write is authentic. It is the stuff of dreams, not reality. Yet I am treated by the media as though I wrote espionage handbooks.

I began by saying that our history will be what we make it. If we go on as we are, then history will take its revenge, and retribution will not limp in catching up with us. We are to a large extent an imitative society. If one or two or three corporations would undertake to devote just a small fraction of their advertising appropriation along the lines that I have suggested, the procedure would grow by contagion; the economic burden would be bearable, and there might ensue a most exciting adventure--exposure to ideas and the bringing of reality into the homes of the nation. To those who say people wouldn't look; they wouldn't be interested; they're too complacent, indifferent and insulated, I can only reply: There is, in one reporter's opinion, considerable evidence against that contention. But even if they are right, what have they got to lose? Because if they are right, and this instrument is good for nothing but to entertain, amuse and insulate, then the tube is flickering now and we will soon see that the whole struggle is lost. This instrument can teach, it can illuminate; yes, and it can even inspire. But it can do so only to the extent that humans are determined to use it to those ends. Otherwise it is merely wires and lights in a box. There is a great and perhaps decisive battle to be fought against ignorance, intolerance and indifference.

In our as-seen-on-TV society, the simple fact is that what you have watched and consumed, from birth, has formed you and continues to form you. Even those who’ve opted out of its false reality have to stay vigilant to remain free from the lies and from the messages that do far more harm than they should. Because they are insidious, and they are everywhere.

If you sincerely desire a truly well-rounded education, you must study the extremists, the obscure and "nutty." You need the balance! Your poor brain is already being impregnated with middle-of-the-road crap, twenty-four hours a day, no matter what. Network TV, newspapers, radio, magazines at the supermarket... even if you never watch, read, listen, or leave your house, even if you are deaf and blind, the telepathic pressure alone of the uncountable normals surrounding you will insure that you are automatically well-grounded in consensus reality.

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

She dances a little jig. "This would make one hell of a TV show, huh?" "Yeah. But no one would believe it." I should let it go. But it's like the hole, like the door, and I have to know. Or at least, I have to ask. "Hey, Dulcie, was any of that real?" She finishes her dance and the wings come to rest. "Who's to say what's real or not?" "Yeah, but--my barometer on reality, not so good since I started going crazy. "Yeah, well, who but the mad would choose to keep on living? In the end, aren't we all just a little crazy?

We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination.

Bullish or bearish are terms used by people who do not engage in practicing uncertainty, like the television commentators, or those who have no experience in handling risk. Alas, investors and businesses are not paid in probabilities; they are paid in dollars. Accordingly, it is not how likely an event is to happen that matters, it is how much is made when it happens that should be the consideration.

A lot of stuff, I’ve noticed, gets manipulated by writers when it’s shown on television—even so-called reality television—and makes us think we’re supposed to think and act and look certain ways, when the true reality is totally the opposite. Often there’s no “right way” to look or think or act, but because we’ve been so conditioned by the media to think so, we actually mistrust our own better judgment.

Civilization, as a process, is indistinguishable from diminishing time-preference (or declining concern for the present in comparison to the future). Democracy, which both in theory and evident historical fact accentuates time-preference to the point of convulsive feeding-frenzy, is thus as close to a precise negation of civilization as anything could be, short of instantaneous social collapse into murderous barbarism or zombie apocalypse (which it eventually leads to). As the democratic virus burns through society, painstakingly accumulated habits and attitudes of forward-thinking, prudential, human and industrial investment, are replaced by a sterile, orgiastic consumerism, financial incontinence, and a ‘reality television’ political circus. Tomorrow might belong to the other team, so it’s best to eat it all now.

Thom pulled nervously at his ‘Kings’ t-shirt. The Kings are a brutal West African gang that he follows onscreen. Such ‘tourist shows’, as I understand they are called, have become wildly popular in recent years, as global unrest makes actual travel less popular. Armoured imaging teams, using tiny remote drone cameras known as ‘flies’, take the viewer inside the violent, gang-controlled regions of Nigeria and Cameroon. Using a touch screen, viewers (or ‘zoners’ as they are sometimes called) can follow the action from multiple angles while cheering on their favourite gang.

The wild pursuit of status and wealth has destroyed our souls and our economy. Families live in sprawling mansions financed with mortgages they can no longer repay. Consumers recklessly rang up Coach handbags and Manolo Blahnik shoes on credit cards because they seemed to confer a sense of identity and merit. Our favorite hobby, besides television, used to be, until reality hit us like a tsunami, shopping. Shopping used to be the compensation for spending five days a week in tiny cubicles. American workers are ground down by corporations that have disempowered them, used them, and have now discarded them

There's also a possibility that the landlord is in there right now, wearing women's undergarments. Or a drug addict is inside stealing jewelry.Or a boatload of recent Chinese immigrants without a television watching Russia play Finland in hockey and placing bets over beer. You have no idea what's behind that door. You can't just pick the options within your field of vision. Reality comes from everywhere. At best, you can narrow down the likelihoods. But in the end, it's not a matter of deduction. It's a matter of fact. One bullet will kill you if you're stupid or unlucky. So at least don't be stupid

You reach a certain age when reality grabs you by the scruff of the neck and shouts in your face:"Hey, look, this is what life is." And you have to open your eyes and look at it, listen to it, smell it: people who don't like you, things you don't want to do, things that hurt, things that scare you, questions without answers, feelings you don't understand, feelings you don't want but have no control over. Reality. When you gradually come to realise that all that stuff in books, films, television, magazines, newspapers, comics - it's all rubbish. It's got nothing to do with anything. It's all made up. It doesn't happen like that. It's not real. It means nothing. Reality is what you see when you look out of the window of a bus: dour faces, sad and temporary lives, millions of cars, metal, bricks, glass, rain, cruel laughter, ugliness, dirt, bad teeth, crippled pigeons, little kids in pushchairs who've already forgotten how to smile ...

There’s so much wonder in the world, but instead of giving a damn, and taking the time to come to the realization that we are all very, very, small in a very, very miniature place, we like to pretend we are the alphas of the whole universe. We like to make ourselves feel big. And we each like to make our way seem like the best way, and our hurts seem like the biggest hurts, when really, we are nothing more than a tiny burning dot that makes up a part of the giant sky. A tiny dot that no one would even notice was missing. A tiny dot, that will soon enough be replaced by another speck which thinks it’s more important than it actually is. I just wish people would sometimes stop fighting about stupid mundane things like race, sexual orientation, and reality television. I wish they would remember how small they are and take five minutes a day to look up to the sky and breathe.” “Logan?

Reality is what we notice on the surface – what we feel or see, what superficial perspectives we might gain, for example, from television's evening news. Truth is much larger. It encompasses everything that genuinely is going on. The reality might be that our world looks totally messed up, that war and economic chaos seem to control the globe. But the truth is much deeper – that Jesus Christ is still (since His ascension) Lord of the cosmos, and the Holy Spirit is empowering many people to work for peacemaking and justice building as part of the Trinity's purpose to bring the universe to its ultimate wholeness. The reality might be that you do not feel God, but the truth is that God is always present with you, perpetually forgiving you, and unceasingly caring for you with extravagant grace and abundant mercy. Not only that, but the very process of dealing with our lack of feelings and our resultant doubts about God is one of the ways by which our trust in the Trinity is deepened.

War crimes, you say? No matter how many policies you put on paper, in reality, there are no rights and wrongs in war. War itself is a crime. War cannot be justified. I believe, the only people, in this world, whose opinions matter, are the ones who go the extra mile to help other people expecting nothing in return. Soldiers who fight fiercely for their country, the doctors in Sri Lanka's public hospitals attending to hundreds of patients at a time for no extra pay , the nuns who voluntarily teach English and math to children of refugee camps in the north, the monks who collect food to feed entire villages during crises, they are the people worth listening to, their opinion matters. So find me one of them who will say: they wish the war didn't end in 2009, that they wish Sri Lanka was divided into two parts. Find me one of them who agrees with the international war crime allegations against Sri Lanka, and I will listen. But I will not listen to the opinions of those who are paid to find faults in a war they were never a part of, a war they never experienced themselves. I will not listen to the opinions of those who watched the war on tv or read about it on the internet or were moved by a documentary on Al Jazeera. The war is over. The damage is done. Let Sri Lanka move on. So our children will never have to see what we've seen.

There is a belief advanced today, and in some cases by conservative black authors, that poor children and particularly black children should not be allowed to hear too much about these matters. If they learn how much less they are getting than rich children, we are told, this knowledge may induce them to regard themselves as "victims," and such "victim-thinking," it is argued, may then undermine their capacity to profit from whatever opportunities may actually exist. But this is a matter of psychology-or strategy-and not reality. The matter, in any case, is academic since most adolescents in the poorest neighborhoods learn very soon that they are getting less than children in the wealthier school districts. They see suburban schools on television and they see them when they travel for athletic competitions. It is a waste of time to worry whether we should tell them something they could tell to us. About injustice, most poor children in American cannot be fooled.

Of all the intoxicants you can find on the road (including a "national beer" for nearly every country in the world), marijuana deserves a particular mention here, primarily because it's so popular with travelers. Much of this popularity is due to the fact that marijuana is a relatively harmless diversion (again, provided you don't get caught with it) that can intensify certain impressions and sensations of travel. The problem with marijuana, however, is that it's the travel equivalent of watching television: It replaces real sensations with artificially enhanced ones. Because it doesn't force you to work for a feeling, it creates passive experiences that are only vaguely connected to the rest of your life. "The drug vision remains a sort of dream that cannot be brought over into daily life," wrote Peter Matthiessen in The Snow Leopard. "Old mists may be banished, that is true, but the alien chemical agent forms another mist, maintaining the separation of the 'I' from the true experience of the 'One.'" Moreover, chemical highs have a way of distracting you from the utterly stoning natural high of travel itself. After all, roasting a bowl might spice up a random afternoon in Dayton, Ohio, but is it really all that necessary along the Sumatran shores of Lake Toba, the mountain basins of Nepal, or the desert plateaus of Patagonia? As Salvador Dali quipped, "I never took drugs because I am drugs." With this in mind, strive to be drugs as you travel, to patiently embrace the raw, personal sensation of unmediated reality--an experience for more affecting than any intoxicant can promise.

I also see courage in myself when I'm willing to risk being vulnerable and disappointed. For many years, if I really wanted something to happen-an invitation to speak at a special conference, a promotion, a radio interview-I pretended that it didn't matter that much. If a friend or colleague would ask, "Are you excited about that television interview?" I'd shrug it off and say, "I'm not sure. It's not that big of a deal." Of course, in reality, I was praying that it would happen. It's only in the last few years that I've learned that playing down the exciting stuff doesn't' take the pain away when it doesn't happen. It also creates a lot of isolation. Once you've diminished the importance of something, your friends are not likely to call and say, "I'm sorry that didn't work out. I know you were excited about it." Now when someone asks me about the potential opportunity that I'm excited about, I'm more likely to practice courage and say, "I'm so excited about the possibility. I'm trying to stay realistic, but I really hope it happens." When things haven't panned out, it's been comforting to be able to call a supportive friend and say, "Remember that event I told you about? It's not going to happen, and I'm so bummed.

As soon as my log-in sequence completed, a window popped up on my display, informing me that today was an election day. Now that I was eighteen, I could vote, in both the OASIS elections and the elections for U.S. government officials. I didn’t bother with the latter, because I didn’t see the point. The once-great country into which I’d been born now resembled its former self in name only. It didn’t matter who was in charge. Those people were rearranging deck chairs on the Titanic and everyone knew it. Besides, now that everyone could vote from home, via the OASIS, the only people who could get elected were movie stars, reality TV personalities, or radical televangelists.

As you know, there are several classes of truth. There are the truths that pour out on confessional blogs and YouTube channels. There are the supposed truths exposed in gossip magazines and on reality television, which everyone knows are just lies in truth clothing. Then there are the truths that show themselves only under ideal circumstances: like when you are talking deep into the night with a friend and you tell each other things you would never say if your defenses weren't broken down by salty snacks, sugary beverages, darkness, and a flood of words. There are the truths found in books or films when some writer puts exactly the right words together and it's like their pen turned sword and pierced you right through the heart. Truths like those are rare and getting rarer.

A statement: children who watch violent TV programmes tend to be more violent when they grow up. But did the TV cause the violence, or do violent children preferentially enjoy watching violent programmes? Very likely both are true. Commercial defenders of TV violence argue that anyone can distinguish between television and reality. But Saturday morning children’s programmes now average 25 acts of violence per hour. At the very least this desensitizes young children to aggression and random cruelty. And if impressionable adults can have false memories implanted in their brains, what are we implanting in our children when we expose them to some 100,000 acts of violence before they graduate from elementary school?

Here is your law enforcement and media question of the day: Was the TV show COPS real or BS? It might have been real incidents, but it wasn't really all that real. They edited the episodes to make it appear as if black people were committing fewer crimes. That is what the show creator John Langley said in a 2009 interview in response to people who were unhappy his long-running reality show, COPS, was showing too many black people getting arrested. What irritates me sometimes is critics still watch and say, 'Oh look, they misrepresent people of color.' That's absolutely not true. To the contrary, I show more white people than statistically what the truth is in terms of street crime..It's just the reverse. And I do that intentionally, because I do not want to contribute to negative stereotypes, said Langley, the show's producer, in 2009.

I like how in the end, it seems like it's actually a hard decision for some people. There will be two or three contestants they feel a strong connection with, and it doesn't come down to choosing the strongest one. Instead, it's like... you're watching them choose a life. And that's how it is in real life too. You can love someone and still know the future you'd have with them wouldn't work for you, or for them, or maybe even for both of you. [...] You watch someone date all these people, and you see how different they are with each of them, and then you watch them choose. Some people choose the person they have the best chemistry with, or that they have the most fun with, and some choose the one they think will make an amazing father, or who they've felt safe opening up to. It's fascinating. How so much of love is about who you are with someone.

Earlier in the day, while killing some hours by circling in blue ballpoint ink every uppercase M in the front section of a month-old New York Times, Chip had concluded that he was behaving like a depressed person. Now, as his telephone began to ring, it occurred to him that a depressed person ought to continue staring at the TV and ignore the ringing — ought to light another cigarette and, with no trace of emotional affect, watch another cartoon while his machine took whoever’s message. That his impulse, instead, was to jump to his feet and answer the phone — that he could so casually betray the arduous wasting of a day — cast doubt on the authenticity of his suffering. He felt as if he lacked the ability to lose all volition and connection with reality the way depressed people did in books and movies. It seemed to him, as he silenced the TV and hurried into his kitchen, that he was failing even at the miserable task of falling properly apart.

It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative...we were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or a TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crispier, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script.

I think of human existence as being like a two-story house. On the first floor people gather together to take their meals, watch television, and talk. The second floor contains private chambers, bedrooms where people go to read books, listen to music by themselves, and so on. Then there is a basement; this is a special place, and there are a number of things stored here. We don’t use this room much in our daily life, but sometimes we come in, vaguely hang around the place. Then, my thought is that underneath that basement room is yet another basement room. This one has a very special door, very difficult to figure out, and normally you can’t get in there—some people never get in at all. . . . You go in, wander about in the darkness, and experience things there you wouldn’t see in the normal parts of the house. You connect with your past there, because you have entered into your own soul. But then you come back. If you stay over there for long you can never get back to reality.

What is more, the whole apparatus of life has become so complex and the processes of production, distribution, and consumption have become so specialized and subdivided, that the individual person loses confidence in his own unaided capacities: he is increasingly subject to commands he does not understand, at the mercy of forces over which he exercises no effective control, moving to a destination he has not chosen. Unlike the taboo-ridden savage, who is often childishly over-confident in the powers of his shaman or magician to control formidable natural forces, however inimical, the machine-conditioned individual feels lost and helpless as day by day he metaphorically punches his time-card, takes his place on the assembly line, and at the end draws a pay check that proves worthless for obtaining any of the genuine goods of life. This lack of close personal involvement in the daily routine brings a general loss of contact with reality: instead of continuous interplay between the inner and the outer world, with constant feedback or readjustment and with stimulus to fresh creativity, only the outer world-and mainly the collectively organized outer world of the power system-exercises authority: even private dreams must be channeled through television, film, and disc, in order to become acceptable. With this feeling of alienation goes the typical psychological problem of our time, characterized in classic terms by Erik Erikson as the 'Identity Crisis.' In a world of transitory family nurture, transitory human contacts, transitory jobs and places of residence, transitory sexual and family relations, the basic conditions for maintaining continuity and establishing personal equilibrium disappear. The individual suddenly awakens, as Tolstoi did in a famous crisis in his own life at Arzamas, to find himself in a strange, dark room, far from home, threatened by obscure hostile forces, unable to discover where he is or who he is, appalled by the prospect of a meaningless death at the end of a meaningless life.

Look everywhere. There are miracles and curiosities to fascinate and intrigue for many lifetimes: the intricacies of nature and everything in the world and universe around us from the miniscule to the infinite; physical, chemical and biological functionality; consciousness, intelligence and the ability to learn; evolution, and the imperative for life; beauty and other abstract interpretations; language and other forms of communication; how we make our way here and develop social patterns of culture and meaningfulness; how we organise ourselves and others; moral imperatives; the practicalities of survival and all the embellishments we pile on top; thought, beliefs, logic, intuition, ideas; inventing, creating, information, knowledge; emotions, sensations, experience, behaviour. We are each unique individuals arising from a combination of genetic, inherited, and learned information, all of which can be extremely fallible. Things taught to us when we are young are quite deeply ingrained. Obviously some of it (like don’t stick your finger in a wall socket) is very useful, but some of it is only opinion – an amalgamation of views from people you just happen to have had contact with. A bit later on we have access to lots of other information via books, media, internet etc, but it is important to remember that most of this is still just opinion, and often biased. Even subjects such as history are presented according to the presenter’s or author’s viewpoint, and science is continually changing. Newspapers and TV tend to cover news in the way that is most useful to them (and their funders/advisors), Research is also subject to the decisions of funders and can be distorted by business interests. Pretty much anyone can say what they want on the internet, so our powers of discernment need to be used to a great degree there too. Not one of us can have a completely objective view as we cannot possibly have access to, and filter, all knowledge available, so we must accept that our views are bound to be subjective. Our understanding and responses are all very personal, and our views extremely varied. We tend to make each new thing fit in with the picture we have already started in our heads, but we often have to go back and adjust the picture if we want to be honest about our view of reality as we continually expand it. We are taking in vast amounts of information from others all the time, so need to ensure we are processing that to develop our own true reflection of who we are.

People hate these shows, but their hatred smacks of denial. It's all there, all the old American grotesques, the test-tube babies of Whitman and Poe, a great gauntlet of doubtless eyes, big mouths spewing fantastic catchphrase fountains of impenetrable self-justification, muttering dark prayers, calling on God to strike down those who would fuck with their money, their cash, and always knowing, always preaching. Using weird phrases that nobody uses, except everybody uses them now. Constantly talking about 'goals.' Throwing carbonic acid on our castmates because they used our special cup annd then calling our mom to say, in a baby voice, 'People don't get me here.' Walking around half-naked with a butcher knife behind our backs. Telling it like it is, y'all (what-what). And never passive-aggressive, no. Saying it straight to your face. But crying...My God, there have been more tears shed on reality TV than by all the war widows of the world. Are we so raw? It must be so. There are simply too many of them-too many shows and too many people on the shows-for them not to be revealing something endemic. This is us, a people of savage sentimentality, weeping and lifting weights.

Dear Jeff, I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially, Philip K. Dick

He says, "It's just a hat." But it's not just a hat. It makes Jess think of racism and hatred and systemic inequality, and the Ku Klux Klan, and plantation-wedding Pinterest boards, and lynchings, and George Zimmerman, and the Central Park Five, and redlining, and gerrymandering and the Southern strategy, and decades of propaganda and Fox News and conservative radio, and rabid evangelicals, and rape and pillage and plunder and plutocracy and money in politics and the dumbing down of civil discourse and domestic terrorism and white nationalists and school shootings and the growing fear of a nonwhite, non-English-speaking majority and the slow death of the social safety net and conspiracy theory culture and the white working class and social atomism and reality television and fake news and the prison-industrial complex and celebrity culture and the girl in fourth grade who told Jess that since she--Jess--was "naturally unclean" she couldn't come over for birthday cake, and executive compensation, and mediocre white men, and the guy in college who sent around an article about how people who listen to Radiohead are smarter than people who listen to Missy Elliott and when Jess said "That's racist" he said "No,it's not," and of bigotry and small pox blankets and gross guys grabbing your butt on the subway, and slave auctions and Confederate monuments and Jim Crow and fire hoses and separate but equal and racist jokes that aren't funny and internet trolls and incels and golf courses that ban women and voter suppression and police brutality and crony capitalism and corporate corruption and innocent children, so many innocent children, and the Tea Party and Sarah Palin and birthers and flat-earthers and states' rights and disgusting porn and the prosperity gospel and the drunk football fans who made monkey sounds at Jess outside Memorial Stadium, even though it was her thirteenth birthday, and Josh--now it makes her think of Josh.

The current technological and scientific revolution implies not that authentic individuals and authentic realities can be manipulated by algorithms and TV cameras, but rather that authenticity is a myth. People are afraid of being trapped inside a box, but they don’t realise that they are already trapped inside a box – their brain – which is locked within a bigger box – human society with its myriad fictions. When you escape the matrix the only thing you discover is a bigger matrix. When the peasants and workers revolted against the tsar in 1917, they ended up with Stalin; and when you begin to explore the manifold ways the world manipulates you, in the end you realise that your core identity is a complex illusion created by neural networks.

Apparently, boredom was not even a concept before the word was invented around 1760, along with the word “interesting.”20 The tide of boredom that has risen ever since coincides with the progress of the Industrial Revolution, hinting at a reason why it has, until recently, been an exclusively Western phenomenon. The reality that the factory system created was a mass-produced reality, a generic reality of standardized products, standardized roles, standardized tasks, and standardized lives. The more we came to live in that artificial reality, the more separate we became from the inherently fascinating realm of nature and community. Today, in a familiar pattern, we apply further technology to relieve the boredom that results from our immersion in a world of technology. We call it entertainment. Have you ever thought about that word? To entertain a guest means to bring him into your house; to entertain a thought means to bring it into your mind. To be entertained means to be brought into the television, the game, the movie. It means to be removed from your self and the real world. When a television show does this successfully, we applaud it as entertaining. Our craving for entertainment points to the impoverishment of our reality.

Anger is an energy. It really bloody is. It’s possibly the most powerful one-liner I’ve ever come up with. When I was writing the Public Image Ltd song ‘Rise’, I didn’t quite realize the emotional impact that it would have on me, or anyone who’s ever heard it since. I wrote it in an almost throwaway fashion, off the top of my head, pretty much when I was about to sing the whole song for the first time, at my then new home in Los Angeles. It’s a tough, spontaneous idea. ‘Rise’ was looking at the context of South Africa under apartheid. I’d be watching these horrendous news reports on CNN, and so lines like ‘They put a hotwire to my head, because of the things I did and said’, are a reference to the torture techniques that the apartheid government was using out there. Insufferable. You’d see these reports on TV and in the papers, and feel that this was a reality that simply couldn’t be changed. So, in the context of ‘Rise’, ‘Anger is an energy’ was an open statement, saying, ‘Don’t view anger negatively, don’t deny it – use it to be creative.’ I combined that with another refrain, ‘May the road rise with you’. When I was growing up, that was a phrase my mum and dad – and half the surrounding neighbourhood, who happened to be Irish also – used to say. ‘May the road rise, and your enemies always be behind you!’ So it’s saying, ‘There’s always hope’, and that you don’t always have to resort to violence to resolve an issue. Anger doesn’t necessarily equate directly to violence. Violence very rarely resolves anything. In South Africa, they eventually found a relatively peaceful way out. Using that supposedly negative energy called anger, it can take just one positive move to change things for the better. When I came to record the song properly, the producer and I were arguing all the time, as we always tend to do, but sometimes the arguing actually helps; it feeds in. When it was released in early 1986, ‘Rise’ then became a total anthem, in a period when the press were saying that I was finished, and there was nowhere left for me to go. Well, there was, and I went there. Anger is an energy. Unstoppable.

Reality, at first glance, is a simple thing: the television speaking to you now is real. Your body sunk into that chair in the approach to midnight, a clock ticking at the threshold of awareness. All the endless detail of a solid and material world surrounding you. These things exist. They can be measured with a yardstick, a voltammeter, a weighing scale. These things are real. Then there’s the mind, half-focused on the TV, the settee, the clock. This ghostly knot of memory, idea and feeling that we call ourself also exists, though not within the measurable world our science may describe. Consciousness is unquantifiable, a ghost in the machine, barely considered real at all, though in a sense this flickering mosaic of awareness is the only true reality that we can ever know. The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas. Material existence is entirely founded on a phantom realm of mind, whose nature and geography are unexplored. Before the Age of Reason was announced, humanity had polished strategies for interacting with the world of the imaginary and invisible: complicated magic-systems; sprawling pantheons of gods and spirits, images and names with which we labelled powerful inner forces so that we might better understand them. Intellect, Emotion and Unconscious Thought were made divinities or demons so that we, like Faust, might better know them; deal with them; become them. Ancient cultures did not worship idols. Their god-statues represented ideal states which, when meditated constantly upon, one might aspire to. Science proves there never was a mermaid, blue-skinned Krishna or a virgin birth in physical reality. Yet thought is real, and the domain of thought is the one place where gods inarguably ezdst, wielding tremendous power. If Aphrodite were a myth and Love only a concept, then would that negate the crimes and kindnesses and songs done in Love’s name? If Christ were only ever fiction, a divine Idea, would this invalidate the social change inspired by that idea, make holy wars less terrible, or human betterment less real, less sacred? The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

of the problem was that Chaos got a little creation-happy. It thought to its misty, gloomy self: Hey, Earth and Sky. That was fun! I wonder what else I can make. Soon it created all sorts of other problems—and by that I mean gods. Water collected out of the mist of Chaos, pooled in the deepest parts of the earth, and formed the first seas, which naturally developed a consciousness—the god Pontus. Then Chaos really went nuts and thought: I know! How about a dome like the sky, but at the bottom of the earth! That would be awesome! So another dome came into being beneath the earth, but it was dark and murky and generally not very nice, since it was always hidden from the light of the sky. This was Tartarus, the Pit of Evil; and as you can guess from the name, when he developed a godly personality, he didn't win any popularity contests. The problem was, both Pontus and Tartarus liked Gaea, which put some pressure on her relationship with Ouranos. A bunch of other primordial gods popped up, but if I tried to name them all we’d be here for weeks. Chaos and Tartarus had a kid together (don’t ask how; I don’t know) called Nyx, who was the embodiment of night. Then Nyx, somehow all by herself, had a daughter named Hemera, who was Day. Those two never got along because they were as different as…well, you know. According to some stories, Chaos also created Eros, the god of procreation... in other words, mommy gods and daddy gods having lots of little baby gods. Other stories claim Eros was the son of Aphrodite. We’ll get to her later. I don’t know which version is true, but I do know Gaea and Ouranos started having kids—with very mixed results. First, they had a batch of twelve—six girls and six boys called the Titans. These kids looked human, but they were much taller and more powerful. You’d figure twelve kids would be enough for anybody, right? I mean, with a family that big, you’ve basically got your own reality TV show. Plus, once the Titans were born, things started to go sour with Ouranos and Gaea’s marriage. Ouranos spent a lot more time hanging out in the sky. He didn't visit. He didn't help with the kids. Gaea got resentful. The two of them started fighting. As the kids grew older, Ouranos would yell at them and basically act like a horrible dad. A few times, Gaea and Ouranos tried to patch things up. Gaea decided maybe if they had another set of kids, it would bring them closer…. I know, right? Bad idea. She gave birth to triplets. The problem: these new kids defined the word UGLY. They were as big and strong as Titans, except hulking and brutish and in desperate need of a body wax. Worst of all, each kid had a single eye in the middle of his forehead. Talk about a face only a mother could love. Well, Gaea loved these guys. She named them the Elder Cyclopes, and eventually they would spawn a whole race of other, lesser Cyclopes. But that was much later. When Ouranos saw the Cyclops triplets, he freaked. “These cannot be my kids! They don’t even look like me!” “They are your children, you deadbeat!” Gaea screamed back. “Don’t you dare leave me to raise them on my own!

The crowd started going crazy. Like even crazier than when Romeo got up from the hit. I was clinging to the railing, wondering if I would like prison, when Ivy sighed. "I swear. You have all the luck." Confused, I glanced around. Romeo was jogging toward us, helmet in his hands. Quickly, I glanced at the big screen and it was showing a wide shot of me clinging onto the rails and him running toward us. When he arrived, he slapped the guard on his back and said something in his ear. The guard looked at me and grinned and then walked away. Romeo stepped up to where I was. At the height I was at one the railing, for once I was taller than him. "You're killing me, Smalls," he said. "I had to interrupt a championship game to keep you from going to the slammer." "I was worried. You didn't get up." "And so you were just going to march out on the field and what?" God, he looked so… so incredible right then. His uniform stretched out over his wide shoulders and narrow waist. The pads strapped to his body made him look even stronger. He had grass stains on his knees, sweat in his hair, and ornery laughter in his sparkling blue eyes. I swear I'd never seen anyone equal parts of to-die-for good looks and boy-next-door troublemaker. "I was going to come out there and kiss it and make it better." He threw back his head and laughed, and the stadium erupted once more. I was aware that every moment between us was being broadcast like some reality TV show, but for once, I didn't care how many people were staring. This was our moment. And I was so damn happy he wasn't hurt. "So you're okay, then?" I asked. "Takes a lot more than a shady illegal attack to keep me down." Behind him, the players were getting back to the game, rushing out onto the field, and the coach was yelling out orders. "I'll just go back to my seat, then," I said. He rushed forward and grabbed me off the railing. The crown cheered when he slid me down his body and pressed his lips to mine. It wasn't a chaste kiss. It was the kind of kiss that made me blush when I watched it on TV. But I kissed him back anyway. I got lost in him. When he pulled back, I said, "By the way, You're totally kicking ass out there." He chuckled and put me back on the railing and kept one hand on my butt as I climbed back over. Back in the stands, I gripped the cold metal and gave him a small wave. He'd been walking backward toward his team, but then he changed direction and sprinted toward me. In one graceful leap, he was up on the wall and leaning over the railing. "Love you," he half-growled and pressed a swift kiss to my lips. "Next touchdown's for you.

Local Girl Missing, Feared Dead. Beneath it was a photo of me-my most recent school photo. “Oh, no.” My heart filling with dread, I took the paper from Mr. Smith’s hands. “Couldn’t they have found a better picture?” Mr. Smith looked at me sharply. “Miss Oliviera,” he said, his gray eyebrows lowered. “I realize it’s all the rage with you young people today to toss off flippant one-liners so you can get your own reality television shows. But I highly doubt MTV will be coming down to Isla Huesos to film you in the Underworld. So that can’t be all you have to say about this.” He was right, of course. Though I couldn’t say what I really wanted to, because John was in the room, and I didn’t want to make him feel worse than he already did. But what I wanted to do was burst into tears. “Is that about Pierce?” John looked uneasy. Outside, thunder rumbled again. This time, it sounded even closer than before. “Yes, of course, it is, John,” Mr. Smith said. There was something strange about his voice. He sounded almost as if he were mad at John. Only why would he be? John had done the right thing. He’d explained about the Furies. “What did you expect? Have you gotten to the part about the reward your father is offering for information leading to your safe return, Miss Oliviera?” My gaze flicked down the page. I wanted to throw up. “One million dollars?” My dad’s company, one of the largest providers in the world of products and services to the oil, gas, and military industries, was valued at several hundred times that. “That cheapskate.” This was all so very, very bad. “One million dollars is a lot of money to most people.” Mr. Smith said, with a strong emphasis on most people. He still had that odd note in his voice. “Though I recognize that money may mean little to a resident of the Underworld. So I’d caution you to use judiciousness, wherever it is that you’re going, as there are many people on this island who’ll be more than willing to turn you in for only a small portion of that reward money. I don’t suppose I might ask where you’re going? Or suggest that you pay a call on your mother, who is beside herself with worry?” “That’s a good idea,” I said. Why hadn’t I thought of it? I felt much better already. I could straighten out this whole thing with a single conversation. “I should call my mom-“ Both Mr. Smith’s cry of alarm and the fact that John grabbed me by the wrist as I was reaching into my book bag for my cell phone stopped me from making calls of any sort. “You can’t use you phone,” Mr. Smith said. “The police-and your father-are surely waiting for you to do just that. They’ll triangulate on the signal from the closest cell tower, and find you.” When I stared at him for his use of the word triangulate, Mr. Smith shook his head and said, “My partner, Patrick, is obsessed with Law & Order reruns.