Staged Tv Show Quotes

Closing The Cycle One always has to know when a stage comes to an end. If we insist on staying longer than the necessary time, we lose the happiness and the meaning of the other stages we have to go through. Closing cycles, shutting doors, ending chapters - whatever name we give it, what matters is to leave in the past the moments of life that have finished. Did you lose your job? Has a loving relationship come to an end? Did you leave your parents' house? Gone to live abroad? Has a long-lasting friendship ended all of a sudden? You can spend a long time wondering why this has happened. You can tell yourself you won't take another step until you find out why certain things that were so important and so solid in your life have turned into dust, just like that. But such an attitude will be awfully stressing for everyone involved: your parents, your husband or wife, your friends, your children, your sister, everyone will be finishing chapters, turning over new leaves, getting on with life, and they will all feel bad seeing you at a standstill. None of us can be in the present and the past at the same time, not even when we try to understand the things that happen to us. What has passed will not return: we cannot for ever be children, late adolescents, sons that feel guilt or rancor towards our parents, lovers who day and night relive an affair with someone who has gone away and has not the least intention of coming back. Things pass, and the best we can do is to let them really go away. That is why it is so important (however painful it may be!) to destroy souvenirs, move, give lots of things away to orphanages, sell or donate the books you have at home. Everything in this visible world is a manifestation of the invisible world, of what is going on in our hearts - and getting rid of certain memories also means making some room for other memories to take their place. Let things go. Release them. Detach yourself from them. Nobody plays this life with marked cards, so sometimes we win and sometimes we lose. Do not expect anything in return, do not expect your efforts to be appreciated, your genius to be discovered, your love to be understood. Stop turning on your emotional television to watch the same program over and over again, the one that shows how much you suffered from a certain loss: that is only poisoning you, nothing else. Nothing is more dangerous than not accepting love relationships that are broken off, work that is promised but there is no starting date, decisions that are always put off waiting for the "ideal moment." Before a new chapter is begun, the old one has to be finished: tell yourself that what has passed will never come back. Remember that there was a time when you could live without that thing or that person - nothing is irreplaceable, a habit is not a need. This may sound so obvious, it may even be difficult, but it is very important. Closing cycles. Not because of pride, incapacity or arrogance, but simply because that no longer fits your life. Shut the door, change the record, clean the house, shake off the dust. Stop being who you were, and change into who you are.

Television is our culture's principal mode of knowing about itself. Therefore -- and this is the critical point -- how television stages the world becomes the model for how the world is properly to be staged. It is not merely that on the television screen entertainment is the metaphor for all discourse. It is that off the screen the same metaphor prevails. (92)

For the message of television as metaphor is not only that all the world is a stage but that the stage is located in Las Vegas, Nevada.

Everyone I know is either more successful or more interesting than me. This realization is nothing new. In fact, it used to feel like everyone I didn’t know was more successful and interesting than me too. I still remember the sensation of watching a talent show on TV as a child and realizing that the girl dancing was a whole year younger than me. She was wearing a red sequin dress and patent tap shoes. She looked like a ruby, a human jewel spinning across the stage. I was in my pajamas from T.J. Maxx eating cereal for dinner, already destined for a life of mediocrity. Why didn’t I just pull myself together back then? I was five! I could have turned it around!

The Priestess Her skin was pale, and her eyes were dark, and her hair was dyed black. She went on a daytime talk show and proclaimed herself a vampire queen. She showed the cameras her dentally crafted fangs, and brought on ex-lovers who, in various stages of embarrassment, admitted that she had drawn their blood, and that she drank it. "You can be seen in a mirror, though?" asked the talk show hostess. She was the richest woman in America, and had got that way by bringing the freaks and the hurt and the lost out in front of her cameras and showing their pain to the world. The studio audience laughed. The woman seemed slightly affronted. "Yes. Contrary to what people may think, vampires can be seen in mirrors and on television cameras." "Well, that's one thing you finally got right, honey," said the hostess of the daytime talk show. But she put her hand over her microphone as she said it, and it was never broadcast.

In this image-driven age, wildlife filmmakers carry a heavy responsibility. They can influence how we think and behave when we’re in nature. They can even influence how we raise our kids, how we vote and volunteer in our communities, as well as the future of our wildlands and wildlife. If the stories they create are misleading or false in some way, viewers will misunderstand the issues and react in inappropriate ways. People who consume a heavy diet of wildlife films filled with staged violence and aggression, for example, are likely to think about nature as a circus or a freak show. They certainly won’t form the same positive connections to the natural world as people who watch more thoughtful, authentic, and conservation-oriented films.

But it is not time constraints alone that produce such fragmented and discontinuous language. When a television show is in process, it is very nearly impermissible to say, "Let me think about that" or "I don't know" or "What do you mean when you say...?" or "From what sources does your information come?" This type of discourse not only slows down the tempo of the show but creates the impression of uncertainty or lack of finish. It tends to reveal people in the act of thinking, which is as disconcerting and boring on television as it is on a Las Vegas stage. Thinking does not play well on television, a fact that television directors discovered long ago. There is not much to see in it. It is, in a phrase, not a performing art. But television demands a performing art.

In reality, "reality TV shows" are staged and scripted.

On The Patty Winters Show this morning the topic was Toddler- Murderers. In the studio audience were parents of children who'd been kidnapped, tortured and murdered, while on stage a panel of psychiatrists and pediatricians were trying to help them cope - somewhat futilely I might add, and much to my delight - with their confusion and anger. But what really cracked me up was - via satellite on a lone TV monitor - three convicted Toddler-Murderers on death row who due to fairly complicated legal loopholes were now seeking parole and would probably get it.

9. We Can Do Better Than Happiness. We live at a time when the search for happiness has taken center stage as never before. Books, TV shows, and websites are constantly offering pointers about how to finally achieve and sustain this elusive and sought-after state of being. If only we were happy, everything would be okay. Imagine a drug that would make you perfectly happy, but remove any interest you might have in doing anything more than simple survival. You would lead a thoroughly boring treadmill of a life, from the outside—but inside you would be blissfully happy, romping through imaginary adventures and always-successful romantic escapades. Would you take the drug? Think of Socrates, Jesus, Gandhi, Nelson Mandela. Or Michelangelo, Beethoven, Virginia Woolf. Is “happy” the first word that comes to mind when you set out to describe them? They may have been—and surely were, from time to time—but it’s not their defining characteristic. The mistake we make in putting emphasis on happiness is to forget that life is a process, defined by activity and motion, and to search instead for the one perfect state of being. There can be no such state, since change is the essence of life.

The classroom gradually filled up with our other roommates, but one bed remained unclaimed, heightening the air of mystery surrounding its future occupant. Then, suddenly, the door crashed open and into the room strode a human hurricane—a sturdy, confident fellow who greeted everyone with great cheer and a ferocious hug. He was almost four years older than me. He introduced himself to me as Brian Blessed. He was not yet the globally renowned actor, mountaineer, adventurer, and star of TV shows, stage musicals, and movies as disparate as Blackadder, Cats, Flash Gordon, and I, Claudius. But I could tell instantly that he was a one-off; they broke the mold when they made Brian. Like Norman and me, he, too, was of humble origin, from the South Yorkshire mining town of Mexborough. I was beginning to feel more comfortable by the minute.

I had put it off and put it off and got extension after extension (all sorts of other things were going on at the time, like the stage show and the TV series), but eventually the managing director of Pan said, 'We've given you all these extensions and we have got to have it: sudden death or else, we have to have it in four weeks. Now, how far have you got with it?' I didn't like to tell him I hadn't started it; it seemed unfair on the poor chap's heart." —Douglas Adams

We don't just have equipment to set up, we have a whole stage set: TVs tuned to static, a busted old Moog synthesizer (also tuned to static - it basically just sits onstage, drooling, like a demented robot friend), an ironing board we use as a percussion stand, lamps (because we prefer mood lighting to rock-show lighting), various car parts and kitchen utensils (for hitting), a movie screen we project slides onto and a pair of mannequin legs in a gold lamé miniskirt with a TV for a torso. All this may sound arty, but really, it's just overenthusiastic.

Goldberg, the attorney who was often by Trump’s side during those years, said many of his client’s much-ballyhooed associations with famous women and top models were mere moments, staged for the cameras. “Give him a Hershey bar and let him watch television,” Goldberg said. “I only remember him finishing the day [by] going home, not necessarily with a woman but with a bag of candy. . . . He planned his next project, read the blueprints, met with the lawyers, never raising his voice, never showing off, never nasty to anybody in the office, a gentleman. . . . I never heard him speak romantically about a woman. I mean, I heard him speak romantically about his work.” Kate

John Isidore said, “I found a spider.” The three androids glanced up, momentarily moving their attention from the TV screen to him. “Let’s see it,” Pris said. She held out her hand. Roy Baty said, “Don’t talk while Buster is on.” “I’ve never seen a spider,” Pris said. She cupped the medicine bottle in her palms, surveying the creature within. “All those legs. Why’s it need so many legs, J. R.?” “That’s the way spiders are,” Isidore said, his heart pounding; he had difficulty breathing. “Eight legs.” Rising to her feet, Pris said, “You know what I think, J. R.? I think it doesn’t need all those legs.” “Eight?” Irmgard Baty said. “Why couldn’t it get by on four? Cut four off and see.” Impulsively opening her purse, she produced a pair of clean, sharp cuticle scissors, which she passed to Pris. A weird terror struck at J. R. Isidore. Carrying the medicine bottle into the kitchen, Pris seated herself at J. R. Isidore’s breakfast table. She removed the lid from the bottle and dumped the spider out. “It probably won’t be able to run as fast,” she said, “but there’s nothing for it to catch around here anyhow. It’ll die anyway.” She reached for the scissors. “Please,” Isidore said. Pris glanced up inquiringly. “Is it worth something?” “Don’t mutilate it,” he said wheezingly. Imploringly. With the scissors, Pris snipped off one of the spider’s legs. In the living room Buster Friendly on the TV screen said, “Take a look at this enlargement of a section of background. This is the sky you usually see. Wait, I’ll have Earl Parameter, head of my research staff, explain their virtually world-shaking discovery to you.” Pris clipped off another leg, restraining the spider with the edge of her hand. She was smiling. “Blowups of the video pictures,” a new voice from the TV said, “when subjected to rigorous laboratory scrutiny, reveal that the gray backdrop of sky and daytime moon against which Mercer moves is not only not Terran—it is artificial.” “You’re missing it!” Irmgard called anxiously to Pris; she rushed to the kitchen door, saw what Pris had begun doing. “Oh, do that afterward,” she said coaxingly. “This is so important, what they’re saying; it proves that everything we believed—” “Be quiet,” Roy Baty said. “—is true,” Irmgard finished. The TV set continued, “The ‘moon’ is painted; in the enlargements, one of which you see now on your screen, brush strokes show. And there is even some evidence that the scraggly weeds and dismal, sterile soil—perhaps even the stones hurled at Mercer by unseen alleged parties—are equally faked. It is quite possible in fact that the ‘stones’ are made of soft plastic, causing no authentic wounds.” “In other words,” Buster Friendly broke in, “Wilbur Mercer is not suffering at all.” The research chief said, “We at last managed, Mr. Friendly, to track down a former Hollywood special-effects man, a Mr. Wade Cortot, who flatly states, from his years of experience, that the figure of ‘Mercer’ could well be merely some bit player marching across a sound stage. Cortot has gone so far as to declare that he recognizes the stage as one used by a now out-of-business minor moviemaker with whom Cortot had various dealings several decades ago.” “So according to Cortot,” Buster Friendly said, “there can be virtually no doubt.” Pris had now cut three legs from the spider, which crept about miserably on the kitchen table, seeking a way out, a path to freedom. It found none.

The thing many people don’t realize about corporate lawyers is that they are nothing like what you see on TV shows. Sherry, Aldridge, and I will never step foot in a courtroom. We’ll never argue a case. We do deals; we’re not litigators. We prepare documents and review every piece of paperwork for a merger or an acquisition. Or to take a company public. On Suits, Harvey does both paperwork and crushes it in court. In reality, the lawyers at our firm who argue cases don’t have a clue what we do in these conference rooms. Most of them haven’t prepared a document in a decade. People think our form of corporate law is the less ambitious of the two, and while in many ways it’s less glamorous—no closing arguments, no media interviews—nothing compares to the power of the paper. At the end of the day, law comes down to what is written, and we do the writing. I love the order of deal making, the clarity of language—how there is little room for interpretation and none for error. I love the black-and-white terms. I love that in the final stages of closing a deal—particularly those of the magnitude Wachtell takes on—seemingly insurmountable obstacles arise. Apocalyptic scenarios, disagreements, and details that threaten to topple it all. It seems impossible we’ll ever get both parties on the same page, but somehow we do. Somehow, contracts get agreed upon and signed. Somehow, deals get done. And when it finally happens, it’s exhilarating. Better than any day in court. It’s written. Binding. Anyone can bend a judge’s or jury’s will with bravado, but to do it on paper—in black and white—that takes a particular kind of artistry. It’s truth in poetry. I

Hey—we have a problem. You have some unexpected guests down at the gate. You should go check it out.” Guests? Who would come here to see me? I hop in the golf cart and drive down to the main gate. Just in time to hear Franny Barrister, the Countess of Ellington, tearing into a poor, clueless Matched security guard. “Don’t you tell me we can’t come in, you horse’s arse. Where’s Henry—what have you done with him?” Simon, my brother’s best friend, sees me approach, his sparkling blue eyes shining. “There he is.” I nod to security and open the gate. “Simon, Franny, what are you doing here?” “Nicholas said you didn’t sound right the last time he spoke to you. He asked us to peek in on you,” Simon explains. Franny’s shrewd gaze rakes me over. “He doesn’t look drunk. And he obviously hasn’t hung himself from the rafters—that’s better than I was expecting.” “Thanks for the vote of confidence.” Simon peers around the grounds, at the smattering of crew members and staging tents. “What the hell is going on, Henry?” I clear my throat. “So . . . the thing is . . . I’m sort of . . . filming a reality dating television show here at the castle and we started with twenty women and now we’re down to four, and when it’s over one of them will get the diamond tiara and become my betrothed. At least in theory.” It sounded so much better in my head. “Don’t tell Nicholas.” Simon scrubs his hand down his face. “Now I’m going to have to avoid his calls—I’m terrible with secrets.” And Franny lets loose a peal of tinkling laughter. “This is fabulous! You never disappoint, you naughty boy.” She pats my arm. “And don’t worry, when the Queen boots you out of the palace, Simon and I will adopt you. Won’t we, darling?” Simon nods. “Yes, like a rescue dog.” “Good to know.” Then I gesture back to their car. “Well . . . it was nice of you to stop by.” Simon shakes his head. “You’re not getting rid of us that easily, mate.” “Yes, we’re definitely staying.” Franny claps her hands. “I have to see this!” Fantastic.

Presentism, neglect of the future (along with forgetfulness and contempt for the past) is the paradoxical characteristic of a society and elites who have nothing but the words progress, innovation, modernity on their lips in every domain, including the economic. As soon as one is no longer ‘in love’ as depicted in television shows, as soon as sexual desire fades, one separates from one’s current partner. Marrying for superficial reasons, one separates for superficial reasons. Moreover, this compulsive and immature sort of behaviour is found not only in relationships but also in eroticism and sex in general, always under the sign of speed, immediacy, and instant gratification. Conjugal love and even sex are no longer savoured but consumed or indeed devoured, as if by fire. Despite a form of pseudo-maturity demanded in all domains, especially sexual, and an ideology of liberation, Westerners since the 1960s (the baby boom generation to which I belong) have had difficulty proceeding to the psychological stage of adulthood, that of building for the long-term. This is true even in fields very different to those of sex and relationships, and include those of politics and economics. It is the generalised reign of immaturity and improvidence. Marriage is then conceived as a sort of game, and it ends as soon as one blows the final whistle. Unrestrained enjoyment, the slogan of May ‘68,[27] inspired by a cheap, boorish hedonism, has actually passed into our mores.

Beginning in 2011, SpaceX won a series of contracts from NASA to develop rockets that could take humans to the International Space Station, a task made crucial by the retirement of the Space Shuttle. To fulfill that mission, it needed to add to its facilities at Cape Canaveral’s Pad 40, and Musk set his sights on leasing the most storied launch facility there, Pad 39A. Pad 39A had been center stage for America’s Space Age dreams, burned into the memories of a television generation that held its collective breath when the countdowns got to “Ten, nine, eight…” Neil Armstrong’s mission to the moon that Bezos watched as a kid blasted off from Pad 39A in 1969, as did the last manned moon mission, in 1972. So did the first Space Shuttle mission, in 1981, and the last, in 2011. But by 2013, with the Shuttle program grounded and America’s half-century of space aspirations ending with bangs and whimpers, Pad 39A was rusting away and vines were sprouting through its flame trench. NASA was eager to lease it. The obvious customer was Musk, whose Falcon 9 rockets had already launched on cargo missions from the nearby Pad 40, where Obama had visited. But when the lease was put out for bids, Jeff Bezos—for both sentimental and practical reasons—decided to compete for it. When NASA ended up awarding the lease to SpaceX, Bezos sued. Musk was furious, declaring that it was ridiculous for Blue Origin to contest the lease “when they haven’t even gotten so much as a toothpick to orbit.” He ridiculed Bezos’s rockets, pointing out that they were capable only of popping up to the edge of space and then falling back; they lacked the far greater thrust necessary to break the Earth’s gravity and go into orbit. “If they do somehow show up in the next five years with a vehicle qualified to NASA’s human rating standards that can dock with the Space Station, which is what Pad 39A is meant to do, we will gladly accommodate their needs,” Musk said. “Frankly, I think we are more likely to discover unicorns dancing in the flame duct.” The battle of the sci-fi barons had blasted off. One SpaceX employee bought dozens of inflatable toy unicorns and photographed them in the pad’s flame duct. Bezos was eventually able to lease a nearby launch complex at Cape Canaveral, Pad 36, which had been the origin of missions to Mars and Venus. So the competition of the boyish billionaires was set to continue. The transfer of these hallowed pads represented, both symbolically and in practice, John F. Kennedy’s torch of space exploration being passed from government to the private sector—from a once-glorious but now sclerotic NASA to a new breed of mission-driven pioneers.

Claudette Colbert was not Hollywood’s greatest beauty, but her trim little figure, round, kitten-like face, and obviously intelligent good humor made her a bit of a sex symbol, much to her own surprise. By 1934 she’d adopted the hairstyle she kept for life: a short, auburn bob with a fringe of bangs. Although a partygoer and social animal, Claudette was also known as a tough-as-nails professional, overseeing her lighting and camera angles. Her right profile was known as “the dark side of the moon,” and scenes had to be staged so as not to show it. She was also self-conscious about her short neck—directing her in a 1956 TV show, Noël Coward reportedly snapped, “If only Claudette Colbert had a neck, I’d wring it!” “When it comes to details, I’m a horror,” she admitted cheerfully, though downplaying the profile story. “Why not have your good side showing?

DR. OZ SPEAKS OUT FOR TRANSCENDENTAL MEDITATION Toward the end of April, 2012, Dr. Mehmet Oz took center stage at The Dr. Oz Show and told his TV audience that he had been practicing Transcendental Meditation for three years, and had “decided to offer the technique to everyone on my team.” He shared with them that the day after the first 20 people (of his staff of 200) learned to meditate, things began to change. “The first thing I noticed was a change in the tone and the texture of the dialogue—away from dwelling on problems towards a much more thoughtful, insightful, clever way of solving problems. Instead of highlighting the issues that were separating us, my team was deriving bliss and joy from finding solutions.

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.

about the conditions as they have been. Meanwhile, angry art of the new era—from Naomi Alderman’s best-selling novel The Power; to Dietland, a television show about a women’s magazine . . . and a feminist terrorist group that throws men out of planes; to Hannah Gadsby’s cult stage show Nanette and the exhibition of Adrian Piper’s art at MoMA and the feminist street art of Tatyana Fazlalizadeh—captures the furious female energy of contemporary America.

I’ve often been told you have to play the game to get what you want, give a little of yourself up to get the results you desire. But what if that’s all bullshit? What if every time I put a strip of false lashes on and cross my legs on a talk-show stage, I am not getting any closer to creating the change I want to see in the world? What if every pair of Spanx, every morning-TV-ready joke, every Instagram shout-out to the person who made my dress only carries me farther away from my goal? And the goal is big: radical self-acceptance for women everywhere, political change so total it shakes the ground, justice and joy for those who have been used and tossed aside. And the goal is small: utter and unbridled selfhood.

China has entered an “Age of Sarcasm.” Anywhere outside of state-sponsored parties, entertainment shows, or the comedies and skits on television, China’s rulers and official corruption have become the main material for the sarcastic humor that courses through society. Virtually anyone can tell a political joke laced with pornographic innuendo, and almost every town and village has its own rich stock of satirical political ditties. Private dinner gatherings become informal stage shows for venting grievances and telling political jokes; the better jokes and ditties, told and retold, spread far and wide. This material is the authentic public discourse of mainland China, and it forms a sharp contrast with what appears in the state-controlled media. To listen only to the public media, you could think you are living in paradise; if you listen only to the private exchanges, you will conclude that you are living in hell. One shows only sweetness and light, the other only a sunless darkness. For

14. Pack Light This brings us to the stage of our journey where I can begin to equip you with some of the key ‘know-how’ to help you survive the many obstacles that lie ahead. Now, there is ‘good’ kit we need to carry and then there is ‘bad’ kit. The ‘good’ is the list we are going to start compiling. The ‘bad’ is the stuff we are going to drop. Ultimately I want you to be empowered with a super-efficient, totally functional kit list made up of solid principles on which to build your life and adventure. And here is the reason why we want to keep our kit list light: On an expedition, obviously you never want to carry more gear than you need. Unnecessary kit is just extra weight - and too much baggage slows you down. Part of the appeal of the TV shows I do is that they show how you can survive with just a bottle of water, a decent knife and some key know-how. The message is that attitude is king and the greatest resource we have is inside of us all. Pack the right skills, and the right attitudes, and you don’t need much else.

Compared to all this, Ronstadt and Browne were still trying to graduate from the kids' table. Ronstadt had released her first album for Geffen, Don't Cry Now, in September 1973. Browne followed a few weeks later, in October, with his second album, For Everyman. Both albums sold respectably, but neither cracked the Top 40 on the Billboard album chart. And while Geffen had great expectations for both artists, in early 1974 each was still building an audience. Their tour itinerary reflected their transitional position. It brought them to big venues in Detroit, Boston, Philadelphia, and Washington, DC, but also took them far from the bright lights to small community theaters and college campuses in Oxnard, San Luis Obispo, New Haven, and Cortland, New York. At either end, there wasn't much glamour in the experience. They had moved up from the lowest rung on the touring ladder, when they had lugged their gear in and out of station wagons, but had progressed only to a Continental Trailways bus without beds that both bands crammed into for the late-night drives between shows. "The first thing that happened is we were driving all night, and the next morning we were exhausted," Browne remembered. "Like, no one slept a wink. We were sitting up all night on a bus."' "Touring was misery," Ronstadt said, looking back. "Touring is just hard. You don't get to meet anybody. You are always in a bubble . . . You saw the world outside the bus window, and you did the sound check every day."9 The performances were uneven, too. "While Browne is much more assured and confident on stage than he was a year or two ago, he's still very much like a smart kid with a grown-up gift for songwriting," sniffed Judith Sims of Rolling Stone. She treated Ronstadt even more dismissively, describing her as peddling "country schmaltz."' The young rock journalist Cameron Crowe, catching the tour a few days later in Berkeley, described Browne's set as "painfully mediocre."" But Ronstadt and Browne found their footing as they progressed, each alternating lead billing depending on who had sold more records in each market. By the time the cavalcade rolled into Carnegie Hall, the reception for Browne and Ronstadt was strong enough that the promoters added a second show. In February 1974, Jackson Browne and Linda Ronstadt were still at the edge of the stardom they would soon achieve.

On May 15 (local time), 2019, BTS appeared on The Late Show with Stephen Colbert on CBS.i, j In introducing BTS, the television audience was informed that precisely fifty-five years, three months, and six days since the Beatles debuted in America, a new star from overseas had made landing on the same stage. There at the Ed Sullivan Theater where the Beatles had made their American television debut, The Late Show with Stephen Colbert broadcast BTS’s performance of “Boy With Luv” in black-and-white, just like the Beatles’ had been fifty-five years ago. American mainstream media was now directly connecting BTS and ARMY with the Beatles and Beatlemania.

there had been only three crimes on the statute books; the other two being Crimes Against Oneself and Crimes Against the State. Crimes Against Oneself usually result in a period of in-depth counseling and your own TV show. For Crimes Against the State, an exhaustive and comprehensive programme of organ donation is generally implemented, with the option to accept forced exile to a planet of the Law and Order AI’s choosing, at any stage before reduction in organ count made that option unviable.

The show was shot on an enormous sound stage, the largest one in Hollywood, and the same one used for Gone with the Wind. A complete house for the McCoys was built on the set. In those days, the all-consuming grind of doing a television series meant that actors spent their downtime in little huts called “knockdown greens.” They were like tents, said Kathleen Nolan. “Now you have a trailer outside, but then it was an efficient way of keeping the talent close at hand. They did four shows a week, and then took a week off, so that Brennan could rest.

When a TV show starts out, it is incredibly competitive: maybe one in a hundred TV ideas goes on to get made into pilot (tester) episodes. Maybe one in twenty of those pilots will go on to have a first series commissioned. And maybe one in ten of those will be asked back for a second season. It takes a sprinkling of fairy dust and a lot of goodwill. But do two seasons and you will quite probably go on to do five--or more. So we got lucky. No doubt. And I never even asked for it. Let alone expected it. I was simply, and blissfully, unaware. But on this journey, Man vs. Wild has had to endure a lot of flak from critics and the press. Anything successful inevitably does. (Funny how the praise tends just to bounce off, but small amounts of criticism sting so much. Self-doubt can be a brute, I guess.) The program has been accused of being set up, staged, faked, and manipulated. One critic even suggested it was all shot in a studio with CGI. If only.

What I'm fetishizing is not poverty (contrary to some people's beliefs, I am smarter than that) or even utter freedom––a life without obligations seems lonely and borderline worthless––but rather the obliteration of any sense of expectation: the expectation that my femininity, my body or my work should conform to any set of rules, any aesthetic other than my own. I've often been told you have to play the game to get what you want, give a little of yourself up to get the results you desire. But what if that's all bullshit? What is every time I put a strip of false lashes on and cross my legs on a talk show stage, I am not getting any closer to creating the change I want to see in the world? What is every pair of Spanx, every morning-TV-ready joke, every Instagram shout-out to the person who made my dress only carries me farther away from my goal? And the goal is big: radical self-acceptance for women everywhere, political change so total it shakes the ground, justice and joy for those who have been used and tossed aside. And the goal is small: utter and unbridled selfhood.

In Buddhist art, the portrayals of the Buddha are suffused with shanta rasa, a sense of transcendental peace, as are the Hindu depictions of Lord Shiva in meditation. One movie is brought to mind that strikes me as a yogic parable—The Truman Show. It seems to me reminiscent of the life of the Buddha, though told in a curious way. Truman’s entire life is a television show. Unknown to him, the community where he lives is actually a giant stage set and all the people in his life—including his wife and co-workers—are actors. People in the outside world avidly follow Truman’s every move, and everything is under the control of a Svengali-like director, of whom Truman is unaware. Truman’s controlled environment is like the Buddha’s. Both were shielded from the truth since birth. As cracks in the edifice of untruth start to appear they begin to wake up. They look around and inquire, ‘What’s going on?’ In a great leap both leave their lives and, risking everything, go through a doorway into the unknown. Of course, while the Buddha went through the door that led to enlightenment, Truman went through the door that led to the backlot of a movie studio. Both stories are parables of our soul’s journey of awakening. We discover that things are completely different from the way we thought, and we wake up to a new reality. But we can only follow Truman to the point where he makes that heroic choice. That is his enlightenment.

In 1952 NBC put on its early morning "Today Show" featuring Dave Garroway. Before then the networks had assumed that few people would tune in at an early hour of day: many channels had been blank. At first the show did not do well, but Garroway then brought on stage a chimpanzee, J. Fred Muggs. The chimp excited children, then adults, and "The Today Show" became a popular fixture. Cartoons soon dominated morning TV on weekends.19

It looked like a mess deliberately created by the stage crew for a murder scene in a television show. Except I knew better. This murder scene was real. Ryan

It looked like a mess deliberately created by the stage crew for a murder scene in a television show. Except I knew better. This murder scene was

In the Bible, the word hypocrite shows up 33 times. Interestingly, hypocrite was a common Greek term for an actor who worked behind a mask. Stage players in antiquity wore masks to hide their true identity as they played the part of their characters. We live in a society today where people are paid millions of dollars to be hypocrites. A friend of mine, before he passed away, built movie sets for a living. Many movies are filmed on studio lots, but these designed sets are not the reality you might think they are when watching a movie. Actors and actresses play the part of someone they really are not. The better they are at pretending or lying, the more convincing they will be as an actor, and typically, the more money they make. I rarely darken the door of a movie theatre because I don’t want to give those liars my money, and I don’t want to support the totally ungodly world of Hollywood. This is also why I don’t own a television. I don’t want my cable or satellite fees funding that wicked industry. In the time of the Greeks, it was easy to figure out the real identity of the actors. You could walk up to them, take off their masks, and see their faces. Jesus is doing the same here. He is unmasking the Pharisees. He is showing us their real character. He is revealing their true colors. Don’t live a lie. Don’t be a hypocrite. It is not a healthy way to go through life, and you will have regrets when the time of unmasking comes.

There's a beep. And, in that fraction of a second, I see it all → . . Me in bed, covered in lipstick and talcum powder; falling down the coach aisle; smashing into a hat-stall; climbing under a table; thirty hands in the air; spinning under a spotlight; jumping in the snow; a ponytail, cut off; sitting on a catwalk; standing on a doorstep; my first kiss, on a television set. I see a Japanese fish market and an octopus; a sumo stage; a glass box and a hundred dolls; a shining lake; a zebra crossing; a brand-new sister. I see New York and a governess; a fairground ride; a planetarium; a party; Brooklyn Bridge. Toilet paper and Icarus; dinosaur biscuits; posters; Marrakesh and a monkey; parties of stars. Picnics and coffee; an advertising agency; a doppelganger; an Indian elephant and firework clouds of paint; a cafe, filled with pink. I see Sydney and diving and a fashion show that glittered with gold. In short: I see a whole world, opening behind me. And a new world, opening in front. A world that I fit into perfectly.

After too many direct hits, all broadcast on live TV, the camera men and show producers, unable to tell the difference between this fight and the staged, blood-splattered events of previous programs, continued filming as Lawler, Jackie Fargo, and Tojo pulled Jerry off of the now totally beaten and bloodied Galento. Once Jerry had been adequately subdued and restrained, Fargo looked to the corner of the studio and saw Roy coldly watching the proceedings. “You son of bitch, you’re behind this!” Fargo screamed at Roy. Jerry saw Fargo screaming at Roy and immediately judged Roy guilty as well. He managed to free himself from Tojo and Lawler, ran across the studio, and grabbed Roy by the collar. “I’m going to kill you, you old man!” Jerry screamed. Fargo, Tojo, and Lawler all restrained Jerry once again, but he kept screaming. “If I ever see you again, I’ll kill you Roy Welch. I’ll kill you for this!

Everyone I know is either more successful or more interesting than me. This realization is nothing new. In fact, it used to feel like everyone I didn't know was more successful and interesting than me too. I still remember the sensation of watching a talent show on TV as a child and realizing that the girl dancing was a whole year younger than me. She was wearing a red sequin dress and patent tap shoes. She looked like a ruby, a human jewel spinning across the stage. I was in my pajamas from T.J. Maxx eating cereal for dinner, already destined for a life of mediocrity. Why didn't I just pull myself together back then? I was five!I could have turned it around!

So while our ever-evolving opposition movement made some progress in drawing attention to the undemocratic reality of Putin’s Russia, we were in a losing position from the start. The Kremlin’s domination of the mass media and ruthless persecution of all opposition in civil society made it impossible to build any lasting momentum. Our mission was also sabotaged by democratic leaders embracing Putin on the world stage, providing him with the leadership credentials he so badly needed in the absence of valid elections in Russia. It is difficult to promote democratic reform when every television channel and every newspaper shows image after image of the leaders of the world’s most powerful democracies accepting a dictator as part of their family. It sends the message that either he isn’t really a dictator at all or that democracy and individual freedom are nothing more than the bargaining chips Putin and his ilk always say they are. In the end, it took the invasion of Ukraine to finally get the G7 (I always refused to call it the G8) to expel Putin’s Russia from the elite club of industrial democracies.

This perception of a news show as a stylized dramatic performance whose content has been staged largely to entertain is reinforced by several other features, including the fact that the average length of any story is forty-five seconds. While brevity does not suggest triviality, in this case it clearly does. It is simply not possible to convey a sense of seriousness about any event if its implications are exhausted in less that one minute's time.

Gather six to 12 months of checking, savings, and credit card statements, and break your income and expenses down into categories and then line items. I have suggested some here, but add your own as needed. Check to see if your bank or credit card company provides reporting that categorizes charges or lets you assign categories—your work may already be almost done for you: •Income—paychecks, interest, dividends, rents, royalties, business income, pension, social security, child support, spousal support •Housing—mortgage/rent, property taxes, HOA dues, insurance •Utilities—gas, electric, propane, phone, TV/Internet, trash, water/sewer •Food—groceries, dining out •Auto—car payments, gasoline, repairs, insurance •Medical—health insurance, doctor/dentist visits, prescriptions, physical therapy •Entertainment—travel, concerts/shows, sports •Clothing—personal purchases, dry cleaning, uniforms •Personal care—hair/nails, gym/yoga, vitamins/supplements •Miscellaneous—gifts, pets, donations •Children—education, activities, school lunches, childcare You can use a spreadsheet or pen and paper to take note of income and expenses as you go through statements, then calculate a monthly average for each item.

My grip loosened on the wheel. Or was it, the world? It was such a small, passing moment. Which is where many of our monumental shifts happen. It is not the grand stage, but the quiet kitchen, the silent dining room, the bedrooms, the drives home, where gayness, my gayness, reveals itself. Drag shows are spectacles. Television shows provide a comforting illusion that life progresses. That we no longer need to live in fear. But we do. We do live in fear.

Farting is as natural as gas light and should not be frowned upon (unless it's one of those putrid puffs, upon which frown away and immediately seek shelter), or indeed lit (unless we've reached the televised stage of a talent show).

On Stage was a groundbreaking dramatic series capping the radio careers of Cathy and Elliott Lewis. It came in what might have been a watershed era but was instead radio’s last hurrah. The Lewises reached the crest as the ship began to sink, though in a strange way it was a time of peace. The war with television had been lost in a single season, and the big money had gone, as it always does, with the winner. What was left on radio fell into several broad categories, none ruled by money as they had been in the old days. Agencies and producers still had radio budgets, but the tide had irrevocably turned. The end of big-time radio had for its best artists a liberating effect. “I can do things now that I wouldn’t dare to do two or three years ago,” said Elliott Lewis in Newsweek in mid-1953. As producer-director of Suspense, he had just aired a two-part adaptation of Shakespeare’s Othello, which would have been unthinkable for the thrill show in 1945. Network people paid less attention, and if money was tighter, there was no lack of talent to prove it. People still wanted to work in radio: they remained because it was a dear first love, terminally ill and soon to disappear. Jack Benny and Jack Webb were still on the air; Gunsmoke was in its first year, and just ahead were more frugal but extremely creative shows—X-Minus One, Frontier Gentleman, and The CBS Radio Workshop. These were produced and enacted by people who loved what they were doing: some would mourn its final loss so deeply that they spoke of it reluctantly even two decades later. It was in this time that the Lewises produced On Stage, by some accounts the best radio anthology ever heard.

If Trump’s actions have turned the US government into one of his failed businesses, his rhetoric is turning our national stage into one of his reality television shows.

Plato did, however, give instructions on the procedure toward understanding the nature and function of the types. In the Republic he described the ascent of the mind through four different stages. It begins in Ignorance, when it does not even know that there is anything worth knowing. The next stage is Opinion, the stage in which TV chat-show participants are forever stuck. This is divided into two subcategories, Right Opinion and Wrong Opinion. Above that is the level of Reason. By education and study, particularly in certain mind-sharpening subjects, the candidate is prepared for entry into the fourth stage, which is called Intelligence (nous). One can be prepared for it but with no guarantee of success, for it is a level that one can only achieve on one’s own, the level of heightened or true understanding, which is the mental level of an initiate.

Makers of the hit reality TV show, Bigg Boss have announced the details of their upcoming season 12. The show will now have couples for participants, Bigg Boss has seen a major drop in viewers which is why the makers have decided to bring something new to the table. Announcing the auditions for the upcoming season, Indian TV channel Colors TV tweeted: While the tweet did not explicitly mention what kind of couples the show is looking for, reports suggest that the makers are looking for romantic couples. A report by The Indian Express quoted a source, mentioning, “Bigg Boss is one of the most watched shows across the world and the show-runners make an effort to bring something new for its viewers every year. While the partner angle was played during the ninth season themed – Double Trouble – this would be special, as for the first time, contestants will get to participate with their loved ones.” With the new format of the show, fans were also concerned if Salman Khan will be hosting the show this time as well as the actor was recently involved in a court case. However, it’s been confirmed that the 52-year-old actor will be returning to the Bigg Boss stage for season 12. Colors TV believes that despite busy schedules, Salman has always been on time for his Bigg Boss shoots. In addition, he has also added much needed star value to the show. Apart from Bigg Boss 12, Salman has a game show, Dus Ka Dum lined up as well, which will be premiering in July 2018.

The next afternoon we got a studio car to take us up to the pool at the inn. We were like kids—Duke was 41, Pete 36, and I was 27. We splashed one another, pushed one another under water, and shoved one another off the diving board. We had a hell of a time, laughing and talking about all the crises during the shooting. In those days, everybody smoked. You were either odd or in training, if you didn’t. But Duke! He lit one Camel off another all day long. We used to raise hell with him about it. “You’re not patting me down already? It’s only ten-thirty in the morning, and you’re already out?” He’d start toward, you patting the pockets on his vest or pants with a big grin on his face, trying to make you think he’d forgotten his. “Hell-ooo, Ol’ Dobe,” he’d say. Then he’d start searching you like a detective looking for dope in one of today’s TV shows. When I’d give him one, he’d say, “Jesus, how can you smoke these (meaning the brand) goddamn things? I’ll give you a pack tomorrow.” He never did so, but I found a remedy for that problem. One day I was passing his dressing room—the kind that is on coasters and is on the sound stage. The door was open, and I looked in. He wasn’t there, but his cigarettes were! Right there on his dressing room table were five cartons of Camels. He’d posed for an ad for them. I just took a carton to my own dressing room, and then, when he wanted a cigarette, I gave him one of his own! He finally said, “Ya’ finally learned to smoke the best cigarette!” The reason I bring all this up is because I thought I was some sort of champ at staying underwater a long time. I figured that because of the way Duke smoked and the fact that his only exercise was playing cards, I could easily beat him swimming underwater. So, as we were splashing around, I said to Duke, “I’ll bet I can swim underwater in this pool longer than you can.” “What? Hah—hah—hah. You have ta’ be kiddin,’ friend! You are on!" I really did think I could beat him; after all, I was younger, and I exercised a lot more than he did. I played golf and tennis, and rode horseback. It was a very big pool. My turn first. I swam up and back twice and then another half. I ran out of air and surfaced. “Not too bad, for a skinny guy,” he commented and jumped in. He then went almost twice as far! I couldn’t believe it! He didn’t razz me or brag—he just knew what he could do. It never occurred to me that his lung capacity was over twice mine and that he’d been diving for abalone off Catalina Island for years.