Soap Tv Show Quotes

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.

A human being weighing 70 kilograms contains among other things: -45 litres of water -Enough chalk to whiten a chicken pen -Enough phosphorus for 2,200 matches -Enough fat to make approximately 70 bars of soap -Enough iron to make a two inch nail -Enough carbon for 9,000 pencil points -A spoonful of magnesium I weigh more than 70 kilograms. And I remember a TV series called Cosmos. Carl Sagan would walk around on a set that was meant to look like space, speaking in large numbers. On one of the shows he sat in front of a tank full of all the substances human beings are made of. He stirred the tank with a stick wondering if he would be able to create life. He didn’t succeed.

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

I stood there, watching her. The whole world was a dream, I realized. Everyone was acting in a bad soap opera. The whole world was one big FOX TV show.

Don't think you can watch all the romantic movies, soap operas, TV shows and read all the romantic books out there and not be affected. Ninety-nine percent of the romantic stuff out there is garbage... and what you put in always comes out... UGLIER!

...TV was entertainment of the last resort. There was nothing on during the day in the summer other than game shows and soap operas. Besides, a TV-watching child was considered available for chores: take out the trash, clean your room, pick up that mess, fold those towels, mow the lawn... the list was endless. We all became adept at chore-avoidance. Staying out of sight was a reliable strategy. Drawing or painting was another: to my mother, making art trumped making beds. A third choir-avoidance technique was to read. A kid with his or her nose in a book is a kid who is not fighting, yelling, throwing, breaking things, bleeding, whining, or otherwise creating a Mom-size headache. Reading a book was almost like being invisible - a good thing for all concerned.

How to describe the things we see onscreen, experiences we have that are not ours? After so many hours (days, weeks, years) of watching TV—the morning talk shows, the daily soaps, the nightly news and then into prime time (The Bachelor, Game of Thrones, The Voice)—after a decade of studying the viral videos of late-night hosts and Funny or Die clips emailed by friends, how are we to tell the difference between them, if the experience of watching them is the same? To watch the Twin Towers fall and on the same device in the same room then watch a marathon of Everybody Loves Raymond. To Netflix an episode of The Care Bears with your children, and then later that night (after the kids are in bed) search for amateur couples who’ve filmed themselves breaking the laws of several states. To videoconference from your work computer with Jan and Michael from the Akron office (about the new time-sheet protocols), then click (against your better instincts) on an embedded link to a jihadi beheading video. How do we separate these things in our brains when the experience of watching them—sitting or standing before the screen, perhaps eating a bowl of cereal, either alone or with others, but, in any case, always with part of us still rooted in our own daily slog (distracted by deadlines, trying to decide what to wear on a date later)—is the same? Watching, by definition, is different from doing.

Come to think of it, I could not even think of a movie or TV shows where they had a baby die, with the sole exception of a couple of episodes of “Little House on the Prairie” and perhaps soaps. I was beginning to understand this was truly “the” unspeakable loss, “the” invisible loss, a loss so great nobody wanted to talk about it; a loss so inconceivable and so horrible that many people declared it as being the most overwhelmingly painful experience of their life; the death of which they were least prepared for. I was beginning to understand. My grief was colossal and all-encompassing. No loss is more difficult to accept and feels more unnatural and less understood

The Swedish author and journalist Lasse Berg wrote an excellent report from rural India in the 1970s. When he returned 25 years later, he could see clearly how living conditions had improved. Pictures from his visit in the 1970s showed earthen floors, clay walls, half-naked children, and the eyes of villagers with low self-esteem and little knowledge of the outside world. They were a stark contrast to the concrete houses of the late 1990s, where well-dressed children played and self-confident and curious villagers watched TV. When Lasse showed the villagers the 1970s pictures they couldn’t believe the photos were taken in their neighborhood. “No,” they said. “This can’t be here. You must be mistaken. We have never been that poor.” Like most people, they were living in the moment, busy with new problems, like the children watching immoral soap operas or not having enough money to buy a motorbike.

In television the democratization of knowledge and its pedagogical commercial exuberance have become one. Consider from the end of the nineties such BBC history shows as Surviving the Iron Age or The Ship: Retracing Cook’s Endeavor Voyage—each shown 2001.... All these shows recruit volunteers who are put into environments conspicuously uncomfortable.... An emphasis on participants’ surprise at the difficulties of daily life and a previously unexamined and thus taken for granted assumption of physical comfort is the formula for melodrama in these kinds of shows.... All of them are one part soap opera, one part period recreation—and with folks from our time who invite audience identification as “us,” viewers mentally enacting too, playing at, reenacting, shadowing, experimenting, speculating, trying to provide evidence for, various understandings of varying pasts.... “Science” and all it stands for—knowledges broadly understood or our everyday knowledge-managed technologies—are especially lively players in the action....

Are his letters to Diana downstairs?" She sighed. "What is it about girls and letters? My husband left me messages in soap on the bathroom mirror. Utterly impermanent.Really wonderful-" She broke off and scowled. I would have thought she looked a little embarrassed, but I didn't think embarrassment was in her repertoire. "Anyway. Most of the correspondence between the Willings is in private collections. He had their letters with him in Paris when he died. In a noble but ultimately misguided act, his attorney sent them to his neice. Who put them all in a ghastly book that she illustrated. Her son sold them to finance the publication of six even more ghastly books of poetry. I trust there is a circle of hell for terrible poets who desecrate art." "I've seen the poetry books in the library," I told her. "The ones with Edward's paintings on the covers. I couldn't bring myself to read them." "Smart girl. I suppose worse things have been done, but not many.Of course, there was that god-awful children's television show that made one of his landscapes move.They put kangaroos in it. Kangaroos. In eastern Pennsylvania." "I've seen that,too," I admitted. I'd hated it. "Hated it.Not quite as much as the still life where Tastykakes replaced one orange with a cupcake, or the portrait of Diana dressed in a Playtex sports bra, but close." "Oh,God. I try to forget about the bra." Dr. Rothaus shuddered. "Well, I suppose they do far worse to the really famous painters.Poor van Gogh. All those hearing-aid ads." "Yeah." We shared a moment of quiet respect for van Gogh's ear.

One can take the ape out of the jungle, but not the jungle out of the ape. This also applies to us, bipedal apes. Ever since our ancestors swung from tree to tree, life in small groups has been an obsession of ours. We can’t get enough of politicians thumping their chests on television, soap opera stars who swing from tryst to tryst, and reality shows about who’s in and who’s out. It would be easy to make fun of all this primate behavior if not for the fact that our fellow simians take the pursuit of power and sex just as seriously as we do. We share more with them than power and sex, though. Fellow-feeling and empathy are equally important, but they’re rarely mentioned as part of our biological heritage. We would much rather blame nature for what we don’t like in ourselves than credit it for what we do like. As Katharine Hepburn famously put it in The African Queen, ”Nature, Mr. Allnut, is what we are put in this world to rise above.” This opinion is still very much with us. Of the millions of pages written over the centuries about human nature, none are as bleak as those of the last three decades, and none as wrong. We hear that we have selfish genes, that human goodness is a sham, and that we act morally only to impress others. But if all that people care about is their own good, why does a day-old baby cry when it hears another baby cry? This is how empathy starts. Not very sophisticated perhaps, but we can be sure that a newborn doesn’t try to impress. We are born with impulses that draw us to others and that later in life make us care about them. The possibility that empathy is part of our primate heritage ought to make us happy, but we’re not in the habit of embracing our nature. When people commit genocide, we call them ”animals”. But when they give to the poor, we praise them for being ”humane”. We like to claim the latter behavior for ourselves. It wasn’t until an ape saved a member of our own species that there was a public awakening to the possibility of nonhuman humaneness. This happened on August 16, 1996, when an eight-year-old female gorilla named Binti Jua helped a three-year-old boy who had fallen eighteen feet into the primate exhibit at Chicago’s Brookfield Zoo. Reacting immediately, Binti scooped up the boy and carried him to safety. She sat down on a log in a stream, cradling the boy in her lap, giving him a few gentle back pats before taking him to the waiting zoo staff. This simple act of sympathy, captured on video and shown around the world, touched many hearts, and Binti was hailed as a heroine. It was the first time in U.S. history that an ape figured in the speeches of leading politicians, who held her up as a model of compassion. That Binti’s behavior caused such surprise among humans says a lot about the way animals are depicted in the media. She really did nothing unusual, or at least nothing an ape wouldn’t do for any juvenile of her own species. While recent nature documentaries focus on ferocious beasts (or the macho men who wrestle them to the ground), I think it’s vital to convey the true breadth and depth of our connection with nature. This book explores the fascinating and frightening parallels between primate behavior and our own, with equal regard for the good, the bad, and the ugly.

Much of television programming--mind-numbing talk shows, soap operas, and reality TV--should come with a disclaimer: 'Warning: Watching the following program is likely to stunt one's emotional, intellectual, and spiritual growth.

There once lived, at a series of temporary addresses across the United States of America, a travelling man of Indian origin, advancing years and retreating mental powers, who, on account of his love for mindless television, had spent far too much of his life in the yellow light of tawdry motel rooms watching an excess of it, and had suffered a peculiar form of brain damage as a result. He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

The most famous child survivor of the Holocaust in the 1950s was not Anne Frank—after all, she didn’t survive—but a young woman named Hannah Bloch Kohner. NBC television’s This Is Your Life was one of television’s first reality shows, in which host Ralph Edwards surprised a guest, often a celebrity, by reuniting him or her with friends and family members the guest hadn’t heard from in years. The program didn’t shy away from either political controversy or questionable sentimentality, as when guest Reverend Kiyoshi Tanimoto, who had survived the atomic bombing of Hirsohima in 1945, was introduced to the copilot of the Enola Gay. On May 27, 1953, This Is Your Life ambushed a beautiful young woman in the audience, escorted her to the stage, and proceeded, in a matter of minutes, to package, sanitize, and trivialize the Holocaust for a national television audience. Hannah Bloch Kohner’s claim to fame was that she had survived Auschwitz before emigrating, marrying, and settling in Los Angeles. She was the first Holocaust survivor to appear on a national television entertainment program. “Looking at you, it’s hard to believe that during seven short years of a still short life, you lived a lifetime of fear, terror, and tragedy,” host Edwards said to Kohner in his singsong baritone. “You look like a young American girl just out of college, not at all like a survivor of Hitler’s cruel purge of German Jews.” He then reunited a stunned Kohner with Eva, a girl with whom she’d spent eight months in Auschwitz, intoning, “You were each given a cake of soap and a towel, weren’t you, Hannah? You were sent to the so-called showers, and even this was a doubtful procedure, because some of the showers had regular water and some had liquid gas, and you never knew which one you were being sent to. You and Eva were fortunate. Others were not so fortunate, including your father and mother, your husband Carl Benjamin. They all lost their lives in Auschwitz.” It was an extraordinary lapse of sympathy, good taste, and historical accuracy—history that, if not common knowledge, had at least been documented on film. It would be hard to explain how Kohner ever made it on This Is Your Life to be the Holocaust’s beautiful poster girl if you didn’t happen to know that her husband—a childhood sweetheart who had emigrated to the United States in 1938—was host Ralph Edwards’s agent. Hannah Bloch’s appearance was a small, if crass, oasis of public recognition for Holocaust survivors—and child survivors especially—in a vast desert of indifference. It would be decades before the media showed them this much interest again.

I've seen TV shows where high school students in New York and Los Angeles walk through metal detectors flanked by security guards on the way into the building, but it's like watching science fiction. Also, nobody on those shows seems to have a mother or if they do, she's away in rehab, or too busy running a fashion magazine from a skyscraper in Manhattan, or acting in a soap opera on a soundstage in Burbank to notice that the police showed up at one's high school. Mine is not one of these mothers.

I always go to sleep early because the dream is my favorite late night television show, a soap opera that runs on the channel of my hope.

The TV cycled through soap operas and judge shows and talk shows. Like they were part of the TV, the adults went around and around the same topics: who was sick, got the cancer, probably from smoking, no it was black lung, well he’s just a-wasting away, who’s out of work, who’s got work, who’s knocked up, what happened to Tony, his momma would roll over in her grave, bail bond, wops’ll take care of their own, put up the place, when’s the trial? Sometimes

Books took me to places I could never go otherwise. They shared the confessions of people I'd never met and lives I'd never witnessed. The emotions I could never feel, and the events I hadn't experienced could all be found in those volumes. They were completely different by nature from TV shows or movies. The worlds of movies, soap operas, or cartoons were already so meticulous that there were no blanks left for me to fill in.

Critics have deplored various trends in masa-oriented programming – from the ‘soap epidemic’ (David 2001c[2000]) to ‘pied piper’ game shows (Coronel 2006a; Doyo 2006) to the ‘pornography of poverty’ (Devilles 2008) – that entertains rather than educates or informs poor viewers.

There was no board of education. Instead, her mother loaded her up with textbooks and told her to study. But once her parents went off to work, Iris turned the television on, poured herself a second, third, fourth bowl of cereal, and sat watching game shows and soap operas.

The Guiding Light is the longest-running serial in broadcast history. Still seen on CBS television, its roots go back almost 60 years, to radio’s pioneering soaps. Though its original characters have been swallowed and eclipsed by time, it still has faint ties to the show that was first simulcast July 20, 1952, and in time replaced its radio counterpart with a daily one-hour TV show. Its creator, Irna Phillips, was often called “the queen of soaps.” She was so influential in the field that she was compared with Frank and Anne Hummert, though the comparison was weak. While the Hummerts employed a huge stable of writers and turned out dozens of serials, Phillips wrote her own—two million words of it each year. Using a large month-by-month work chart, Phillips plotted up to half a dozen serials at once, dictating the action to a secretary. Mentally juggling the fates of scores of characters, she churned out quarter-hour slices of life in sessions filled with high drama, acting the parts and changing her voice for the various speaking roles, while secretaries scribbled the dialogue that flowed from her lips. She gave up teaching early in life to enter radio as an actress at Chicago’s WGN. She was 25 that year, 1930. In 1932 she began to write. She discovered that cliffhanger endings were surefire for bringing those early audiences back to their sets each day, but that slow and skillful character development was what kept the audience for years. She decided that the organ was the ideal musical instrument for those little shows and that the instrument should be played with pomp and power, with all the authority of a religious service in a great European cathedral. The music gave weight to the dialogue, which was usually focused and intense.

State-run broadcast TV had been around for decades, but poor reception and a dearth of programming meant there simply wasn’t much reason to watch. But lately, thanks to a steep fall in the price of equipment and distribution, great swaths of India have been wired for cable and satellite TV. Between 2001 and 2006, some 150 million Indians received cable for the first time, their villages suddenly crackling with the latest game shows and soap operas, newscasts and police procedurals, beamed from the big cities of India and abroad. TV gave many Indian villagers their first good look at the outside world.