Television Series Quotes

Their devotion showed me there were no versions of love there was only... Love. That it had no equal and that it was worth searching for, even if that search took a lifetime.

My father wrote: "Always question where your loyalties lie. The people you trust will expect it, your greatest enemies will desire it, and those you treasure the most, will, without fail, abuse it.

Justice, like beauty, is in the eye of the beholder. Some see an innocent victim. Others will see evil incarnate getting exactly what's deserved.

The shell must be broken before the bird can fly.

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

You'd think that would have been forgotten long ago. But no, no sooner has a little grass grown over it than some clumsy camel comes along and rakes it all up again." Caroline giggled. She was probably imagining Aunt Glenda as a camel. "This is not a TV series, Maddy," said Lady Arista sharply. "Thank goodness, no, it isn't," said Great-aunt Maddy. "If it were, I'd have lost track of the plot ages ago.

Okay, uh, I'm lost. I'm angry. And I'm armed.

In the art of war, if you know the enemy and know yourself, you need not fear the approaching battles. But if you know only yourself and not the enemy, for every victory, there will also be defeat.

Some say that our lives are defined by the sum of our choices. But it isn't really our choices that distinguish who we are. It's our commitment to them.

They say let he who is without sin cast the first stone. And to be without sin requires absolute forgiveness. But when your memories are freshly opened wounds, forgiveness is the most unnatural of human emotions.

As Hamlet said to Ophelia, ”God has given you one face, and you make yourself another." The battle between these two halves of identity...Who we are and who we pretend to be, is unwinnable. "Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness, within each of us is the capacity for both good and evil. But those who are able to blur the moral dividing line hold the true power.

Some say loyalty inspires boundless hope. And while that may be, there is a catch. True loyalty takes years to build... and only seconds to destroy.

To carry a secret is to play with fire. Try to pass it on and you'd risk hurting someone else. Hold on to it and eventually you'd get burned.

There's an old saying about those who cannot remember the past being condemned to repeat it. But those of us who refuse to forget the past are condemned to relive it.

I love Greek Mythology, wish there was a TV series, like being human or smallville, but with the series based around Percy Jackson and the Olympians, Holla Mayne!

There comes a moment in each of our lives when the control that keeps us sane slips through our fingers. Most of us aim to seize it back. The best way to fight chaos is with chaos.

Truth is a battle of perceptions. People only see what they're prepared to confront. It's not what you look at that matters, but what you see. And when then different perceptions battle against one another, the truth has a way of getting lost. And the monsters find a way of getting out.

Over time, we commit acts with intentions, either good or bad, that require forgiveness.

I liked Lost in Space,” Stefan said. “The movie or the TV series?” “The movie? Right. I had forgotten about the movie,” he said soberly. “It was better that way.

They say grief occurs in five stages. First there's denial followed by anger. Then comes bargaining, depression and acceptance. But grief is a merciless master. Just when you think you're free you realize you never stood a chance.

The deal with multiculturalism is that the only culture you're allowed to disapprove of is your own.

Chaos... by its very definition cannot be controlled. Once introduced, all order and intention is rendered useless. The outcome of chaos can never be predicted. The only certainty it brings... is the devastation it leaves in its wake.

The greatest weapon anyone can use against us is our own mind. By preying upon the doubts and uncertainities that already lurk there. Are we true to ourselves or do we live to the expectations of others? And if we are open and honest, can we ever truly be loved? Can we find the courage to release our deepest secrets? Or in the end are we all unknowable even to ourselves.

We all have secrets we keep locked away from the rest of the world... Friendships we pretend... Relationships we hide... But worst of all... Love we never let show. The most dangerous secrets a person can bury are those we keep from ourselves

Doubt is a disease that infects the mind creating a mistrust of peoples motives and ones own perceptions. Doubt has the ability to call into questions everything you ever believed about someone and reinforce the darkest suspicions of our inner circle.

In a race between danger and indecision, the difference between life and death comes down to confidence. Faith in our abilities, certainty in ourselves and the trust we put in others.

Some think intuition is a gift, but it can be a curse as well--a voice calling to us from places that are better left unexplored...an echo of memories that will never die, no matter how hard we try to kill them.

In it's purest form, an act of retribution provides symmetry. The rendering payment of crimes against the innocent. But a danger on retaliation lies on the furthering cycle of violence. Still, it's a risk that must be met; and the greater offense is to allow the guilty go unpunished.

Saturday morning was their unrestricted television time, and they usually took advantage of it to watch a series of cartoon shows that would certainly have been impossible before the discovery of LSD.

Power can be hoarded by the mighty or stolen from the innocent.Power provides the ability to choose. But has a proclivity for corruption. The use of power is not to be taken lightly, for it is never without consequence.

Trust is a difficult thing, whether it's finding the right people to trust...Or trusting the right people will do the wrong thing. But trusting your heart...is the riskiest thing of all.In the end,the only person we can truly trust... is ourself.

Nature can be cruel. Predators are everywhere. Those who don't need to be protected from outside forces often need to be protected from themselves. In society, women are referred to as "the fairer sex". But in the wild, the female species can be far more ferocious than their male counterparts. Defending the nest is both our oldest and strongest instinct. And sometimes, it can also be the most gratifying.

In every life, there comes a day of reckoning - a time when unsettled scores demand retribution, and our own lies and transgressions are finally laid bare.

Mercy is the mark of a great man! (stabs defeated opponent) I guess I'm just a good man. (stabs opponent again) Well ... I'm alright.

And I said well luckily I was mature and old enough to take this success at my age. It was bullshit.

The past is a tricky thing. Sometimes it's etched in stone. And other times, it's rendered in soft memories. But if you meddle too long in deep, dark things... Who knows what monsters you'll awaken?

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.

Every human is born of collusion. We come into this world the result of a covenant. Sometimes made of love, Sometimes of circumstance. But almost always made in secret.

Engagement can be a commitment to love or a declaration of war. One must enter every battle without hesitation, willing to fully engage the enemy until death do you apart.

One of the most unattractive human traits, and so easy to fall into, is resentment at the sudden shared popularity of a previously private pleasure. Which of us hasn't been annoyed when a band, writer, artist or television series that had been a minority interest of ours has suddenly achieved mainstream popularity? When it was at a cult level we moaned at the philistinism of a world that didn't appreciate it, and now that they do appreciate it we're all resentful and dog-in-the-manger about it.

For the righteous, the revelation is a joyous event, the realization of a divine truth. But for the wicked, revelations can be far more terrifying, when dark secrets are exposed and sinners are punished for their trespasses.

In Revenge, as in life, every action has an equal and opposite reaction. In the end the guilty always fall.

For those who believe in resurrection, death is inconsequential. It's not an ending but rather a new beginning. A second chance, a reunion. The very idea of resurrection is so seductive a concept it's easy to forget, before you can rise from the dead you have to spend a few days in hell.

It's been written that a lover is apt to be as full of secrets from himself as is the object of his love from him.

In every moment a choice exists. We can cling to the past or embrace the inevitability of change and allow a brighter future to unfold before us.

In the moment we're born, we're drawn to form a union with others. An abiding drive to connect, to love, to belong. In a perfect union, we find the strength we cannot find in ourselves. But the strength of the union cannot be known until it is tested.

To properly do penance one must express contrition for one’s sins and perform acts to repair the damage caused by those transgressions. It is only when those acts are complete that the slate can truly be wiped clean and amnesty gives way to a new beginning.

For the innocent, the past may hold a reward, but for the treacherous it's only a matter of time before the past delivers what they truly deserve.

When at a crossroads, my father was fond of saying “go with your gut.” “Intuition,” he said, “always has our best interests at heart.” It is a voice that can tell us who is friend and who is foe…Which ones to hold at arm’s length…And which ones to keep close. But too often, we become distracted by fear, doubt, our own stubborn hopes, and refuse to listen.

Darkness scares us. We yearn for the comfort of light as it provides shape and form, allowing us to recognize and define what's before us. But what is it we're afraid of really? Not the darkness itself, but the truth we know hides within.

Sacrifice demands the surrender of things we cherish above all else. Only out of the agony of those loses can a new resolution be born. An undying devotion to a cause greater than one’s self, and a moral duty to see a journey through to its absolute completion.

In its purest form, a union becomes part of our very essence. And when that bond is broken, our essence is forever changed.

If you can’t even stop watching TV long enough to get your life together, you obviously don’t want to change. That’s basic shit. It’s the bare minimum, to be honest.

For the average person leading an ordinary life, fame holds an hypnotic attraction. Many would sooner perish than exist in anonymity. But for the unlucky few who've had notoriety forced upon them, infamy can be a sentence more damning than any prison term

Stranger: Resistance is a symptom of the way things are Not the way things necessarily should be. Actual victory belongs to things that simply do not see failure. Let the path push you like a broken branch in a river's current.

Absolution is the most powerful form of forgiveness. A full pardon from suspicion and accountability. It's the liberation of a stolen future. A future my father never lived to see. Absolution is a mercy the people who killed him will never know.

Power...Born out of nature, Coveted by men; Wars rage on, And victors are crowned. But true power can never be lost or won. True power comes from within.

Destiny. To believe that a life is meant for a single purpose, one must also believe in a common fate. Father to daughter, brother to sister, mother to child. Blood ties can be as unyielding as they are eternal. But it is our bonds of choice that truly light the road we travel. Love versus hatred. Loyalty against betrayal. A person's true destiny can only be revealed at the end of his journey, and the story I have to tell is far from over.

Like life, revenge can be a messy business... And both would be much simpler if only our heads could figure out which way our hearts will go. But the heart has its reasons, of which reason cannot know.

They say vengeance taken will tear the heart and torment the conscious. If there's any truth to it, then I now know with certainty that the path I'm on is the right one.

Clarence Darrow, one of history's greatest lawyers, once noted "There is no such thing as justice, in or out of court." Perhaps because justice is a flawed concept that ultimately comes down to the decision of twelve people. People with their own experiences, prejudices, feelings about what defines right and wrong. Which is why, when the system fails us, we must go out and seek our own justice.

The intensity in his gaze created a flutter low in my belly. When he spoke, his voice was rough, sending a series of chills up and down my spine. “I don’t know what made you change your sleeping attire, but I just want to let you know that I am a hundred and fifty-five percent behind it.” All I could think was that he liked what he saw and that was a good sign. “Actually, if you want to dress like that whenever we’re alone—to eat dinner, watch the TV, read a book or whatever, I also support that.

All too often, we mask truth in artifice, concealing ourselves for fear of losing the ones we love or prolonging a deception for those we wish to expose. We hide behind that which brings us comfort from pain and sadness or use it to repel a truth too devastating to accept.

From all the poems written on the subject of unrequited love, there are so few on the pain of being the object of that affection. The truth is..it's not love on which the strongest foundations are built. It's the decency of merciful lies.

Do you remember that old TV series, Get Smart? Do you remember at the beginning where Maxwell Smart is walking down the secret corridor and there are all of those doors that open sideways, and upside down and gateways and stuff? I think that everyone keeps a whole bunch of doors just like this between themselves and the world. But when you're in love, all of your doors are open, and all of their doors are open. And you roller-skate down your halls together.

Sacrifice by its strictest definition takes something precious in exchange for the appeasement of a higher power. And abiding devotion to a cause that cannot be satisfied with a simple promise. Because an oath no matter how solemn asks nothing in return. While true sacrifice demands unspeakable loss.

Absolution is the washing away of sin. The promise of rebirth. And the chance to escape the transgressions of those who came before us. The best among us will learn from the mistakes of the past, while the rest seem doomed to repeat them. And then there are those who operate on the fringes of society, unburdened by the confines of morality and conscience. A ruthless breed of monsters whose deadliest weapon is their ability to hide in plain sight. If the people I've come to bring justice to cannot be bound by the quest for absolution, then neither will I.

A ship is safe in harbor, but that's not why ships were built.

In a very real way, television is the new mythos. It defines the world, reinterprets it. The seasons do not change because Persephone goes underground. They change because new episodes air, because sweeps week demands conflagrations and ritual deaths. The television series rises slowly, arcs, descends into hiatus, and rises again with the bright, burning autumn.

Some say that to believe in destiny is to dismiss the role of free will. That self-determination cannot prevail in the presence of fate. When the truth is, the only part of destiny we can control is the fate we choose for another.

When everything you love has been stolen from you, sometimes all you have left is revenge.Sometimes, the innocent get hurt. But one by one, the guilty will pay. Nothing ever goes exactly as you expect. And mistakes are life and death. Collateral damage is inescapable.

It was Joss Whedon's Buffy the Vampire Slayer (the television series, 1997-2003, not the lackluster movie that preceded it) that blazed the trail for Twilight and the slew of other paranormal romance novels that followed, while also shaping the broader urban fantasy field from the late 1990s onward. Many of you reading this book will be too young to remember when Buffy debuted, so you'll have to trust us when we say that nothing quite like it had existed before. It was thrillingly new to see a young, gutsy, kick-ass female hero, for starters, and one who was no Amazonian Wonder Woman but recognizably ordinary, fussing about her nails, her shoes, and whether she'd make it to her high school prom. Buffy's story contained a heady mix of many genres (fantasy, horror, science-fiction, romance, detective fiction, high school drama), all of it leavened with tongue-in-cheek humor yet underpinned by the serious care with which the Buffy universe had been crafted. Back then, Whedon's dizzying genre hopping was a radical departure from the norm-whereas today, post-Buffy, no one blinks an eye as writers of urban fantasy leap across genre boundaries with abandon, penning tender romances featuring werewolves and demons, hard-boiled detective novels with fairies, and vampires-in-modern-life sagas that can crop up darn near anywhere: on the horror shelves, the SF shelves, the mystery shelves, the romance shelves.

We turn on the TV and leave it on, allowing someone else to guide us, shape us, and destroy us.

•Engagement can be a commitment to love or a declaration of war. One must enter every battle without hesitation, willing to fully engage the enemy until death do you apart.

A person's true identity can often be difficult to discern, even to themselves, causing one to question their character, their calling, their very existence. For most, time gives clarity, but for others, these questions remained unanswered for an identity can not be fully defined when it is a guarded secret.

Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness. Within each of us is the capacity for both good and evil. But those of us who are able to blur the moral dividing line hold the true power.

There is beauty in the courage of the fragile fighter. Those that persevere, despite all they’ve been through, those who still believe there is good in the world, as dark things we often find we need that light the most.

Penance is a sacrifice, a voluntary punishment to show remorse for a sin. The more grievous the sin, the greater the self-inflicted suffering. For some, the ultimate penance is death. But for others, it simply a means to an end.

The Vonnegut was a heavily modified Firefly-class transport vessel, modeled after the Serenity in the classic Firefly TV series.

Holy Adam West!

For those who believe in the resurrection, death is inconsequential. In the resurrection, those that were dead live, and those who live believe they shall never die.

Duress impacts relationships in one of two ways. It either tears people apart... binding them tightly in a common objective.

Every human is born of collusion. We come into this world the result of a covenant. Sometimes made of love. Sometimes of circumstance. But almost always made in secret.

The 100 tv series " Who we are and who we need to be survive are very different things

The television series has respected one of the axioms of the novel: no event is allowed into it that does not have a precedent in human history.

The most successful people in history were made fun of, called "crazy", hated on, and ridiculed...because people didn't want to think a normal person like them could be successful. Thank God they didn't listen to the haters, because how else would the Founding Fathers of America establish America? - Kailin Gow, The American Adventure TV Series

Sometimes I felt that growing up and being a girl was about learning to be afraid. Not paranoid, exactly, but always alert and aware, like checking out the exits in the movie theatre or the fire escape in a hotel. You came to know, in a way you hadn't as a kid, that the body you inhabited was vulnerable, imperfectly fortified. On TV, in the papers, in books and movies, it isn't ever men being raped or kidnapped or bludgeoned or dismembered or burned with acid. But in stories and crime shows and TV series and movies and in life too, it's going on all the time, all around you. So you learn, in your mind, that your body needs to be protected. It's both precious and totally dispensable, depending on whom you encounter.

Dracula : Dying is the only remaining novelty. Every other human experience is catalogued somewhere in your endless chattering libraries. Nothing comes fresh. Every living instant is shop-soiled and secondhand except that one moment in life that no one can report back on. In a world of travelled roads, death is the last unprinted snow.

They say the best laid plans often go a lie, Because no matter how detailed the preparation, A plan will always have a weak point and there will always be those looking to exploit it. To do into the plan failure and the perpetrator along with it.

It's not the thing you fling, it's the fling itself.

Defence lawyers use the term "duress" to describe the use of force, coercion or psychological pressure exerted on a client in the commission of a crime. When duress is applied to the emotionally unstable the result can be as violent as it is unpredictable.

It all made sense: my shyness, all the times I was dismissed for not being “black enough,” my desire to reframe the images of black film and television, which I started to do when I created a series in college called Dorm Diaries, my inability to dance—these were all symptoms of my Awkward Blackness.

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

When I was a little girl my understanding of revenge was as simple as the Sunday school proverbs it hid behind. Neat little morality slogans like, do un to others and two wrongs don't make a right. But two wrongs can never make a right because; two wrongs can never equal each other. For the truly wronged real satisfaction can only be found in one of two places, absolute forgiveness or mortal vindication. This is not a story about forgiveness.

They say the best laid plans often go a lie. Because no matter how detailed the preparation, a plan will always have a weak point and there will always be those looking to exploit it. To do into the plan failure and the perpetrator along with it.

What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.

Revelations help us accept the things we need the most, expose the secrets we so desperately try to hide and illuminate the dangers all around us. But more than anything, revelations are windows into our true selves... of the good and the evil and those wavering somewhere in between. But they have the ultimate power to destroy all that we cherish most.

Ove has a heart problem..." he begins in an anodyne voice, following this up with a series of terms that no human being with less than ten years of medical training or an entirely unhealthy addiction to certain television series could ever be expected to understand.

When you are working on a problem, you sometimes get so close to it that you can’t see all the options. You miss elegant solutions because the creative part of your mind is suppressed by the intensity of your focus. Sometimes the best way to solve a problem is to go home, eat dinner, watch TV, go to bed, and then wake up the next morning and take a shower.

The ideas aren't that important. Really they aren't. Everyone's got an idea for a book, a movie, a story, a TV series.

Darius: Us humans are always close to destruction, Life itself is but a series of close calls. I mean, how would you know you were alive unless you knew you could die?

It was a future they couldn’t quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history boiled down to a series of ten-second TV commercials, empty holidays, and sports games filled with the patriotic fluff of red, white, and blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy.

The Game of Go was one of the 4 Arts of China. It spread to all over Asia and was even mentioned in the Japanese novel, Tales of Genji. More than an ancient board game, the Game of Go is an analogy of life and emphasize balance, challenge, and fun. Not only does my name Kailin Gow has the word "Go" in it, but my philosophy on life of balance, challenge, and fun is similar to the Game. Thus, Kailin Gow's Go Girl TV Series, books, and overall brand reflects this philosophy as well. - Kailin Gow in interview about Kailin Gow's Go Girl Books and TV Series.

It’s hard to talk about the Cosmos without using big numbers. I said “billion” many times on the Cosmos television series, which was seen by a great many people. But I never said “billions and billions.” For one thing, it’s too imprecise. How many billions are “billions and billions”? A few billion? Twenty billion? A hundred billion? “Billions and billions” is pretty vague. When we reconfigured and updated the series, I checked—and sure enough, I never said it.

Obsession is not immediate. It stalks you. It creeps up on you until it’s too late to escape it.

Speedboats, made-up aristocratic titles, exploding dildos… You’re not living in a fucking TV series, Villanelle.

I’m asking the world, in deciding life and death — Is there any difference between politics and swords?

Baldrick, you wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle plans are here again!

The problem with your generation,” the professor preached, sticking his hands into his pockets, “is a bloated sense of entitlement. You feel owed everything, and you want it now. Why suffer the sweet agony of watching a television series just to find out the big reveal you’ve waited years to discover when you can just wait for the entire series to appear on Netflix and watch all fifty episodes in three days, right?” “Exactly!” a guy on the other side of the room blurted out. “Work smarter, not harder.

His boss, Isaac (Robert Guillaume), agrees but tells him to do it anyway “because it’s television and this is how it’s done.” Dan replies, “Yeah, well, sitting in the back of the bus was how it was done until a forty-two-year-old lady moved up front.” A few minutes later Isaac looks Dan in the eye and tells him, “Because I love you I can say this. No rich young white guy has ever gotten anywhere with me comparing himself to Rosa Parks.” Finally, the voice of reason, which of course was heard on a canceled network TV series on cable.

In between bites of banana, Mr. Remora would tell stories, and the children would write the stories down in notebooks, and every so often there would be a test. The stories were very short, and there were a whole lot of them on every conceivable subject. "One day I went to the store to purchase a carton of milk," Mr. Remora would say, chewing on a banana. "When I got home, I poured the milk into a glass and drank it. Then I watched television. The end." Or: "One afternoon a man named Edward got into a green truck and drove to a farm. The farm had geese and cows. The end." Mr. Ramora would tell story after story, and eat banana after banana, and it would get more and more difficult for Violet to pay attention.

In 1952, he was to begin a TV series when he suffered his first heart attack. He returned on CBS TV as a panelist for the game show What’s My Line? He died on the night of March 17, 1956, collapsing just outside the West 75th Street home of a friend.

The people I know who are rebelling meaningfully, you know, don't buy a lot of stuff and don't get their view of the world from television and are willing to spend four, five hours researching an election rather than commercials. The thing about it is that in America, we think of rebellion as this very sexy thing and that it involves action and force and looks good. My guess is that any form of rebellion that will change things meaningfully here will be very quiet and very individual and probably not all that interesting to look at from the outside...Violence is interesting. Horrible corruption and scandals and rattling sabers and talking about war and demonizing a billion people of a different faith in the world—those are all interesting. Sitting in a chair and really thinking about what this all means and why the fact that what I drive might have something to do with how people in other parts of the world think about me isn't interesting to anybody else.

Set out to correct the world's wrongs and you'll almost certainly wind up adding to them. -- from the TV series "Person of Interest", Season 2, episode "Relevance

We are ghosts of the people we used to be. -Dickensian, TV Series (2015– ), s01e17

May be it's time... Not to give up, to let go

Don't you see, Lynn? We have to help . . . or else we won't have learned a thing.

When you reach your lowest point, you are open to the greatest of change", Avatar Aang.

I was too concerned with my own dignity. Grovelling and compliments were the order of the day. I made the mistake of trying to teach them their business.

Don't you stop running and don't you ever look behind you. There's nothing for you behind you. All that exists is what's ahead.

The 100 Tv-series" Clarke, who we are and who we need to be to survive are very different things

Mary Sibley: So, love is to a woman what war is to a man: the most deadly thing they'll do. Only a fool runs quickly to war or love.

I don't want power. I just want things back the way they were, back to the good old days when we didn't have to be polite to Nazis.

Lola is a sociopath in a children's book and TV series, sister of Charlie, one of the great long-suffering brothers of literature.

In the economies of late capitalism leisure displaces labor, consumption displaces production, and commodities become the instruments of leisure, identity, and social relations.

I’m not sure, though, what “for later” means anymore. Something changed in the world. Not too long ago, it changed, and we know it. We don’t know how to explain it yet, but I think we all can feel it, somewhere deep in our gut or in our brain circuits. We feel time differently. No one has quite been able to capture what is happening or say why. Perhaps it’s just that we sense an absence of future, because the present has become too overwhelming, so the future has become unimaginable. And without future, time feels like only an accumulation. An accumulation of months, days, natural disasters, television series, terrorist attacks, divorces, mass migrations, birthdays, photographs, sunrises. We haven’t understood the exact way we are now experiencing time. And maybe the boy’s frustration at not knowing what to take a picture of, or how to frame and focus the things he sees as we all sit inside the car, driving across this strange, beautiful, dark country, is simply a sign of how our ways of documenting the world have fallen short. Perhaps if we found a new way to document it, we might begin to understand this new way we experience space and time. Novels and movies don’t quite capture it; journalism doesn’t; photography, dance, painting, and theater don’t; molecular biology and quantum physics certainly don’t either. We haven’t understood how space and time exist now, how we really experience them. And until we find a way to document them, we will not understand them.

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

È come se tutta la sua vita si fosse cristallizzata. Fissata per sempre in una condizione che non evolve mai. Come un mammut dell’era glaciale. Ma questa non è la cosa peggiore, no. La cosa peggiore è che se guardo dentro a quel blocco di ghiaccio io non ci vedo Deprecabile. Ci vedo il riflesso mio. E i plumcake col latte gelato. E le serie tv prima di dormire. Tutte le mie coperte di Linus, insomma.

There is a moral sturdiness to (hardware store owner) Charley that isn't advertised or boasted about, but is obvious to all who know him and quickly discerned by those who don't. Our country has lately been afflicted with television preachers and pundits who focus on our families while neglecting theirs. How vainglorious these critics seem, how vacuous and shallow they appear when placed alongside a man of Charley's stature.

we have developed a series of emotional thermostats as well, by far the most potent of which is television itself. instead of really experiencing the highs and lows, pains and joys, that make up a life, many of us use TV just as we use central heating- to flatten our variations, to maintain a constant "optimal" temperature.

The odd group of well-wishers slowly moved down the hallway as Moshe’s sobs cascaded up and down the walls, bouncing from one side to the other. The discourse on Doc Roberts was forgotten now as the group tromped forward, a ragtag assortment of travelers moving fifteen feet as if it were fifteen thousand miles, slow travelers all, arrivals from different lands, making a low trek through a country that claimed to be so high, a country that gave them so much yet demanded so much more. They moved slowly, like fusgeyers, wanderers seeking a home in Europe, or erú West African tribesmen herded off a ship on a Virginia shore to peer back across the Atlantic in the direction of their homeland one last time, moving toward a common destiny, all of them—Isaac, Nate, and the rest—into a future of American nothing. It was a future they couldn’t quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history boiled down to a series of ten-second TV commercials, empty holidays, and sports games filled with the patriotic fluff of red, white, and blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy. The collective history of this sad troupe moving down the hospital corridor would become tiny blots in an American future that would one day scramble their proud histories like eggs, scattering them among the population while feeding mental junk to the populace on devices that would become as common and small as the hot dog that the dying woman thought she smelled; for in death, Chona had smelled not a hot dog but the future, a future in which devices that fit in one’s pocket and went zip, zap, and zilch delivered a danger far more seductive and powerful than any hot dog, a device that children of the future would clamor for and become addicted to, a device that fed them their oppression disguised as free thought. Had the group of stragglers moping down the hallway seen that future, they would have all turned en masse and rushed from the hospital out into the open air and collapsed onto the lawn and sobbed like children. As it was, they moved like turtles toward Chona’s room as Moshe’s howl rang out. They were in no hurry. The journey ahead was long. There was no promise ahead. There was no need to rush now.

The television commercial has mounted the most serious assault on capitalist ideology since the publication of Das Kapital. To understand why, we must remind ourselves that capitalism, like science and liberal democracy, was an outgrowth of the Enlightenment. Its principal theorists, even its most prosperous practitioners, believed capitalism to be based on the idea that both buyer and seller are sufficiently mature, well informed and reasonable to engage in transactions of mutual self-interest. If greed was taken to be the fuel of the capitalist engine, the surely rationality was the driver. The theory states, in part, that competition in the marketplace requires that the buyer not only knows what is good for him but also what is good. If the seller produces nothing of value, as determined by a rational marketplace, then he loses out. It is the assumption of rationality among buyers that spurs competitors to become winners, and winners to keep on winning. Where it is assumed that a buyer is unable to make rational decisions, laws are passed to invalidate transactions, as, for example, those which prohibit children from making contracts...Of course, the practice of capitalism has its contradictions...But television commercials make hash of it...By substituting images for claims, the pictorial commercial made emotional appeal, not tests of truth, the basis of consumer decisions. The distance between rationality and advertising is now so wide that it is difficult to remember that there once existed a connection between them. Today, on television commercials, propositions are as scarce as unattractive people. The truth or falsity of an advertiser's claim is simply not an issue. A McDonald's commercial, for example, is not a series of testable, logically ordered assertions. It is a drama--a mythology, if you will--of handsome people selling, buying and eating hamburgers, and being driven to near ecstasy by their good fortune. No claim are made, except those the viewer projects onto or infers from the drama. One can like or dislike a television commercial, of course. But one cannot refute it.

I stroke them, and they always like that, because old people don’t have anyone who touches them, and I get them hooked on a TV series, because nobody wants to die before the final episode. Some of them find comfort in prayer, but there are lots of atheists here, and they don’t pray. What’s most important is not to leave them on their own.

Tendrils of mist slithered over the forest floor, around the base of trees. Xander noticed that some of it had climbed the porch pillars and drifted, almost invisibly, over the shingles of the porch roof. It reminded him of an old TV series Dean's dad had bought on DVD: Dark Shadows. It was about a creepy old house and a vampire who lived there. Barnabas, Xander remembered.

...Religious observances, once so full of suffering and awe, have become accommodating and benign. Teachers go out of their way to avoid embarrassing, insulting, overworking, or otherwise vexing their students. Each year public language is further purged of impurities that might injure sensitive groups. Prime-time television series seem dedicated to the comforting message that things are really okay. Indeed, modern society's war on pain has been vastly more successful than its war on pain's causes.

Hawkeye: War isn’t Hell. War is war, and Hell is Hell. And of the two, war is a lot worse. Father Mulcahy: How do you figure, Hawkeye? Hawkeye: Easy, Father. Tell me. Who goes to Hell? Father Mulcahy: Sinners, I believe. Hawkeye: Exactly. There are no innocent bystanders in Hell. War is chock full of them—little kids, cripples, old ladies. In fact, except for some of the brass, almost everybody is an innocent bystander. ~ Conversation between Hawkeye Pierce and Father Mulcahy on television series M*A*S*H

Could it be that they were sick enough at this point of their own lives to get worked up about those of others? That’s always the case. We live under the dictates of others’ desires. Natalie and François didn’t want to become a TV series for their crowd. For the moment, they loved the idea of being two people alone in the world, in the most perfect cliché of romantic schmaltzy serenity.

Our world is full of submissive activities. Shopping is submissive. You wander around buying the things the controllers have placed in front of you. Watching TV is submissive. You watch fictional lives rather than live your own life. Playing video games is submissive. You sit there shooting up the world (in virtual reality), while having no impact at all on actual reality. It’s easy to be a virtual hero, hard to be a real one. One involves no work, and the other is as hard as it gets. Video games are an avoidance of the real world. Voting is submissive too – you delegate your authority to one of the puppets of the controllers. Dominants are active, not passive. They DO. They ACT. They MOVE. They CHOOSE. They DECIDE. They are NOT CONTROLLED by the system. They are FREE. So, what are you?

Thus the “brainy” economy designed to produce this happiness is a fantastic vicious circle which must either manufacture more and more pleasures or collapse—providing a constant titillation of the ears, eyes, and nerve ends with incessant streams of almost inescapable noise and visual distractions. The perfect “subject” for the aims of this economy is the person who continuously itches his ears with the radio, preferably using the portable kind which can go with him at all hours and in all places. His eyes flit without rest from television screen, to newspaper, to magazine, keeping him in a sort of orgasm-with-out-release through a series of teasing glimpses of shiny automobiles, shiny female bodies, and other sensuous surfaces, interspersed with such restorers of sensitivity—shock treatments—as “human interest” shots of criminals, mangled bodies, wrecked airplanes, prize fights, and burning buildings. The literature or discourse that goes along with this is similarly manufactured to tease without satisfaction, to replace every partial gratification with a new desire. For this stream of stimulants is designed to produce cravings for more and more of the same, though louder and faster, and these cravings drive us to do work which is of no interest save for the money it pays—to buy more lavish radios, sleeker automobiles, glossier magazines, and better television sets, all of which will somehow conspire to persuade us that happiness lies just around the corner if we will buy one more.

How often does it occur that information provided you on morning radio or television, or in the morning newspaper, causes you to alter your plans for the day, or to take some action you would not otherwise have taken, or provides insight into some problem you are required to solve? For most of us, news of the weather will sometimes have consequences; for investors, news of the stock market; perhaps an occasional story about crime will do it, if by chance it occurred near where you live or involved someone you know. But most of our daily news is inert, consisting of information that gives us something to talk about but cannot lead to any meaningful action...You may get a sense of what this means by asking yourself another series of questions: What steps do you plan to take to reduce the conflict in the Middle East? Or the rates of inflation, crime and unemployment? What are your plans for preserving the environment or reducing the risk of nuclear war? What do you plan to do about NATO, OPEC, the CIA, affirmative action, and the monstrous treatment of the Baha’is in Iran? I shall take the liberty of answering for you: You plan to do nothing about them. You may, of course, cast a ballot for someone who claims to have some plans, as well as the power to act. But this you can do only once every two or four years by giving one hour of your time, hardly a satisfying means of expressing the broad range of opinions you hold. Voting, we might even say, is the next to last refuge of the politically impotent. The last refuge is, of course, giving your opinion to a pollster, who will get a version of it through a desiccated question, and then will submerge it in a Niagara of similar opinions, and convert them into—what else?—another piece of news. Thus, we have here a great loop of impotence: The news elicits from you a variety of opinions about which you can do nothing except to offer them as more news, about which you can do nothing.

Nowadays, the work of Alfred Hitchcock is admired all over the world. Young people who are just discovering his art through the current rerelease of Rear Window and Vertigo, or through North by Northwest, may assume his prestige has always been recognized, but this is far from being the case. In the fifties and sixties, Hitchcock was at the height of his creativity and popularity. He was, of course, famous due to the publicity masterminded by producer David O. Selznick during the six or seven years of their collaboration on such films as Rebecca, Notorious, Spellbound, and The Paradine Case. His fame had spread further throughout the world via the television series Alfred Hitchcock Presents in the mid-fifties. But American and European critics made him pay for his commercial success by reviewing his work with condescension, and by belittling each new film. (...) In examining his films, it was obvious that he had given more thought to the potential of his art than any of his colleagues. It occurred to me that if he would, for the first time, agree to respond seriously to a systematic questionnaire, the resulting document might modify the American critics’ approach to Hitchcock. That is what this book is all about.

I know better than to not trust God. But sometimes, I forget that. When we are in the midst of an experience, it is easy to forget that there is a Plan. Sometimes, all we can see is today. If we were to watch only two minutes of the middle of a television program, it would make little sense. It would be a disconnected event. If we were to watch a weaver sewing a tapestry for only a few moments, and focused on only a small piece of the work, it would not look beautiful. It would look like a few peculiar threads randomly placed. How often we use that same, limited perspective to look at our life—especially when we are going through a difficult time. We can learn to have perspective when we are going through those confusing, difficult learning times. When we are being pelleted by events that make us feel, think, and question, we are in the midst of learning something important. We can trust that something valuable is being worked out in us—even when things are difficult, even when we cannot get our bearings. Insight and clarity do not come until we have mastered our lesson. Faith is like a muscle. It must be exercised to grow strong. Repeated experiences of having to trust what we can’t see and repeated experiences of learning to trust that things will work out are what make our faith muscles grow strong. Today, I will trust that the events in my life are not random. My experiences are not a mistake. The Universe, my Higher Power, and life are not picking on me. I am going through what I need to go through to learn something valuable, something that will prepare me for the joy and love I am seeking.

But maybe I was more like Lena Dunham on her TV series Girls, which examined her own generation with a caustic, withering eye yet also remained supportive. And this is crucial: you can be both. In order to be an artist, to raise yourself above the overreacting fear-based din in which criticism is considered elitist, you need to be both.

We might think we know how we are being affected by the media—a book, a movie, a TV series. Ironically, this so-called awareness, the “third person effect,” is most common with, according to Gierzynski, “those with higher education.” He notes that “we think we know how the media affects us,” but in truth, it controls us more than we know.

She was happy, in a bubble, and the only reason to pop it was on the grounds that bubbles were not real life. But bubbles made life tolerable, and the trick was to blow as many as possible. There were new-baby bubbles, and honeymoon bubbles, and success-at-work bubbles, and new-friends bubbles, and great-holiday bubbles, and even tiny TV-series bubbles, dinner bubbles, party bubbles. They all burst without intervention, and then it was a matter of getting through to the next one. Life hadn’t been fizzy for a while. It had been hard.

Change yourselves. Change the world. The very act of trying will inspire you. No one is saying it’s easy – it isn’t – but nothing will change without effort and struggle.

The part of River Song, the Doctor’s companion in his eleventh incarnation, was originally offered to Kate Winslet. She turned it down and the part went to Alex Kingston.

I don't have dreams, I have goals. Now I'm aiming to the next one.

Would you let a TV period drama series be filmed at your estate? Dying to know :)

I feel about Manhattan the way I feel about a book, a TV series, a movie, a play, an artist, a song, a food, a whatever that I love. I want to tell you about it so that maybe you will love it, too. I'm not worried about it being 'ruined' by too many people 'discovering' it. Manhattan's been ruined since 1626 , when Peter Minuit bought it from Native Americans for $24.00.

Histrionics know how to get looked at, but they don’t have a clue about how to look at themselves. They often know less about their own history and motivation than about those of their favorite television characters. Histrionics’ selective memories make their lives into a series of vivid but unconnected events, no more related to one another than the programs broadcast on a given night.

If TV sitcoms idealized the American suburbs of the 1960s, the works of the artistic elite disparaged them ceaselessly, then and now. The songs of Pete Seeger, novels like Revolutionary Road, the stories of John Cheever, movies like Pleasantville and American Beauty, television series like Mad Men: in all of them, that long-ago land of lawns and houses is depicted as a country of stultifying conformity and cultural emptiness, sexual hypocrisy, alcoholism, and spiritual despair. Privilege murders the senses there, the creatives tell us. Gender roles strangle freedom. Family life turns the heart of adventure to ashes. There’s bigotry and gossip and dangerous liaisons behind every closed door. Oh, the soul, the human soul! In the suburbs of fiction, she is forever dying. But

It’s seven AM and they are announcing it’s breakfast time. Yolanda is excited for her free meal, however there is no way in hell that I’m leaving this cell room to eat and then get shanked. I have watched, ‘Orange is the New Black’ on cable TV and quite frankly I would rather go hungry than face a mob like those seasoned jail women. Besides, I have had to pee and poop for a few hours and now I will have the opportunity to do it in some semblance of privacy. I am doing a happy, (or have to pee) dance as my new friend exits for breakfast and I pray for her safe return. She is way braver than I.

We are but whirlpools in a river of ever-flowing water. We are not stuff that abides, but patterns that perpetuate themselves. A pattern is a message, and may be transmitted as a message. How else do we employ our radio than to transmit patterns of sound, and our television set than to transmit patterns of light? It is amusing as well as instructive to consider what would happen if we were to transmit the whole pattern of the human body, of the human brain with its memories and cross connections, so that a hypothetical receiving instrument could re-embody these messages in appropriate matter,

It’s up to us. No one is coming to help us. If we don’t make the effort, no one else will. It’s time for the twilight of the idols. It’s time for a new dawn, a new humanity, a new world order. It’s time for the dawn of the Gods.

If you never see yourself in the world, how are you supposed to think you can exist? Maybe most people see themselves everywhere. In every book they’re made to tear apart in English class, in every hit TV series or movie. Lucky them.

Mommy, how come Dona Duck don have no pants?” Will sat on the couch eating cookies. Bree looked up. Then she glanced at the Donald Duck cartoon on the TV. “He have top but he no have bottoms,” “Good point,” she said. And yet the duck always wore a towel after he showered. “Dat’s odd,” Will remarked. He leaned over his plate and began to split his cookies into two piles. “And where his pee pee go? He a boy right, mommy? But he don’ have no pee pee. How he go to bafroom?

Over the years, Raul remembered many events like if they were TV shows, especially at night, like when he and Alberto cruised around town. The open windows, the wide space of the desert, allowed room for his thoughts to emerge. Some memories played over and over again, like the re-runs he watched during the summer. And depending on the events, he didn’t mind having to sit through them. At least his memories weren’t interrupted with commercials. Click . . . Click . . . Click . . .

The habit of reading is absolutely critical today, particularly for Christians. As television turns our society into an increasingly image dominated culture, Christians must continue to be people of the Word. When we read, we cultivate a sustained attention span, an active imagination, a capacity for logical analysis and critical thinking, and a rich inner life. Each of these qualities, which have proven themselves the essential to a free people is under assault in a TV dominated culture.

One of the most powerful things you can do as a human being in our hyperconnected, 24/7 media world is say: “I don’t know.” Or, more provocatively: “I don’t care.” Most of society seems to have taken it as a commandment that one must know about every single current event, watch every episode of every critically acclaimed television series, follow the news religiously, and present themselves to others as an informed and worldly individual. But where is the evidence that this is actually necessary? Is the obligation enforced by the police? Or is it that you’re just afraid of seeming silly at a dinner party? Yes, you owe it to your country and your family to know generally about events that may directly affect them, but that’s about all. How much more time, energy, and pure brainpower would you have available if you drastically cut your media consumption? How much more rested and present would you feel if you were no longer excited and outraged by every scandal, breaking story, and potential crisis (many of which never come to pass anyway)?

I understand, intellectually, that the death of a parent is a natural, acceptable part of life. Nobody would call the death of a very sick eighty-year-old woman a tragedy. There was soft weeping at her funeral and red watery eyes. No wrenching sobs. Now I think that I should have let myself sob. I should have wailed and beaten my chest and thrown myself over her coffin. I read a poem. A pretty, touching poem I thought she would have liked. I should have used my own words. I should have said: No one will ever love me as fiercely as my mother did. I should have said: You all think you’re at the funeral of a sweet little old lady, but you’re at the funeral of a girl called Clara, who had long blond hair in a heavy thick plait down to her waist, who fell in love with a shy man who worked on the railways, and they spent years and years trying to have a baby, and when Clara finally got pregnant, they danced around the living room but very slowly, so as not to hurt the baby, and the first two years of her little girl’s life were the happiest of Clara’s life, except then her husband died, and she had to bring up the little girl on her own, before there was a single mother’s pension, before the words “single mother” even existed. I should have told them about how when I was at school, if the day became unexpectedly cold, Mum would turn up in the school yard with a jacket for me. I should have told them that she hated broccoli with such a passion she couldn’t even look at it, and that she was in love with the main character on the English television series Judge John Deed. I should have told them that she loved to read and she was a terrible cook, because she’d try to cook and read her latest library book at the same time, and the dinner always got burned and the library book always got food spatters on it, and then she’d spend ages trying to dab them away with the wet corner of a tea towel. I should have told them that my mum thought of Jack as her own grandchild, and how she made him a special racing car quilt he adored. I should have talked and talked and grabbed both sides of the lectern and said: She was not just a little old lady. She was Clara. She was my mother. She was wonderful.

People get preoccupied with the fiction of truth. The lives we lead need to be gold-plated nowadays. A series of varnished truths for the sake of how we appear on the outside. Strangers who view us through a screen, whether on TV or social media, think they know who we are. Nobody is interested in reality anymore. That's something they don't want to like or share or follow. I can understand that, but living a make-believe life can be dangerous. What we won't see can hurt us. In the future, I expect people will long for 15 minutes of privacy, rather than 15 minutes of fame.

The odd group of well-wishers slowly moved down the hallway as Moshe’s sobs cascaded up and down the walls, bouncing from one side to the other. The discourse on Doc Roberts was forgotten now as the group tromped forward, a ragtag assortment of travelers moving fifteen feet as if it were fifteen thousand miles, slow travelers all, arrivals from different lands, making a low trek through a country that claimed to be so high, a country that gave them so much yet demanded so much more. They moved slowly, like fusgeyers, wanderers seeking a home in Europe, or erú West African tribesmen herded off a ship on a Virginia shore to peer back across the Atlantic in the direction of their homeland one last time, moving toward a common destiny, all of them—Isaac, Nate, and the rest—into a future of American nothing. It was a future they couldn’t quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history boiled down to a series of ten-second TV commercials, empty holidays, and sports games filled with the patriotic fluff of red, white, and blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy. The collective history of this sad troupe moving down the hospital corridor would become tiny blots in an American future that would one day scramble their proud histories like eggs, scattering them among the population while feeding mental junk to the populace on devices that would become as common and small as the hot dog that the dying woman thought she smelled; for in death, Chona had smelled not a hot dog but the future, a future in which devices that fit in one’s pocket and went zip, zap, and zilch delivered a danger far more seductive and powerful than any hot dog, a device that children of the future would clamor for and become addicted to, a device that fed them their oppression disguised as free thought.

Over recent years I had increasingly lost faith in literature. I read and thought, this is something someone has made up. Perhaps it was because we were totally inundated with fiction and stories. It had got out of hand. Wherever you turned you saw fiction. All these millions of paperbacks, hardbacks, DVDs, and TV series, they were all about made-up people in a made-up, though realistic, world. And news in the press, TV news, and radio news had exactly the same format, documentaries had the same format, they were also stories, and it made no difference whether what they told had actually happened or not. It was a crisis, I felt it in every fiber of my body, something saturating was spreading through my consciousness like lard, not the least because the nucleus of all this fiction, whether true or not, was verisimilitude and the distance it held to reality was constant. In other words, it saw the same. This sameness, which was our world, was being mass-produced. The uniqueness, which they all talked about, was thereby invalidated, it didn’t exist, it was a lie. Living like this, with the certainty that everything could equally well have been different, drove you to despair.

The name itself is trouble. “Slough” means, literally, muddy field. A snake sloughs, or sheds, its dead skin. John Bunyan wrote of the “slough of despond” in Pilgrim’s Progress. In the 1930s, John Betjeman wrote this poem about Slough: Come friendly bombs and fall on Slough! It isn’t fit for humans now, There isn’t grass to graze a cow, Swarm over, Death! Then he got nasty. To this day, the residents of Slough rankle when anyone mentions the poem. The town’s reputation as a showpiece of quiet desperation was cemented when the producers of the TV series The Office decided to set the show in Slough.

Thankfully, the give : ask ratio has been well-studied. Television averages 13 minutes of advertising per 60 minutes of air time. That means 47 min are dedicated to ‘giving,’ and 13 min are dedicated to ‘asking’. That’s roughly a 3.5:1 ratio of giving to asking. On Facebook, it’s roughly 4 content posts for every 1 ad on the newsfeed.

The casting of the brash United States Army Air Force officer Colonel Robert E. Hogan and the pompous German Luftwaffe officer Colonel Wilhelm Klink was inspired. For this series—a comedy with the serious backdrop of war—to succeed, the lead players had to be the perfect fit. The dynamic portrayal of this military odd couple had to be articulate, accurate, and precise. For the show to work, for the concept to be accepted, for one of the most outlandish premises in television history to be believed, the actors signed to play the two leading characters not only had to bring these extreme individuals to life with broad, fictional strokes, they had to make them real in the details.

Suppose that humanity flourishes thanks to the enslaved-god AI. Would this be ethical? If the AI has subjective conscious experiences, then would it feel that “life is suffering,” as Buddha put it, and it was doomed to a frustrating eternity of obeying the whims of inferior intellects? After all, the AI “boxing” we explored in the previous chapter could also be called “imprisonment in solitary confinement.” Nick Bostrom terms it mind crime to make a conscious AI suffer.4 The “White Christmas” episode of the Black Mirror TV series gives a great example. Indeed, the TV series Westworld features humans torturing and murdering AIs without moral qualms even when they inhabit human-like bodies.

Hollywood High School was flipping from the storied institute of legend to the high school of the barrio. Or, as CNN put it in a series of rave reviews for the “predominantly Latino” school: “Hollywood High Now a Diverse High School.” Hollywood High alumni include Cher, Carol Burnett, Lon Chaney, James Garner, Linda Evans, John Huston, Judy Garland, Ricky Nelson, Sarah Jessica Parker, John Ritter, Mickey Rooney, Lana Turner, and Fay Wray, among many others. By the mid-2000s, Hollywood High was more than 70 percent Hispanic,5 and students were less likely to be getting publicity shots than mug shots. Today the school is mostly famous for its stabbings, shootings, child molestations, thefts, and graffiti.6 Around 1990, a California TV producer trying to enroll a German exchange student in a Los Angeles high school asked the principal at Fairfax High if a foreign exchange student would be better served by Fairfax or Hollywood High. Without looking up, the principal replied, “Well, 90% of my students can speak English, and we haven’t had a shooting here in 5 years.

LOST is often lauded as one of the best fantasy dramas in television history, as well as one of the most cryptic and - occasionally – maddening. But confirmation of just how important it is came with an almost unbelievable communiqué from the White House last week. President Obama’s office reassured Lost fans that the commander in chief wouldn’t move his yearly state of the union address from late January to a date that would coincide with the premiere episode of the show’s sixth and final season. That’s right. Obama might have had vital information to impart upon the American people about health care, the war in Afghanistan, the financial crisis – things that, you know, might affect real lives. But the most important thing was that his address didn’t clash with a series in which a polar bear appears on a tropical island. After extensive lobbying by the ABC network, the White House surrendered. Obama’s press secretary promised: “I don’t foresee a scenario in which millions of people who hope to finally get some conclusion with Lost are pre-empted by the president.

Watching television in our cells, we became glued to news of the Great March of Return in Gaza, a series of demonstrations that had begun while we were attending our classes. Beginning on March 30, 2018, which Palestinians commemorate as Land Day, the besieged people of Gaza had protested weekly along the fence separating them from Israel. They were demanding an end to Israel’s crippling air, land, and sea blockade, which had effectively trapped them for over a decade inside the world’s largest open-air prison. And they were demanding the right to return to their homes, which Zionist militias had forcibly removed them from to clear the way for Israel’s creation in 1948. Seventy percent of Gaza’s population are, in fact, refugees.

No one shines more luridly on this faux-real stage than a woman. Whether it’s a modeling competition, a chance to compete for love, a weight-loss challenge, or a look into the lives of an aging magazine publisher’s harem, women are often the brightly polished trophies in the display case of reality television. The genre has developed a very successful formula for reducing women to an awkward series of stereotypes about low self-esteem, marital desperation, the inability to develop meaningful relationships with other women, and an obsession with an almost pornographic standard of beauty. When it comes to reality television, women, more often than not, work very hard at performing the part of woman, though their scripts are shamefully, shamefully warped.

We are offered glimpses, even deep searches, into the questions that haunt people the most. We experience a level of intimacy with our clients that few will ever know. We are exposed to levels of drama and emotional arousal that are at once terrifying and captivating. We get to play detective and help solve mysteries that have plagued people throughout their lives. We hear stories so amazing that they make television shows, novels, and movies seem tedious and predictable by comparison. We become companions to people who are on the verge of making significant changes— and we are transformed as well. We go to sleep at night knowing that, in some way, we have made a difference in people’s lives. There is almost a spiritual transcendence associated with much of the work we do.

How many times have you bailed on yourself to watch TV? How many times have you given up before you’ve even started? How many times have you made real progress, only to face a setback and then give up completely? How many times have your family or friends or coworkers watched you quit? How many times have your children watched you give up on yourself over and over and over? This is not okay.

New Rule: Americans must realize what makes NFL football so great: socialism. That's right, the NFL takes money from the rich teams and gives it to the poorer one...just like President Obama wants to do with his secret army of ACORN volunteers. Green Bay, Wisconsin, has a population of one hundred thousand. Yet this sleepy little town on the banks of the Fuck-if-I-know River has just as much of a chance of making it to the Super Bowl as the New York Jets--who next year need to just shut the hell up and play. Now, me personally, I haven't watched a Super Bowl since 2004, when Janet Jackson's nipple popped out during halftime. and that split-second glimpse of an unrestrained black titty burned by eyes and offended me as a Christian. But I get it--who doesn't love the spectacle of juiced-up millionaires giving one another brain damage on a giant flatscreen TV with a picture so real it feels like Ben Roethlisberger is in your living room, grabbing your sister? It's no surprise that some one hundred million Americans will watch the Super Bowl--that's forty million more than go to church on Christmas--suck on that, Jesus! It's also eighty-five million more than watched the last game of the World Series, and in that is an economic lesson for America. Because football is built on an economic model of fairness and opportunity, and baseball is built on a model where the rich almost always win and the poor usually have no chance. The World Series is like The Real Housewives of Beverly Hills. You have to be a rich bitch just to play. The Super Bowl is like Tila Tequila. Anyone can get in. Or to put it another way, football is more like the Democratic philosophy. Democrats don't want to eliminate capitalism or competition, but they'd like it if some kids didn't have to go to a crummy school in a rotten neighborhood while others get to go to a great school and their dad gets them into Harvard. Because when that happens, "achieving the American dream" is easy for some and just a fantasy for others. That's why the NFL literally shares the wealth--TV is their biggest source of revenue, and they put all of it in a big commie pot and split it thirty-two ways. Because they don't want anyone to fall too far behind. That's why the team that wins the Super Bowl picks last in the next draft. Or what the Republicans would call "punishing success." Baseball, on the other hand, is exactly like the Republicans, and I don't just mean it's incredibly boring. I mean their economic theory is every man for himself. The small-market Pittsburgh Steelers go to the Super Bowl more than anybody--but the Pittsburgh Pirates? Levi Johnston has sperm that will not grow and live long enough to see the Pirates in a World Series. Their payroll is $40 million; the Yankees' is $206 million. The Pirates have about as much chance as getting in the playoffs as a poor black teenager from Newark has of becoming the CEO of Halliburton. So you kind of have to laugh--the same angry white males who hate Obama because he's "redistributing wealth" just love football, a sport that succeeds economically because it does just that. To them, the NFL is as American as hot dogs, Chevrolet, apple pie, and a second, giant helping of apple pie.

The Left Behind series takes the position that what will cause the end of civilization is a worldwide conspiracy of secret societies and liberal groups whose purpose is to destroy “every vestige of Christianity.” Coconspirators include the ACLU, the NAACP, Planned Parenthood, the National Organization for Women, major television networks, magazines, and newspapers, the U.S. State Department, the Carnegie Foundation, the Rockefeller Foundation, the Ford Foundation, the United Nations, Harvard, Yale, two thousand other colleges and universities, and, last but not least, the “left wing of the Democratic Party.” If these united organizations and societies have their way, according to LaHaye and Jenkins, they will “turn America into an amoral, humanist country, ripe for merger into a one-world socialist state.

Evangelion is not so much an original as itself already a copy of popular anime elements, “an aggregate of information without a narrative” or a “grand non-narrative” (O38). This results in part from industrial changes. By the ’90s, any product can spawn all the others: a series of stickers or a company logo could bloom into a series of manga, TV or film anime, games and more. By now “the narrative is only a surplus item

Everywhere I went during those days, the streets were filled with talk of the Mets. It was one of those rare moments of unanimity when everyone was thinking about the same thing. People walked around with transistor radios tuned to the game, large crowds gathered in front of appliance store windows to watch the action on silent televisions, sudden cheers would erupt from corner bars, from apartment windows, from invisible rooftops. First it was Atlanta in the playoffs, and then it was Baltimore in the Series. Out of eight October games, the Mets lost only once, and when the adventure was over, New York held another ticker-tape parade, this one even surpassing the extravaganza that had been thrown for the astronauts two months earlier. More than five hundred tons of paper fell into the streets that day, a record that has not been match sense.

But the world of the eye is causing us to live increasingly in a perpetual present, flattened by speed and simultaneity. Visual images have become commodities, as Harvey points out: ‘a rush of images from different spaces almost simultaneously, collapsing the world’s spaces into a series of images on a television screen […] the image of places and spaces becomes as open to production and ephemeral use as any other [commodity].

The alienated audiences was one that was aware of the performance as an arbitrary construction of the real, of the difference between players and characters, and was therefore aware that the people and incidents on stage were there to perform social an ideological actions that could only be understood in terms of their relationship to the dominant ideology. Alienation produced a thinking, interrogative socially aware audience.

Moreover, for women in Egypt and its Arab neighbors, having a husband is key: a woman’s social value is still tied to her status as a wife and mother, no matter how accomplished or professionally successful she might be. In recent years, the phenomenon of ‘unusa—spinsterhood—has become the stuff of Facebook groups, blogs, best-selling books, and TV series. As they say in Egypt, “The shade of a man is better than the shade of a wall.

Thus the “brainy” economy designed to produce this happiness is a fantastic vicious circle which must either manufacture more and more pleasures or collapse—providing a constant titillation of the ears, eyes, and nerve ends with incessant streams of almost inescapable noise and visual distractions. The perfect “subject” for the aims of this economy is the person who continuously itches his ears with the radio, preferably using the portable kind which can go with him at all hours and in all places. His eyes flit without rest from television screen, to newspaper, to magazine, keeping him in a sort of orgasm-with-out-release through a series of teasing glimpses of shiny automobiles, shiny female bodies, and other sensuous surfaces, interspersed with such restorers of sensitivity—shock treatments—as “human interest” shots of criminals, mangled bodies, wrecked airplanes, prize fights, and burning buildings.

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

Over recent years I had increasingly lost faith in literature. I read and thought this is something someone has made up. Perhaps it was because we were totally inundated with fiction and stories... All these millions of paperbacks, hardbacks, DVDs and TV series, they were all about made-up people in a made-up, though realistic, world. And news in the press, TV news and radio news had exactly the same format, documentaries had the same format, they were also stories, and it made no difference whether what they told had actually happened or not... Fictional writing has no value, documentary narrative has no value. The only genres I saw value in, which still conferred meaning, were diaries and essays, the types of literature that did not deal with narrative, that were not about anything, but just consisted of a voice, the voice of your own personality, a life, a face, a gaze you could meet. What is a work of art if not the gaze of another person?

Escape from Mr. Lemoncello’s Library The Island of Dr. Libris Welcome to Wonderland: Home Sweet Motel Welcome to Wonderland: Beach Party Surf Monkey The Haunted Mystery series COAUTHORED WITH JAMES PATTERSON Daniel X: Armageddon Daniel X: Lights Out House of Robots House of Robots: Robots Go Wild! I Funny I Even Funnier I Totally Funniest I Funny TV Jacky Ha-Ha Treasure Hunters Treasure Hunters: Danger Down the Nile Treasure Hunters: Secret of the Forbidden City Treasure Hunters: Peril at the Top of the World Word of Mouse

The last year had been a series of wrong turns, bad choices, abandoned projects. There was the all-girl band in which she had played bass, variously called Throat, Slaughterhouse Six and Bad Biscuit, which had been unable to decide on a name, let alone a musical direction. There was the alternative club night that no-one had gone to, the abandoned first novel, the abandoned second novel, several miserable summer jobs selling cashmere and tartan to tourists. At her very, very lowest ebb she had taken a course in Circus Skills until it transpired that she had none. Trapeze was not the solution. The much-advertised Second Summer of Love had been one of melancholy and lost momentum. Even her beloved Edinburgh had started to bore and depress her. Living in a her University town felt like staying on at a party that everyone else had left, and so in October she had given up the flat in Rankellior Street and moved back to her parents for a long, fraught, wet winter of recriminations and slammed doors and afternoon TV in a house that now seemed impossibly small.

Milch had a bigger cast, a bigger set (on the Melody Ranch studio, where Gene Autry had filmed very different Westerns decades earlier), and more creative freedom than he’d ever had before. There were no advertisers to answer to, and HBO was far more hands-off than the executives at NBC or ABC had been. And as a result, there was even less pretense of planning than there had been on NYPD Blue, and more improvisation. There were scripts for the first four episodes of Season 1, and after that, most of the series was written on the fly, with the cast and crew often not learning what they would be doing until the day before (if that). As Jody Worth recalls, the Deadwood writers would gather each morning for a long conversation: “We would talk about where we were going in the episode, and a lot of talk that had nothing to do with anything, a lot of Professor Milch talk, all over the map talk, which I enjoyed.” Out of those daily conversations came the decisions on what scenes to write that day, to be filmed the day after. There was no system to it, no order, and the actors would be given scenes completely out of context from the rest of the episode.

We live in a world that suffers from “status quo bias”. This means that change is resisted just because it’s change. People want to be safe and secure in familiar surroundings, with familiar people and familiar routines. Average people simply don’t like change. They don’t want it. Boredom is supposed to spur people on to change things, to change their life. However, nowadays, we have endless diversion tactics, endless ways of staving off boredom with the TV, movies, music, video games, online gambling and porn, and so on. All this means that it’s harder than ever to bring about real change.

Where is the freedom in all this? Nowhere! There is no choice here, no final decision. All decisions concerning networks, screens, information or communication are serial in character, partial, fragmentary, fractal. A mere succession of partial decisions, a microscopic series of partial sequences and objectives, constitute as much the photographer's way of proceeding as that of Telecomputer Man in general, or even that called for by our own most trivial television viewing. All such behaviour is structured in quantum fashion, composed of haphazard sequences of discrete decisions. The fascination derives from the pull of the black box, the appeal of an uncertainty which puts paid to our freedom. Am I a man or a machine? This anthropological question no longer has an answer. We are thus in some sense witness to the end of anthropology, now being conjured away by the most recent machines and technologies. The uncertainty here is born of the perfecting of machine networks, just as sexual uncertainty (Am I a man or a woman? What has the difference between the sexes become?) is born of increasingly sophisticated manipulation of the unconscious and of the body, and just as science's uncertainty about the status of its object is born of the sophistication of analysis in the microsciences.

Every night, millions of Americans spend their free hours watching television rather than engaging in any form of social interaction. What are they watching? In recent years we have seen reality television become the most popular form of television programming. To discover the nature of our current “reality,” we might consider examples such as Survivor, the series that helped spawn the reality TV revolution. Every week tens of millions of viewers watched as a group of ordinary people stranded in some isolated place struggled to meet various challenges and endure harsh conditions. Ah, one might think, here we will see people working cooperatively, like our ancient ancestors, working cooperatively in order to “win”! But the “reality” was very different. The conditions of the game were arranged so that, yes, they had to work cooperatively, but the alliances by nature were only temporary and conditional, as the contestants plotted and schemed against one another to win the game and walk off with the Grand Prize: a million dollars! The objective was to banish contestants one by one from the deserted island through a group vote, eliminating every other contestant until only a lone individual remained—the “sole survivor.” The end game was the ultimate American fantasy in our Age of Individualism: to be left completely alone, sitting on a mountain of cash! 　　While Survivor was an overt example of our individualistic orientation, it certainly was not unique in its glorification of rugged individualists on American television. Even commercial breaks provide equally compelling examples, with advertisers such as Burger King, proclaiming, HAVE IT YOUR WAY! The message? America, the land where not only every man and every woman is an individual but also where every hamburger is an individual! 　　Human beings do not live in a vacuum; we live in a society. Thus it is important to look at the values promoted and celebrated in a given society and measure what effect this conditioning has on our sense of independence or of interdependence

How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

She’d ask if I had a problem with her, or if I sensed awkwardness between us. She’d tell me how important I was to Joe and how special he thought I was. She would give me a series of hugs and repeatedly tell me that she hoped we’d be friends. We’d met at least five times, and she and Joe had been going out for over a year, yet she still believed there were declarations we had to make to each other in quiet corners of social situations. I had thought about why she did this a lot and, rather generously, had come to the conclusion that Lucy was a woman who’d watched too many structured reality TV shows. She evidently felt a party wasn’t a party until two women in peplum dresses clutched hands while one says: “After you slept with Ryan, I stopped liking you as a friend, but I will always love you like a sister.

I can see myself acquiring bad habits from living here. My little house is equipped with a TV, and I've watched a lot this week. At home I seldom switch on before 'The Nine O'Clock News', and usually it's later than that, for an arts documentary or a film. This week I've been watching TV while eating my solitary dinner, and leaving it on afterwards because when I switched it off the silence seemed so deathly, and I can't stand listening to music on my tinny transistor radio. I've seen all kinds of programmes I never normally watch, soaps and sitcoms and police series, consuming them steadily and indiscriminately like a child eating its way through a bag of mixed sweets. For simple mindless distraction you can't beat early evening television. No scene lasts more than thirty seconds, and the stories jump from character so fast that you hardly notice how cardboard-thin they are.

The job was a sign of his failings. In his youth he’d been a devoted scholar of foreign languages, the owner of an impressive collection of dictionaries. He had dreamed of being an interpreter for diplomats and dignitaries, resolving conflicts between people and nations, settling disputes of which he alone could understand both sides. He was a self-educated man. In a series of notebooks, in the evenings before his parents settled his marriage, he had listed the common etymologies of words, and at one point in his life he was confident that he could converse, if given the opportunity, in English, French, Russian, Portuguese, and Italian, not to mention Hindi, Bengali, Oriya, and Gujarati. Now only a handful of European phrases remained in his memory, scattered words for things like saucers and chairs. English was the only non-Indian language he spoke fluently anymore. Mr. Kapasi knew it was not a remarkable talent. Sometimes he feared that his children knew better English than he did, just from watching television. Still, it came in handy for the tours.

Images of people in the Middle East dressing like Westerners, spending like Westerners, that is what the voters watching TV here at home want to see. That is a visible sign that we really are winning the war of ideas—the struggle between consumption and economic growth, and religious tradition and economic stagnation. I thought, why are those children coming onto the streets more and more often? It’s not anything we have done, is it? It’s not any speeches we have made, or countries we have invaded, or new constitutions we have written, or sweets we have handed out to children, or football matches between soldiers and the locals. It’s because they, too, watch TV. They watch TV and see how we live here in the West. They see children their own age driving sports cars. They see teenagers like them, instead of living in monastic frustration until someone arranges their marriages, going out with lots of different girls, or boys. They see them in bed with lots of different girls and boys. They watch them in noisy bars, bottles of lager upended over their mouths, getting happy, enjoying the privilege of getting drunk. They watch them roaring out support or abuse at football matches. They see them getting on and off planes, flying from here to there without restriction and without fear, going on endless holidays, shopping, lying in the sun. Especially, they see them shopping: buying clothes and PlayStations, buying iPods, video phones, laptops, watches, digital cameras, shoes, trainers, baseball caps. Spending money, of which there is always an unlimited supply, in bars and restaurants, hotels and cinemas. These children of the West are always spending. They are always restless, happy and with unlimited access to cash. I realised, with a flash of insight, that this was what was bringing these Middle Eastern children out on the streets. I realised that they just wanted to be like us. Those children don’t want to have to go to the mosque five times a day when they could be hanging out with their friends by a bus shelter, by a phone booth or in a bar. They don’t want their families to tell them who they can and can’t marry. They might very well not want to marry at all and just have a series of partners. I mean, that’s what a lot of people do. It is no secret, after that serial in the Daily Mail, that that is what I do. I don’t necessarily need the commitment. Why should they not have the same choices as me? They want the freedom to fly off for their holidays on easy Jet. I know some will say that what a lot of them want is just one square meal a day or the chance of a drink of clean water, but on the whole the poor aren’t the ones on the street and would not be my target audience. They aren’t going to change anything, otherwise why are they so poor? The ones who come out on the streets are the ones who have TVs. They’ve seen how we live, and they want to spend.

A bird does not need to take lessons in nest-building. Nor does it need to take courses in navigation. Yet birds do navigate thousands of miles, sometimes over open sea. They have no newspapers or TV to give them weather reports, no books written by explorer or pioneer birds to map out for them the warm areas of the earth. Nonetheless the bird “knows” when cold weather is imminent and the exact location of a warm climate even though it may be thousands of miles away. In attempting to explain such things, we usually say that animals have certain instincts that guide them. Analyze all such instincts and you will find they assist the animal to successfully cope with its environment. In short, animals have a Success Instinct. We often overlook the fact that man, too, has a Success Instinct, much more marvelous and much more complex than that of any animal. Our Creator did not shortchange man. On the other hand, man was especially blessed in this regard. Animals cannot select their goals. Their goals (self-preservation and procreation) are preset, so to speak. And their success mechanism is limited to these built-in goal-images, which we call “instincts.” Man, on the other hand, has something animals don’t: Creative Imagination. Thus man of all creatures is more than a creature, he is also a creator. With his imagination he can formulate a variety of goals. Man alone can direct his Success Mechanism by the use of imagination, or imaging ability.

habit Phil Ivey is one of those guys who can easily admit when he could have done better. Ivey is one of the world’s best poker players, a player almost universally admired by other professional poker players for his exceptional skill and confidence in his game. Starting in his early twenties, he built a reputation as a top cash-game player, a top tournament player, a top heads-up player, a top mixed-game player—a top player in every form and format of poker. In a profession where, as I’ve explained, most people are awash in self-serving bias, Phil Ivey is an exception. In 2004, my brother provided televised final-table commentary for a tournament in which Phil Ivey smoked a star-studded final table. After his win, the two of them went to a restaurant for dinner, during which Ivey deconstructed every potential playing error he thought he might have made on the way to victory, asking my brother’s opinion about each strategic decision. A more run-of-the-mill player might have spent the time talking about how great they played, relishing the victory. Not Ivey. For him, the opportunity to learn from his mistakes was much more important than treating that dinner as a self-satisfying celebration. He earned a half-million dollars and won a lengthy poker tournament over world-class competition, but all he wanted to do was discuss with a fellow pro where he might have made better decisions. I heard an identical story secondhand about Ivey at another otherwise celebratory dinner following one of his now ten World Series of Poker victories. Again, from what I understand, he spent the evening discussing in intricate detail with some other pros the points in hands where he could have made better decisions. Phil Ivey, clearly, has different habits than most poker players—and most people in any endeavor—in how he fields his outcomes.

(Notably, temporary loss of blood or oxygen or excess carbon dioxide in the blood can also cause a disruption in the temporoparietal region and induce out-of-body experiences, which may explain the prevalence of these sensations during accidents, emergencies, heart attacks, etc.) NEAR-DEATH EXPERIENCES But perhaps the most dramatic category of out-of-body experiences are the near-death stories of individuals who have been declared dead but then mysteriously regained consciousness. In fact, 6 to 12 percent of survivors of cardiac arrest report having near-death experiences. It’s as though they have cheated death itself. When interviewed, they have dramatic tales of the same experience: they left their body and drifted toward a bright light at the end of a long tunnel. The media have seized upon this, with numerous best sellers and TV documentaries devoted to these theatrical stories. Many bizarre theories have been proposed to explain near-death experiences. In a poll of two thousand people, fully 42 percent believed that near-death experiences were proof of contact with the spiritual world that lies beyond death. (Some believe that the body releases endorphins—natural narcotics—before death. This may explain the euphoria that people feel, but not the tunnel and the bright lights.) Carl Sagan even speculated that near-death experiences were a reliving of the trauma of birth. The fact that these individuals recount very similar experiences doesn’t necessarily corroborate their glimpses into the afterlife; in fact, it seems to indicate that there is some deep neurological event happening. Neurologists have looked into this phenomenon seriously and suspect that the key may be the decrease of blood flow to the brain that often accompanies near-death cases, and which also occurs in fainting. Dr. Thomas Lempert, a neurologist at the Castle Park Clinic in Berlin, conducted a series of experiments on forty-two healthy individuals, causing them to faint under controlled laboratory conditions. Sixty percent of them had visual hallucinations (e.g., bright lights and colored patches). Forty-seven percent of them felt that they were entering another world. Twenty percent claimed to have encountered a supernatural being. Seventeen percent saw a bright light. Eight percent saw a tunnel. So fainting can mimic all the sensations people have in near-death experiences

Hypnotherapy You may have seen scenes on television in which hypnotists make people act like chickens or take off their clothes. In reality, hypnotherapy is nothing like that. You actually might experience a hypnotic state many times every week, or possibly every day. It is essentially no different than being engrossed in a book or movie, or being in the meditative state you may reach while exercising. During hypnosis you are highly focused and are not distracted by random thoughts. At the same time, you are aware of outside events, such as the telephone ringing or a door slamming. When you see a hypnotherapist, he or she is simply a guide helping you reach a deeply relaxed state. The therapist may begin by having you picture a pleasant and safe environment. Or, he or she might ask you to focus on an object in your line of vision until your eyes become heavy. Once you are in the hypnotized state, it is easier to focus on your anxiety. You can talk about past experiences, can work on your self-esteem, and can prepare for upcoming social events. You won’t have distracting thoughts or be monitoring everything you say. You may remember events you had forgotten, or may come up with new ways to help yourself cope with the symptoms of anxiety. Adriana was really nervous when her therapist suggested they use hypnosis to work on her fear of meeting new people, but she decided to try it. First, the therapist asked her to visualize a quiet place where she felt completely relaxed and comfortable. When Adriana’s body felt heavy and warm, the therapist asked her to describe how she feels when she speaks with strangers. Adriana discussed how she feels embarrassed and worried, how her face gets red and hot, and how her mind is distracted by negative thoughts. Next, the therapist asked Adriana to visualize being introduced to a stranger. She imagined herself feeling calm and relaxed and looking the person in the eyes. She rehearsed what she would say about herself and said it over and over, sounding more confident each time. The therapist then asked her to think of three things that could help her in those situations. Adriana decided to try relaxing, making sure she is breathing properly, and focusing on the other person instead of on her negative thoughts. Later that week, she dined with a friend and his cousin, whom she had never met before. She was able to take deep breaths and remain relaxed. Once initial introductions went well, Adriana felt more confident and was able to maintain conversations for the entire evening.

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.