Reel Post Quotes

I don’t like splashing details about my life across the Internet. It’s not real, what people post. It’s a carefully cultivated highlight reel. Everyone is marketing their own personal brand whether they know it or not, and I’d rather keep my personal life to myself instead of trying to sell a fake version of it online. And opening up your life to others means people can comment on it,

you never truly control the chaos…you manage it. You take steps and actions to keep it contained and prevent it from taking over, because once it does, it’s almost impossible to reel it back in.

The thing is, I fell in love with Luke, not Cary. Fell for the sheen and the sweat, the adrenalin of the hunt. Faltered, reeled, collapsed. There was no falling with Cary. Loving him was gradual and logical, inevitable as the path of a glacier. But Luke was a thunderclap, appearing out of a clear blue sky, soaking me to my skin, then moving on leaving everything looking different. And post-Luke nothing was the same.

STEPHEN, STEPHEN, STEPHEN!’ Jack’s voice came along the corridor, growing louder and ending in a roar as he thrust his head into the room. ‘Oh, there you are. I was afraid you had gone off to your stoats again. The carrier has brought you an ape.’ ‘What sort of an ape?’ asked Stephen. ‘A damned ill-conditioned sort of an ape. It had a can of ale at every pot-house on the road, and it is reeling drunk. It has been offering itself to Babbington.’ ‘Then it is Dr Lloyd’s lewd mangabey. He believes it to be suffering from the furor uterinus, and we are to open it together when I return.’ Jack looked at his watch. ‘What do you say to a hand of cards before we go?’ ‘With all my heart.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

When I was a kid people used to say one could travel the entire world just by sitting in a library and reading books. Sadly, in the age of billionaire-controlled social media functioning and governing bodies and minds based on carefully engineered algorithms, I don’t believe this is true anymore. The saying should be revised in our times to be ‘one could hate the entire world and see everyone as a villain or an enemy just by browsing through reels and social posts carefully selected to confirm one’s limited knowledge, perspective, and prejudices.’ With that in mind, we need more than ever to master the art of traveling, whether we go near or far. We need to undo the unreasonable, amplified, and exaggerated fear of strangers." [From “Can We Travel Without Being Tourists?” published on CounterPunch on March 15, 2024]

The problem, Augustine came to believe, is that if you think you can organize your own salvation you are magnifying the very sin that keeps you from it. To believe that you can be captain of your own life is to suffer the sin of pride. What is pride? These days the word “pride” has positive connotations. It means feeling good about yourself and the things associated with you. When we use it negatively, we think of the arrogant person, someone who is puffed up and egotistical, boasting and strutting about. But that is not really the core of pride. That is just one way the disease of pride presents itself. By another definition, pride is building your happiness around your accomplishments, using your work as the measure of your worth. It is believing that you can arrive at fulfillment on your own, driven by your own individual efforts. Pride can come in bloated form. This is the puffed-up Donald Trump style of pride. This person wants people to see visible proof of his superiority. He wants to be on the VIP list. In conversation, he boasts, he brags. He needs to see his superiority reflected in other people’s eyes. He believes that this feeling of superiority will eventually bring him peace. That version is familiar. But there are other proud people who have low self-esteem. They feel they haven’t lived up to their potential. They feel unworthy. They want to hide and disappear, to fade into the background and nurse their own hurts. We don’t associate them with pride, but they are still, at root, suffering from the same disease. They are still yoking happiness to accomplishment; it’s just that they are giving themselves a D– rather than an A+. They tend to be just as solipsistic, and in their own way as self-centered, only in a self-pitying and isolating way rather than in an assertive and bragging way. One key paradox of pride is that it often combines extreme self-confidence with extreme anxiety. The proud person often appears self-sufficient and egotistical but is really touchy and unstable. The proud person tries to establish self-worth by winning a great reputation, but of course this makes him utterly dependent on the gossipy and unstable crowd for his own identity. The proud person is competitive. But there are always other people who might do better. The most ruthlessly competitive person in the contest sets the standard that all else must meet or get left behind. Everybody else has to be just as monomaniacally driven to success. One can never be secure. As Dante put it, the “ardor to outshine / Burned in my bosom with a kind of rage.” Hungry for exaltation, the proud person has a tendency to make himself ridiculous. Proud people have an amazing tendency to turn themselves into buffoons, with a comb-over that fools nobody, with golden bathroom fixtures that impress nobody, with name-dropping stories that inspire nobody. Every proud man, Augustine writes, “heeds himself, and he who pleases himself seems great to himself. But he who pleases himself pleases a fool, for he himself is a fool when he is pleasing himself.”16 Pride, the minister and writer Tim Keller has observed, is unstable because other people are absentmindedly or intentionally treating the proud man’s ego with less reverence than he thinks it deserves. He continually finds that his feelings are hurt. He is perpetually putting up a front. The self-cultivator spends more energy trying to display the fact that he is happy—posting highlight reel Facebook photos and all the rest—than he does actually being happy. Augustine suddenly came to realize that the solution to his problem would come only after a transformation more fundamental than any he had previously entertained, a renunciation of the very idea that he could be the source of his own solution.

to look at Louisa, stroked her cheek, and was rewarded by a dazzling smile. She had been surprised by how light-skinned the child was. Her features were much more like Eva’s than Bill’s. A small turned-up nose, big hazel eyes, and long dark eyelashes. Her golden-brown hair protruded from under the deep peak of her bonnet in a cascade of ringlets. “Do you think she’d come to me?” Cathy asked. “You can try.” Eva handed her over. “She’s got so heavy, she’s making my arms ache!” She gave a nervous laugh as she took the parcel from Cathy and peered at the postmark. “What’s that, Mam?” David craned his neck and gave a short rasping cough. “Is it sweets?” “No, my love.” Eva and Cathy exchanged glances. “It’s just something Auntie Cathy’s brought from the old house. Are you going to show Mikey your flags?” The boy dug eagerly in his pocket, and before long he and Michael were walking ahead, deep in conversation about the paper flags Eva had bought for them to decorate sand castles. Louisa didn’t cry when Eva handed her over. She seemed fascinated by Cathy’s hair, and as they walked along, Cathy amused her by singing “Old MacDonald.” The beach was only a short walk from the station, and it wasn’t long before the boys were filling their buckets with sand. “I hardly dare open it,” Eva said, fingering the string on the parcel. “I know. I was desperate to open it myself.” Cathy looked at her. “I hope you haven’t built up your hopes, too much, Eva. I’m so worried it might be . . . you know.” Eva nodded quickly. “I thought of that too.” She untied the string, her fingers trembling. The paper fell away to reveal a box with the words “Benson’s Baby Wear” written across it in gold italic script. Eva lifted the lid. Inside was an exquisite pink lace dress with matching bootees and a hat. The label said, “Age 2–3 Years.” Beneath it was a handwritten note:   Dear Eva, This is a little something for our baby girl from her daddy. I don’t know the exact date of her birthday, but I wanted you to know that I haven’t forgotten. I hope things are going well for you and your husband. Please thank him from me for what he’s doing for our daughter: he’s a fine man and I don’t blame you for wanting to start over with him. I’m back in the army now, traveling around. I’m due to be posted overseas soon, but I don’t know where yet. I’ll write and let you know when I get my new address. It would be terrific if I could have a photograph of her in this little dress, if your husband doesn’t mind. Best wishes to you all, Bill   For several seconds they sat staring at the piece of paper. When Eva spoke, her voice was tight with emotion. “Cathy, he thinks I chose to stay with Eddie!” Cathy nodded, her mind reeling. “Eddie showed me the letter he sent. Bill wouldn’t have known you were in Wales, would he? He would have assumed you and Eddie had already been reunited—that he’d written with your consent on behalf of you both.” She was afraid to look at Eva. “What are you going to do?” Eva’s face had gone very pale. “I don’t know.” She glanced at David, who was jabbing a Welsh flag into a sand castle. “He said he was going to be posted overseas. Suppose they send him to Britain?” Cathy bit her lip. “It could be anywhere, couldn’t it? It could be the other side of the world.” She could see what was going through Eva’s mind. “You think if he came here, you and he could be together without . . .” Her eyes went to the boys. Eva gave a quick, almost imperceptible nod, as if she was afraid someone might see her. “What about Eddie?” “I don’t know!” The tone of her voice made David look up. She put on a smile, which disappeared the

my captions, I poke fun at my images and my feed a lot. I am basically sending the message that the photos they see are just a highly curated highlight reel and it’s mostly inspirational. The real me is just like most working women: working our asses off till 2 A.M. regularly, dealing with week-old laundry. And all the flawless photos are the product of a team working together and post editing. When they ask, I tell them that a photo has been retouched. I also post about the fact that I do have problems—I struggle with skin issues, weight issues, and work issues just like everyone else. And that it’s okay and normal.

In every way the early Salem symptoms conformed to those of Elizabeth Knapp, the Goodwin children, and the two young women to whose bedsides Mather rushed post-Salem. We will never know what felled the girls, whether it had more to do with their souls or their chores, with parental attention or inattention. The prickling sensations, the twitching, stammering, and grimacing, the ulcerated skin and twisted limbs, the curled tongues and convex backs, the deliriums, the “furious invectives against imaginary individuals” do however conform precisely to what nineteenth-century neurologist Jean-Martin Charcot, with Freud following him, termed hysteria. Where the seventeenth-century authority saw the devil, we tend to recognize an overtaxed nervous system; what an earlier age called hysteria we term conversion disorder, the body literally translating emotions into symptoms. When sublimated, distress will manifest physically, holding the body hostage. Charcot’s drawings of convulsing hysterics agree in every detail with the scenes that left Deodat Lawson reeling.

History is like this: it jigs, and it spins and turns on a reel, and the things you remember move from pillar to post; from promenade and pier to harbour wall and bridge. They jump, they flicker, they spin and reel from one place to another. Time is unreliable; it moves fast and slow. So the painter who is out today - the weather would be fine, they said - must follow a steadier line. 'I follow a slow line,' says the painter. Three lines, two people and a bridge until they form a triangle: the girls in white on the other side of the harbour and the white tower. I see the people, but they are small and insignificant. What matters is the sky and the sea, that pillar, tall and proud, the lighthouse. There is my picture. And I stand beneath the shadow of the bridge, and I see the sun crossing the sky, the gulls flying over. I see people moving around the white column looking up. We are all looking up at the sky. And the painter watches the moving shapes, and he will remember them: they are seabirds and soon they will fly off, back to their mother, the woman who waits for them along the pier.

Hungry for exaltation, the proud person has a tendency to make himself ridiculous. Proud people have an amazing tendency to turn themselves into buffoons, with a comb-over that fools nobody, with golden bathroom fixtures that impress nobody, with name-dropping stories that inspire nobody. Every proud man, Augustine writes, “heeds himself, and he who pleases himself seems great to himself. But he who pleases himself pleases a fool, for he himself is a fool when he is pleasing himself.”16 Pride, the minister and writer Tim Keller has observed, is unstable because other people are absentmindedly or intentionally treating the proud man’s ego with less reverence than he thinks it deserves. He continually finds that his feelings are hurt. He is perpetually putting up a front. The self-cultivator spends more energy trying to display the fact that he is happy—posting highlight reel Facebook photos and all the rest—than he does actually being happy.

At length, one evening towards the end of March, the mental clearness of Orange somewhat revived, and he felt himself compelled to get up and put on his clothes. The nurse, thinking that the patient was resting quietly, and fearing the shine of the lamp might distress him, had turned it low and gone away for a little: so it was without interruption, although reeling from giddiness, and scorched with fever, that Rupert groped about till he found some garments, and his evening suit. Clad in these, and throwing a cloak over his shoulders, he went downstairs. Those whom he met, that recognized him, looked at him wonderingly and with a vague dread; but he appeared to have his understanding as well as they, and so he passed through the hall without being stopped; and going into the bar, he called for brandy. The bar-tender, to whom he was known, exclaimed in astonishment; but he got no reply from Orange, who, pouring himself out a large quantity of the fiery liquor found it colder than the coldest iced water in his burning frame. When he had taken the brandy, he went into the street. It was a bleak seasonable night, and a bitter frost-rain was falling: but Orange went through it, as if the bitter weather was a not unwelcome coolness, although he shuddered in an ague-fit. As he stood on the corner of Twenty-third Street, his cloak thrown open, the sleet sowing down on his shirt, and the slush which covered his ankles soaking through his thin shoes, a member of his club came by and spoke to him. "Why, good God! Orange, you don't mean to say you're out on a night like this! You must be much better--eh?" he broke off, for Orange had given him a grey look, with eyes in which there was no speculation; and the man hurried away scared and rather aghast. "These poet chaps are always queer fishes," he muttered uneasily, as he turned into the Fifth Avenue Hotel. Of the events of terror and horror which happened on that awful night, when a human soul was paying the price of an astonishing violation of the order of the universe, no man shall ever tell. Blurred, hideous, and enormous visions of dives, of hells where the worst scum of the town consorted, of a man who spat on him, of a woman who struck him across the face with her umbrella, calling him the foulest of names--visions such as these, and more hateful than these, presented themselves to Orange, when he found himself, at three o'clock in the morning, standing under a lamp-post in that strange district of New York called "The Village." ("The Bargain Of Rupert Orange")

Every Morning" Every morning there's a halo hangin from the corner of my girlfriend's four post bed I know it's not mine but I'll see if I can use it for the weekend or a one-night stand Couldn't understand How to work it out Once again as predicted left my broken heart open and you ripped it out Something's got me reeling Stopped me from believing Turn me around again Said that we can do it You know I wanna do it again (Sugar Ray say) Oh........... (Every Morning) Oh................ (Every Morning when I wake up) (Shut the door baby, don't say a word) Oh....... (She always rights the wrong, she always rights, she always rights) (Shut the door baby, Shut the door baby) Every Morning there's a heartache hanging from the corner of my girlfriend's four-post bed I know it's not mine and I know she thinks she loves me but I never can believe what she said Something so deceiving When you stop believing Turn me around again Said we couldn't do it You know I wanna do it again Oh........... (Every Morning) Oh.................. (Every Morning when I wake up) (Shut the door baby, don't say a word) Oh........... (Every Morning) Oh.......... (Every Morning when I wake up) (Shut the door baby, shut the door baby) She always rights the wrong For me Baby She always rights the wrong For me Every Morning there's a halo hanging from the corner of my girlfriend's four-post bed I know it's not mine but I'll see if I can use it for the weekend or a one-night stand (Shut the door baby, don't say a word) Every Morning Every Morning when I wake up (Shut the door baby, shut the door baby) Every Morning Every Morning (Turn me around again) (Shut the door baby, don't say a word) Every Morning Every Morning Sugar Ray, 14:59 (1999)

I refuse to believe that everybody’s Instagram posts are telling it like it is. It is easy to slip into a comparison of our real life behind the scenes with the highlight reels that everyone else is posting. And then we begin to feel like our life is kind of boring in comparison.

Everything posted is picturesque because most people only share their highlight reels and never the ugly, unusable footage that lands on the cutting room floor. It’s the exact opposite of the evening news. It’s always sunny on Instaface, even if that sun is artificial.

The self-cultivator spends more energy trying to display the fact that he is happy—posting highlight reel Facebook photos and all the rest—than he does actually being happy.

Pride, the minister and writer Tim Keller has observed, is unstable because other people are absentmindedly or intentionally treating the proud man’s ego with less reverence than he thinks it deserves. He continually finds that his feelings are hurt. He is perpetually putting up a front. The self-cultivator spends more energy trying to display the fact that he is happy—posting highlight reel Facebook photos and all the rest—than he does actually being happy.

For content to be relevant and drive business results, it needs to be more strategic and thoughtful than ever before. You need to consider variables like: What time are you posting? What title do you have as a text overlay on your video? Who are you making your piece of content for? Why should they be interested in consuming it? If you post a video on TikTok, how are you tweaking it before you post on, say, YouTube Shorts? Is your post caption (aka copy) optimized? What creative units are you using? (Creative units are different content creation features on platforms, like stories, carousels, Reels on Instagram, or status updates on Facebook.) What creative styles are you using? (Meaning, ways of displaying content within creative units, such as a skit on Instagram Reel.) How are you deciding what piece of content to run as a paid ad? Are your profiles on each platform optimized correctly so people know what you do, and how to contact you?