Television Themed Quotes

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My only experience with dances was what I had seen on TV, but it really wasn’t that far off. The theme appeared to be “Crepe Paper in the Gymnasium,” and they had mastered it perfectly.
Amanda Hocking (Switched (Trylle, #1))
Its hard to stay up. Its been a long long day And you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway. Its ok. You can always sleep through work tomorrow. Ok? Hey, Hey, Tomorrow's just your future yesterday. Tell the clock on the wall, "Forget the wake up call." Cause the night's not nearly through. Wipe the sleep from your eyes. Give yourself a surprise. Let your worries wait another day. And if you stay too late at the bar, At least you made it out this far. So make up your mind and say, "Let's do it anyway!" Its Ok You can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live without And I regret to say, the morning light is hours away. The world can be such a fright, But it belongs to us tonight. What's the point of going to bed? You look so lovely when your eyes are red. Tomorrow's just your future yesterday.
Craig Ferguson
Generally speaking, though, Americans have an inability to relax into sheer pleasure. Ours is an entertainment-seeking nation, but not necessarily a pleasure-seeking one. Americans spend billions to keep themselves amused with everything from porn to theme parks to wars, but that's not exactly the same thing as quiet enjoyment. Americans work harder and longer and more stressful hours than anyone in the world today. But...we seem to like it. Alarming statistics back this observation up, showing that many Americans feel more happy and fulfilled in their offices than they do in their own homes. Of course, we all inevitably work too hard, then we get burned out and have to spend the whole weekend in our pajamas, eating cereal straight out of the box and staring at the TV in a mild coma (which is the opposite of working, yes, but not exactly the same thing as pleasure). Americans don't really know how to do NOTHING. This is the cause of that great sad American stereotype-the overstressed executive who goes on vacation but who cannot relax.
Elizabeth Gilbert (Eat, Pray, Love)
Ka was the essence of teh person: spirit, intelligence, feelings and passions, humor, grudges, annoying television theme songs, all the things that make a person a person and not a nematode.
Mary Roach (Stiff: The Curious Lives of Human Cadavers)
The triviality of American popular culture, its emptiness and gossip, accelerates this destruction of critical thought. It expands the void, the mindlessness that makes the magic, mythology, and irrationality of the Christian Right palatable. Television, the movement’s primary medium, allows viewers to preoccupy themselves with context-free information. The homogenized empty chatter on the airwaves, the banal amusement and clichés, the bizarre doublespeak endlessly repeated on cable news channels and the huge spectacles in sports stadiums have replaced America’s political, social and moral life, indeed replaced community itself. Television lends itself perfectly to this world of signs and wonders, to the narcissism of national and religious self-exaltation. Television discourages real communication. Its rapid frames and movements, its constant use of emotional images, its sudden shifts from one theme to an unrelated theme, banish logic and reason with dizzying perplexity. It, too, makes us feel good. It, too, promises to protect and serve us. It, too, promises to life us up and thrill us. The televangelists have built their movement on these commercial precepts. The totalitarian creed of the Religious Right has found in television the perfect medium. Its leaders know how television can be used to seduce and encourage us to walk away from dwindling, less exciting collectives that protect and nurture us. They have mastered television’s imperceptible, slowly induced hypnosis. And they understand the enticement of credo quia absurdum—I believe because it is absurb.
Chris Hedges (American Fascists: The Christian Right and the War on America)
It seems that every movie is a remake of something that was better when it was first released in a foreign language, as a 1960s TV show, or even as a comic book. Now you've got theme park rides as the source material of movies. The only things left are breakfast cereal mascots. In our lifetime, we will see Johnny Depp playing Captain Crunch. -- Co.Create Online, 2-14-12
Alan Moore
But where will this mania for entertainment end? What will people do when they get tired of television? When they get tired of movies? We already know the answer—they go into participatory activities: sports, theme parks, amusement rides, roller coasters. Structured fun, planned thrills. And what will they do when they tire of theme parks and planned thrills? Sooner or later, the artifice becomes too noticeable. They begin to realize that an amusement park is really a kind of jail, in which you pay to be an inmate. ‘This artifice will drive them to seek authenticity. Authenticity will be the buzzword of the twenty-first century. And what is authentic? Anything that is not devised and structured to make a profit. Anything that is not controlled by corporations. Anything that exists for its own sake and assumes its own shape. But of course, nothing in the modern world is allowed to assume its own shape. The modern world is the corporate equivalent of a formal garden, where everything is planted and arranged for effect. Where nothing is untouched, where nothing is authentic.
Michael Crichton (Timeline)
There was no Disney World then, just rows of orange trees. Millions of them. Stretching for miles And somewhere near the middle was the Citrus Tower, which the tourists climbed to see even more orange trees. Every month an eighty-year-old couple became lost in the groves, driving up and down identical rows for days until they were spotted by helicopter or another tourist on top of the Citrus Tower. They had lived on nothing but oranges and come out of the trees drilled on vitamin C and checked into the honeymoon suite at the nearest bed-and-breakfast. "The Miami Seaquarium put in a monorail and rockets started going off at Cape Canaveral, making us feel like we were on the frontier of the future. Disney bought up everything north of Lake Okeechobee, preparing to shove the future down our throats sideways. "Things evolved rapidly! Missile silos in Cuba. Bales on the beach. Alligators are almost extinct and then they aren't. Juntas hanging shingles in Boca Raton. Richard Nixon and Bebe Rebozo skinny-dipping off Key Biscayne. We atone for atrocities against the INdians by playing Bingo. Shark fetuses in formaldehyde jars, roadside gecko farms, tourists waddling around waffle houses like flocks of flightless birds. And before we know it, we have The New Florida, underplanned, overbuilt and ripe for a killer hurricane that'll knock that giant geodesic dome at Epcot down the trunpike like a golf ball, a solid one-wood by Buckminster Fuller. "I am the native and this is my home. Faded pastels, and Spanish tiles constantly slipping off roofs, shattering on the sidewalk. Dogs with mange and skateboard punks with mange roaming through yards, knocking over garbage cans. Lunatics wandering the streets at night, talking about spaceships. Bail bondsmen wake me up at three A.M. looking for the last tenant. Next door, a mail-order bride is clubbed by a smelly ma in a mechanic's shirt. Cats violently mate under my windows and rats break-dance in the drop ceiling. And I'm lying in bed with a broken air conditioner, sweating and sipping lemonade through a straw. And I'm thinking, geez, this used to be a great state. "You wanna come to Florida? You get a discount on theme-park tickets and find out you just bough a time share. Or maybe you end up at Cape Canaveral, sitting in a field for a week as a space shuttle launch is canceled six times. And suddenly vacation is over, you have to catch a plane, and you see the shuttle take off on TV at the airport. But you keep coming back, year after year, and one day you find you're eighty years old driving through an orange grove.
Tim Dorsey (Florida Roadkill (Serge Storms, #1))
The best book ever written about cops is Homicide: A Year on the Killing Streets by former Baltimore Sun crime reporter David Simon. The best TV show about cops is The Wire, created by David Simon. You may start to see a theme here.   16
Adam Plantinga (400 Things Cops Know: Street-Smart Lessons from a Veteran Patrolman)
Thinking back, I don’t know how anyone else who grew up when I did didn’t become obsessed with true crime. The ’80s practically forced it down our throats in the name of TV ratings. There isn’t one person my age who doesn’t still get the chills when they hear the gravelly, soothing voice of Robert Stack or hear the creepy theme song from Unsolved Mysteries.
Karen Kilgariff (Stay Sexy & Don't Get Murdered: The Definitive How-To Guide)
Unlike cinema and theatre, in which audience members passively watch the action on the screen or stage, and unlike the narratives of television and books, which are static, the theme park uses the immersion of the individual inside an unfolding and evolving drama as the basis of its unique form.
Scott A. Lukas (Theme Park (Objekt))
The clouds in the movies have always seemed more real to me than those on TV. There would be no clouds on Modern Family, that was certain, and I was not sure I could work in a world without clouds.
Andrew Durbin (Mature Themes)
The advice of etiquette experts on dealing with unwanted invitations, or overly demanding requests for favours, has always been the same: just say no. That may have been a useless mantra in the war on drugs, but in the war on relatives who want to stay for a fortnight, or colleagues trying to get you to do their work for them, the manners guru Emily Post’s formulation – ‘I’m afraid that won’t be possible’ – remains the gold standard. Excuses merely invite negotiation. The comic retort has its place (Peter Cook: ‘Oh dear, I find I’m watching television that night’), and I’m fond of the tautological non-explanation (‘I can’t, because I’m unable to’). But these are variations on a theme. The best way to say no is to say no. Then shut up.
Oliver Burkeman (Help!: How to Be Slightly Happier, Slightly More Successful and Get a Bit More Done)
An indigenous group native to the vast jungles of Borneo, the Iban considered the Bejalai central to their culture. The general idea is you go on an adventure, and learn something about the world. When all is said and done, hopefully you’re better for what you’ve seen, and you share the knowledge you’ve acquired with your home village. The Iban then commemorate the experience with a hand-tapped tattoo, à la “travel leaves marks.” It was literally a perfect theme for an episode of TV about travel.
Tom Vitale (In the Weeds: Around the World and Behind the Scenes with Anthony Bourdain)
In hotel rooms, I watched Russian television toy with the traumatic American history of race, suggesting that Barack Obama had been born in Africa. It struck me as odd that the American entertainer Donald Trump picked up the theme not long thereafter.
Timothy Snyder (The Road to Unfreedom: Russia, Europe, America)
After Tony [Judt]'s death, in August 2010, I toured to discuss the book we had written together, which he had entitle 'Thinking the Twentieth Century.' I realized as I traveled around the United States that its subject had been forgotten all too well. In hotel rooms, I watched Russian television toy with the traumatic American history of race, suggesting that Barack Obama had been born in Africa. It struck me as odd that the American entertainer Donald Trump picked up the theme not long thereafter.
Timothy Snyder (The Road to Unfreedom: Russia, Europe, America)
This story has been in my heart for a long time. These are human stories that hopefully shift the paradigm about how we think about power, authority and relationships. My book is truly one of fiction, but no one ever writes in a vacuum. We write what we know. As they say, art imitates life, and is often larger than life. Hence, my metafictional work was, of course, inspired by my career in the eccentric Reality TV world. We all know reality television is not real, but what it does provide is a wonderful platform to understand essential themes about identity, in all people.
Jay Manuel (The Wig, the Bitch & the Meltdown)
The whole notion of “Be true to yourself” is similarly problematic. Society pounds this idea into us in the unrelenting echo chamber of television, movies, and social media. And it is one of the underlying themes of most movies, even children’s movies. Again, “yourself” in this scenario is corrupted by sin, so why be true to that? The whole idea of this is bound to the exaltation of self. It carries the implication of making yourself your own god. Putting yourself and your desires on a pedestal and worshiping them. Being true to yourself is nothing short of idolatry. Oh, and isn’t a child molester just being true to himself? A rapist? A thief? A greedy person? And on it goes. So no thank you. I don’t want to be true to myself. I want to be true to God and his Word.
Becket Cook (A Change of Affection: A Gay Man's Incredible Story of Redemption)
As best I could understand it, the Buddha’s main thesis was that in a world where everything is constantly changing, we suffer because we cling to things that won’t last. A central theme of the Buddha’s “dharma” (which roughly translates to “teaching”) revolved around the very word that had been wafting through my consciousness when I used to lie on my office couch, pondering the unpredictability of television news: “impermanence.
Dan Harris (10% Happier)
Literature is as old as human language, and as new as tomorrow's sunrise. And literature is everywhere, not only in books, but in videos, television, radio, CDs, computers, newspapers, in all the media of communication where a story is told or an image created. It starts with words, and with speech. The first literature in any culture is oral. The classical Greek epics of Homer, the Asian narratives of Gilgamesh and the Bhagavad Gita, the earliest versions of the Bible and the Koran were all communicated orally, and passed on from generation to generation - with variations, additions, omissions and embellishments until they were set down in written form, in versions which have come down to us. In English, the first signs of oral literature tend to have three kinds of subject matter - religion, war, and the trials of daily life - all of which continue as themes of a great deal of writing.
Ronald Carter (The Routledge History of Literature in English: Britain and Ireland)
You'd be hard-pressed to find a human who can't hum the opening lines of Darth Vader's theme, "The Imperial March," or describe one of the iconic scenes it underscores in Star Wars: The Empire Strikes Back. It would be far more difficult to find someone who knows that John Williams's longtime collaborator on that film and many others was Angela Morley, a transgender woman who is responsible for some of the most memorable scores in film and television.
Mackenzi Lee (Bygone Badass Broads: 52 Forgotten Women Who Changed the World)
What remains of the old Protestant fundamentalism is politics: abortion, gays, evolution. these issues are what binds congregations together. but even here things have changed as Americans have become more tolerant of many of these social taboos. Today many fundamentalist churches take nominally tough positions on, say, homosexuality but increasingly do little else for fear of offending the average believer, whom one schollar calls the "unchurched Harry". All it really takes to be a fundamentalist these days is to watch the TV shows, go to the theme parks, buy Christian rock, and vote Republican. The Sociologist Mark Shilbey, calls it the Californication of conservative Protestantism.
Fareed Zakaria (The Future of Freedom: Illiberal Democracy at Home and Abroad)
He said we had to find a way to reach Muslims who “didn’t think it was such a great thing to have a McDonald’s down the street and American pop culture on their television.” All people, he said, want to maintain their identity in the modern world. “We should acknowledge that not everything we see is positive—there’s a mindless violence, a crude sexuality, a lack of reverence for life, a glorification of materialism.” That said, he wanted to make several statements of belief in human progress—that countries succeed when they are tolerant of different religious beliefs; that governments that give voice to their people and respect the rule of law are more stable and satisfying; and that countries where women are empowered are more successful. “When I was a kid in Indonesia,” he said, “I remember seeing girls swimming outside all the time. No one covered their hair. That was before the Saudis started building madrassas.” This was a theme he’d come back to again and again. He told a story about how his mother once worked in Pakistan. She was riding on an elevator. Her hair was uncovered and her ankles were showing. Yet even though she was older, “this guy in the elevator with her couldn’t stand to be in that type of space with a woman who was uncovered. By the time the door opened he was sweating.” He paused for effect. “When men are that repressed, they do some crazy shit.
Ben Rhodes (The World As It Is: Inside the Obama White House)
We understand this well in every other book, movie, or television show—perhaps a little too well. Today’s filmmakers blow up entire populated planets just to raise the stakes for the hero’s climactic fight scene (something done in both the Star Wars and Star Trek science fiction franchises). In “Game of Thrones,” murder and torture are doled out with such abandon, over so many seasons, that they cease to be mere plot devices and become a central theme of the series. But heaven forbid Ayn Rand should write a scene where people suffocate to death to demonstrate the disastrous consequences of Big Government. As with most literary complaints against her, this one is applied selectively, only to the author with an unwelcome political and philosophical message.
Robert Tracinski (So Who Is John Galt, Anyway?: A Reader's Guide to Ayn Rand's "Atlas Shrugged")
When a liberal professor takes enormous intellectual liberties by openly promoting an ideological agenda to his students, the cry of academic freedom rings across the quads. But when a conservative professor is punished for publishing an article in a politically incorrect journal, there is no defense of intellectual diversity. What is billed as academic neutrality turns out to be a smoke screen for the relativistic liberal agenda. Today's relativists could not have gotten away with their double standards in a culture that prized truth. But a gradual, sustained assault on truth has been carried out through the soft underbelly of Western culture: the arts. In film, music, and television, the themes of sensual pleasure and individual choice have drowned out the tried-and-true virtues of faith, family, self-sacrifice, duty, honor, patriotism, and fidelity in marriage. Cultural mechanics have wielded their tools to dull the public's sense of reasonable limits. In an Age of Consent, the silly and the profound are becoming indistinguishable.
Gary L. Bauer (The Age of Consent : The Rise of Relativism and the Corruption of Popular Culture)
Still, I think that one of the most fundamental problems is want of discipline. Homes that severely restrict viewing hours, insist on family reading, encourage debate on good books, talk about the quality and the morality of television programs they do see, rarely or never allow children to watch television without an adult being present (in other words, refusing to let the TV become an unpaid nanny), and generally develop a host of other interests, are not likely to be greatly contaminated by the medium, while still enjoying its numerous benefits. But what will produce such families, if not godly parents and the power of the Holy Spirit in and through biblical preaching, teaching, example, and witness? The sad fact is that unless families have a tremendously strong moral base, they will not perceive the dangers in the popular culture; or, if they perceive them, they will not have the stamina to oppose them. There is little point in preachers disgorging all the sad statistics about how many hours of television the average American watches per week, or how many murders a child has witnessed on television by the age of six, or how a teenager has failed to think linearly because of the twenty thousand hours of flickering images he or she has watched, unless the preacher, by the grace of God, is establishing a radically different lifestyle, and serving as a vehicle of grace to enable the people in his congregation to pursue it with determination, joy, and a sense of adventurous, God-pleasing freedom. Meanwhile, the harsh reality is that most Americans, including most of those in our churches, have been so shaped by the popular culture that no thoughtful preacher can afford to ignore the impact. The combination of music and visual presentation, often highly suggestive, is no longer novel. Casual sexual liaisons are everywhere, not least in many of our churches, often with little shame. “Get even” is a common dramatic theme. Strength is commonly confused with lawless brutality. Most advertising titillates our sin of covetousness. This is the air we breathe; this is our culture.
D.A. Carson (The Gagging of God: Christianity Confronts Pluralism)
Generally speaking, though, Americans have an inability to relax into sheer pleasure. Ours is an entertainment-seeking nation, but not necessarily a pleasure-seeking one. Americans spend billions to keep themselves amused with everything from porn to theme parks to wars, but that’s not exactly the same thing as quiet enjoyment. Americans work harder and longer and more stressful hours than anyone in the world today. But as Luca Spaghetti pointed out, we seem to like it. Alarming statistics back this observation up, showing that many Americans feel more happy and fulfilled in their offices than they do in their own homes. Of course, we all inevitably work too hard, then we get burned out and have to spend the whole weekend in our pajamas, eating cereal straight out of the box and staring at the TV in a mild coma (which is the opposite of working, yes, but not exactly the same thing as pleasure). Americans don’t really know how to do nothing. This is the cause of that great sad American stereotype—the overstressed executive who goes on vacation, but who cannot relax.
Elizabeth Gilbert (Eat, Pray, Love)
The election of 1960 can, if one wills, be seen as an interlocking set of ifs: if Nixon had made up his mind which he wanted, the Northern Negro or Southern white vote; if the Puerto Rican Catholic bishops had made their intolerant intervention into Puerto Rican politics earlier and if Nixon had taken advantage of it; if the hysterical States-Righters of Dallas had not roughed up Lyndon and Lady Bird Johnson in the hotel lobby; if Eisenhower had been used earlier; if Nixon had moved as forthrightly as did John F. Kennedy and Robert Kennedy in the Martin Luther King arrest; if only the citizen Democrats of California and the new coagulating boss groups of California had been able to work together in harness, as they could not; if Nixon had clung to his original television strategy and not panicked; if Nixon had clung to the original Forward theme of Hall and Shepley—an interminable series of ifs can be strung together to account for, reverse or multiply the tiny margin of 112,000 popular votes by which Kennedy led Nixon. Yet when all these ifs are strung together, they are only the froth and the foam in the wake of the strategies of the two candidates who sought to lead the American people.
Theodore H. White (The Making of the President 1960: The Landmark Political Series)
This theme, this moral construct for evaluating one’s identity and worth, was one he repeatedly encountered on his intellectual path, including, he explained with a hint of embarrassment, from video games. The lesson Snowden had learned from immersion in video games, he said, was that just one person, even the most powerless, can confront great injustice. “The protagonist is often an ordinary person, who finds himself faced with grave injustices from powerful forces and has the choice to flee in fear or to fight for his beliefs. And history also shows that seemingly ordinary people who are sufficiently resolute about justice can triumph over the most formidable adversaries.” He wasn’t the first person I’d heard claiming video games had been instrumental in shaping their worldview. Years earlier, I might have scoffed, but I’d come to accept that, for Snowden’s generation, they played no less serious a role in molding political consciousness, moral reasoning, and an understanding of one’s place in the world than literature, television, and film. They, too, often present complex moral dilemmas and provoke contemplation, especially for people beginning to question what they’ve been taught. Snowden
Glenn Greenwald (No Place to Hide: Edward Snowden, the NSA, and the U.S. Surveillance State)
We must also know for ourselves that the Lord restored His Church and the priesthood keys through the Prophet Joseph Smith. And we must have an assurance through the Holy Ghost, refreshed often, that those keys have been passed without interruption to the living prophet and that the Lord blesses and directs His people through the line of priesthood keys that reaches down through presidents of stakes and of districts and through bishops and branch presidents to us, wherever we are and no matter how far from the prophet and the Apostles. That is not easy today. It was not easy in the days of Paul. It has always been hard to recognize in fallible human beings the authorized servants of God. Paul must have seemed an ordinary man to many. Joseph Smith's cheerful disposition was seen by some as not fitting their expectations for a prophet of God. Satan will always work on the Saints of God to undermine their faith in priesthood keys. One way he does it is to point out the humanity of those who hold them. He can in that way weaken our testimony and so cut us loose from the line of keys by which the Lord ties us to Him and can take us and our families home to Him and to our Heavenly Father. Satan succeeded in undermining the testimony of men who had, with Joseph Smith, seen the heavens opened and heard the voices of angels. The evidence of their physical eyes and ears was not enough when they no longer could feel the testimony that the priesthood keys were still in place with Joseph. The warning for us is plain. If we look for human frailty in humans, we will always find it. When we focus on finding the frailties of those who hold priesthood keys, we run risks for ourselves. When we speak or write to others of such frailties, we put them at risk. We live in a world where finding fault in others seems to be the favorite blood sport. It has long been the basis of political campaign strategy. It is the theme of much television programming across the world. Whenever we meet anyone, our first, almost unconscious reaction may be to look for imperfections. To keep ourselves grounded in the Lord's Church, we can and must train our eyes to recognize the power of the Lord in the service of those He has called. We must be worthy of the companionship of the Holy Ghost. And we need to pray for the Holy Ghost to help us know that men who lead us hold this power. For me, such prayers are most often answered when I am fully engaged in the Lord's service myself.
Henry B. Eyring (Choose Higher Ground)
In the nineties…yes, we were ecstatic; there’s no way back to that naïveté. We thought that the choice had been made and that communism had been defeated forever. But it was only the beginning… Twenty years have gone by…“Don’t try to scare us with your socialism,” children tell their parents. From a conversation with a university professor: “At the end of the nineties, my students would laugh when I told them stories about the Soviet Union. They were sure that a new future awaited them. Now it’s a different story…Today’s students have truly seen and felt capitalism: the inequality, the poverty, the shameless wealth. They’ve witnessed the lives of their parents, who never got anything out of the plundering of our country. And they’re oriented toward radicalism. They dream of their own revolution, they wear red T-shirts with pictures of Lenin and Che Guevara.” There’s a new demand for everything Soviet. For the cult of Stalin. Half of the people between the ages of nineteen and thirty consider Stalin an “unrivaled political figure.” A new cult of Stalin, in a country where he murdered at least as many people as Hitler?! Everything Soviet is back in style. “Soviet-style cafés” with Soviet names and Soviet dishes. “Soviet” candy and “Soviet” salami, their taste and smell all too familiar from childhood. And of course, “Soviet” vodka. There are dozens of Soviet-themed TV shows, scores of websites devoted to Soviet nostalgia. You can visit Stalin’s camps—Solovki, Magadan—as a tourist. The advertisements promise that for the full effect, they’ll give you a camp uniform and a pickaxe. They’ll show you the newly restored barracks. Afterward, there will be fishing…
Svetlana Alexievich (Secondhand Time: The Last of the Soviets)
It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.
Alyson Noel (Fated (Soul Seekers, #1))
When she’s in a courtroom, Wendy Patrick, a deputy district attorney for San Diego, uses some of the roughest words in the English language. She has to, given that she prosecutes sex crimes. Yet just repeating the words is a challenge for a woman who not only holds a law degree but also degrees in theology and is an ordained Baptist minister. “I have to say (a particularly vulgar expletive) in court when I’m quoting other people, usually the defendants,” she admitted. There’s an important reason Patrick has to repeat vile language in court. “My job is to prove a case, to prove that a crime occurred,” she explained. “There’s often an element of coercion, of threat, (and) of fear. Colorful language and context is very relevant to proving the kind of emotional persuasion, the menacing, a flavor of how scary these guys are. The jury has to be made aware of how bad the situation was. Those words are disgusting.” It’s so bad, Patrick said, that on occasion a judge will ask her to tone things down, fearing a jury’s emotions will be improperly swayed. And yet Patrick continues to be surprised when she heads over to San Diego State University for her part-time work of teaching business ethics. “My students have no qualms about dropping the ‘F-bomb’ in class,” she said. “The culture in college campuses is that unless they’re disruptive or violating the rules, that’s (just) the way kids talk.” Experts say people swear for impact, but the widespread use of strong language may in fact lessen that impact, as well as lessen society’s ability to set apart certain ideas and words as sacred. . . . [C]onsider the now-conversational use of the texting abbreviation “OMG,” for “Oh, My God,” and how the full phrase often shows up in settings as benign as home-design shows without any recognition of its meaning by the speakers. . . . Diane Gottsman, an etiquette expert in San Antonio, in a blog about workers cleaning up their language, cited a 2012 Career Builder survey in which 57 percent of employers say they wouldn’t hire a candidate who used profanity. . . . She added, “It all comes down to respect: if you wouldn’t say it to your grandmother, you shouldn’t say it to your client, your boss, your girlfriend or your wife.” And what about Hollywood, which is often blamed for coarsening the language? According to Barbara Nicolosi, a Hollywood script consultant and film professor at Azusa Pacific University, an evangelical Christian school, lazy script writing is part of the explanation for the blue tide on television and in the movies. . . . By contrast, she said, “Bad writers go for the emotional punch of crass language,” hence the fire-hose spray of obscenities [in] some modern films, almost regardless of whether or not the subject demands it. . . . Nicolosi, who noted that “nobody misses the bad language” when it’s omitted from a script, said any change in the industry has to come from among its ranks: “Writers need to have a conversation among themselves and in the industry where we popularize much more responsible methods in storytelling,” she said. . . . That change can’t come quickly enough for Melissa Henson, director of grass-roots education and advocacy for the Parents Television Council, a pro-decency group. While conceding there is a market for “adult-themed” films and language, Henson said it may be smaller than some in the industry want to admit. “The volume of R-rated stuff that we’re seeing probably far outpaces what the market would support,” she said. By contrast, she added, “the rate of G-rated stuff is hardly sufficient to meet market demands.” . . . Henson believes arguments about an “artistic need” for profanity are disingenuous. “You often hear people try to make the argument that art reflects life,” Henson said. “I don’t hold to that. More often than not, ‘art’ shapes the way we live our lives, and it skews our perceptions of the kind of life we're supposed to live." [DN, Apr. 13, 2014]
Mark A. Kellner
These mega-churches are springing up all over the country—especially in the suburbs of large cities. And they all follow the same formula: A charismatic, self-anointed pastor starts a church by holding services in a home, then in a school. He targets the young professionals, who make good salaries—although the poorer folks are welcome too, as long as they’re willing to pay their fair share. When there are enough members, the pastor proposes buying land, then buildings, then more buildings, asking the people to give sacrificially to do God’s work. The pastor uses outrageous gimmicks in the worship services to create a massive word-of-mouth campaign for the church. Everybody’s excited about going to the big show on Sundays. For the children and youth, church is like going to a theme park. And what kid wouldn’t want to do that? A local TV ministry is added. Then it goes national. Then global. Services are streamed live to the internet. A satellite campus is opened, then another, and so on. Ministries are established in foreign countries. But whose church is it? The pastor’s. Whose ministry is it? The pastor’s. What is everything built on? The pastor. It is his church. His ministry. His empire. -- Hal, the mega-church blogger
Robert Burton Robinson (Deadly Commitment (John Provo Thriller Series #1))
So what can we generalize about Victorian vampires? They are already dead, yet not exactly dead, and clammy-handed. They can be magnetically repelled by crucifixes and they don’t show up in mirrors. No one is safe; vampires prey upon strangers, family, and lovers. Unlike zombies, vampires are individualists, seldom traveling in packs and never en masse. Many suffer from mortuary halitosis despite our reasonable expectation that they would no longer breathe. But our vampires herein also differ in interesting ways. Some fear sunlight; others do not. Many are bound by a supernatural edict that forbids them to enter a home without some kind of invitation, no matter how innocently mistaken. Dracula, for example, greets Jonathan Harker with this creepy exclamation that underlines another recurring theme, the betrayal of innocence (and also explains why I chose Stoker’s story “Dracula’s Guest” as the title of this anthology): “Welcome to my house! Enter freely and of your own will.” Yet other vampires seem immune to this hospitality prohibition. One common bit of folklore was that you ought never to refer to a suspected vampire by name, yet in some tales people do so without consequence. Contrary to their later presentation in movies and television, not all Victorian vampires are charming or handsome or beautiful. Some are gruesome. Some are fiends wallowing in satanic bacchanal and others merely contagious victims of fate, à la Typhoid Mary. A few, in fact, are almost sympathetic figures, like the hero of a Greek epic who suffers the anger of the gods. Curious bits of other similar folklore pop up in scattered places. Vampires in many cultures, for example, are said to be allergic to garlic. Over the centuries, this aromatic herb has become associated with sorcerers and even with the devil himself. It protected Odysseus from Circe’s spells. In Islamic folklore, garlic springs up from Satan’s first step outside the Garden of Eden and onion from his second. Garlic has become as important in vampire defense as it is in Italian cooking. If, after refilling your necklace sachet and outlining your window frames, you have some left over, you can even use garlic to guard your pets or livestock—although animals luxuriate in soullessness and thus appeal less to the undead. The vampire story as we know it was born in the early nineteenth century. As
Michael Sims (Dracula's Guest: A Connoisseur's Collection of Victorian Vampire Stories)
I have a complicated spiritual history. Here's the short version: I was born into a Mass-going Roman Catholic family, but my parents left the church when I was in the fifth grade and joined a Southern Baptist church—yes, in Connecticut. I am an alumnus of Wheaton College—Billy Graham's alma mater in Illinois, not the Seven Sisters school in Massachusetts—and the summer between my junior and senior year of (Christian) high school, I spent a couple of months on a missions trip performing in whiteface as a mime-for-the-Lord on the streets of London's West End. Once I left home for Wheaton, I ended up worshiping variously (and when I could haul my lazy tuckus out of bed) at the nondenominational Bible church next to the college, a Christian hippie commune in inner-city Chicago left over from the Jesus Freak movement of the 1960s, and an artsy-fartsy suburban Episcopal parish that ended up splitting over same-sex issues. My husband of more than a decade likes to describe himself as a “collapsed Catholic,” and for more than twenty-five years, I have been a born-again Christian. Groan, I know. But there's really no better term in the current popular lexicon to describe my seminal spiritual experience. It happened in the summer of 1980 when I was about to turn ten years old. My parents had both had born-again experiences themselves about six months earlier, shortly before our family left the Catholic church—much to the shock and dismay of the rest of our extended Irish and/or Italian Catholic family—and started worshiping in a rented public grade school gymnasium with the Southern Baptists. My mother had told me all about what she'd experienced with God and how I needed to give my heart to Jesus so I could spend eternity with him in heaven and not frying in hell. I was an intellectually stubborn and precocious child, so I didn't just kneel down with her and pray the first time she told me about what was going on with her and Daddy and Jesus. If something similar was going to happen to me, it was going to happen in my own sweet time. A few months into our family's new spiritual adventure, after hearing many lectures from Mom and sitting through any number of sermons at the Baptist church—each ending with an altar call and an invitation to make Jesus the Lord of my life—I got up from bed late one Sunday night and went downstairs to the den where my mother was watching television. I couldn't sleep, which was unusual for me as a child. I was a champion snoozer. In hindsight I realize something must have been troubling my spirit. Mom went into the kitchen for a cup of tea and left me alone with the television, which she had tuned to a church service. I don't remember exactly what the preacher said in his impassioned, sweaty sermon, but I do recall three things crystal clearly: The preacher was Jimmy Swaggart; he gave an altar call, inviting the folks in the congregation in front of him and at home in TV land to pray a simple prayer asking Jesus to come into their hearts; and that I prayed that prayer then and there, alone in the den in front of the idiot box. Seriously. That is precisely how I got “saved.” Alone. Watching Jimmy Swaggart on late-night TV. I also spent a painful vacation with my family one summer at Jim and Tammy Faye Bakker's Heritage USA Christian theme park in South Carolina. But that's a whole other book…
Cathleen Falsani (Sin Boldly: A Field Guide for Grace)
Show-themed and second screen apps that ask audiences to open an app during shows and sync to TV in order to deliver content tie-ins will not be the big winners — they're asking too much of audiences.
You tell a great story and themes emerge,
Pamela Douglas (Writing the TV Drama Series: How to Succeed as a Professional Writer in TV)
As former deputy head of the presidential administration, later deputy prime minister and then assistant to the President on foreign affairs, Surkov has directed Russian society like one great reality show. He claps once and a new political party appears. He claps again and creates Nashi, the Russian equivalent of the Hitler Youth, who are trained for street battles with potential prodemocracy supporters and burn books by unpatriotic writers on Red Square. As deputy head of the administration he would meet once a week with the heads of the television channels in his Kremlin office, instructing them on whom to attack and whom to defend, who is allowed on TV and who is banned, how the President is to be presented, and the very language and categories the country thinks and feels in. The Ostankino TV presenters, instructed by Surkov, pluck a theme (oligarchs, America, the Middle East) and speak for twenty minutes, hinting, nudging, winking, insinuating though rarely ever saying anything directly, repeating words like “them” and “the enemy” endlessly until they are imprinted on the mind. They repeat the great mantras of the era: the President is the President of “stability,” the antithesis to the era of “confusion and twilight” in the 1990s. “Stability”—the word is repeated again and again in a myriad seemingly irrelevant contexts until it echoes and tolls like a great bell and seems to mean everything good; anyone who opposes the President is an enemy of the great God of “stability.” “Effective manager,” a term quarried from Western corporate speak, is transmuted into a term to venerate the President as the most “effective manager” of all. “Effective” becomes the raison d’être for everything: Stalin was an “effective manager” who had to make sacrifices for the sake of being “effective.” The words trickle into the streets: “Our relationship is not effective” lovers tell each other when they break up. “Effective,” “stability”: no one can quite define what they actually mean, and as the city transforms and surges, everyone senses things are the very opposite of stable, and certainly nothing is “effective,” but the way Surkov and his puppets use them the words have taken on a life of their own and act like falling axes over anyone who is in any way disloyal.
Peter Pomerantsev (Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia)
After the war, Ernst Heinkel, Willy Messerschmitt and the chief of Germany's fighter forces Adolf Galland colluded in the construction of a highly one-sided account of the Me 262's history, designed to celebrate the genius of German technology, whilst at the same time demonstrating the incompetence of the Nazi leadership. In their account, popularized in best-selling biographies and television interviews, it was the meddling of Hitler, Goering and Milch that robbed Galland and his valiant fighter pilots of a weapon with which they might have protected Germany against the merciless onslaught of the bombers. This was a myth that appealed to numerous themes in post-war German political culture: regret at the chance of a victory wasted, the consolation provided by the supposed superiority of 'German technology', the self-righteous commemoration of the horror of Allied bombing.
It was a common theme on Sally's talk shows, victims reunited with their bullies. The victim was always well groomed in some line of psychiatry, the bully a fat chain smoker in a tracksuit. After talking about their feelings at nauseating length, they'd end up crying on each other. It never said what to do if your bully was the UK's highest earning TV personality and a serial killer.
Rachael Eyre (The Revenge of Rose Grubb)
Once again, we must return to the fact that a TV pilot and its resulting series need to be governed by a theme, a unifying or dominant idea. The theme determines the central conflict, and that central conflict must be embodied in the lead characters. In
William Rabkin (Writing the Pilot)
Primer of Love [Lesson 3] I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. ~ Groucho Marx Lesson 3) Television kills romance. Read my lips. No fucking broadcast or cable TV. Your 60" LED TV should only to be only used as a monitor to watch movies. Oh, you need the weather? Open the fucking window. The news? You shmuck, that's just a distraction to sell advertising. There are only five important news events per century. In this century, nothing significant has happened since Einstein, Hiroshima, the Human Genome Project, the smart phone and You Tube. All news is simply a variation on these same themes:science, war, health, technology and entertainment. If you're compelled to know the breaking bad news, watch it on your phone while you take a shit, not in the bedroom!
Beryl Dov
The facts are uncontroversial. Trump spent far less money on advertising than Clinton or his Republican opponents, yet he received a vastly greater volume of media coverage.20 The news business seemed strangely obsessed with this strange man, and lavished on him what may have been unprecedented levels of attention. The question is why. The answer will be apparent to anyone with eyes to see. Donald Trump is a peacock among the dull buzzards of American politics. The one discernible theme of his life has been the will to stand out: to attract all eyes in the room by being the loudest, most colorful, most aggressively intrusive person there. He has clearly succeeded to an astonishing degree. The data on media attention speaks to a world-class talent for self-promotion.21 Again, there can be no question that this allowed Trump to separate himself from his competitors in the Republican primaries. He appeared to be a very important person. Everyone on TV was talking about him.22 Who could say the same about Ted Cruz? Media people pumped the helium that elevated Donald Trump’s balloon, and they did so from naked self-interest. He represented high ratings and improved subscription numbers. Until the turn of the new millennium, the news media had controlled the information agenda. They could decide, on the basis of some elite standard, how much attention you deserved. In a fractured information environment, swept by massive waves of signal and noise, amid newspaper bankruptcies and many more TV news channels, every news provider approaches a story from the perspective of existential desperation. Trump understood the hunger, and knew how to feed the beast.
Martin Gurri (The Revolt of the Public and the Crisis of Authority in the New Millennium)
Buddha’s main thesis was that in a world where everything is constantly changing, we suffer because we cling to things that won’t last. A central theme of the Buddha’s “dharma” (which roughly translates to “teaching”) revolved around the very word that had been wafting through my consciousness when I used to lie on my office couch, pondering the unpredictability of television news: “impermanence.” The Buddha embraced an often overlooked truism: nothing lasts—including us. We and everyone we love will die. Fame fizzles, beauty fades, continents shift. Pharaohs are swallowed by emperors, who fall to sultans, kings, kaisers, and presidents
Dan Harris (10% Happier: How I Tamed the Voice in My Head, Reduced Stress Without Losing My Edge, and Found Self-Help That Actually Works--A True Story)
As I said, there are many examples of Hollywood openly and gleefully mocking Christianity. But it’s not the open and gleeful mocking that’s really a problem. It’s easy enough to avoid watching a show where Satan is a crime fighter. What’s far more dangerous is the show or film that embeds nihilistic and hedonistic themes in a story line that never directly touches on anything religious or spiritual. And this describes the vast majority of the content churned out by Hollywood on a weekly basis. We Christians sit and absorb it into our minds and souls, rarely stopping to question the messages we are receiving. We tell ourselves that all the time spent watching TV or binging Netflix is just an “escape,” an opportunity to “turn our brains off” and “relax” for a while. The problem is that we are always escaping. Our brains spend most of the day in the “off” position. And in this submissive, malleable state, we are utterly susceptible to whatever ideas or messages Hollywood wants to feed us. Television is a passive experience, which makes it the perfect medium for shaping minds. The unresisting mind is most easily shaped. Especially an unresisting mind that does not realize it is being shaped. We begin to act like the people we see on TV, dress like them, speak like them, think like them; we adopt their viewpoints and priorities. We do all of this without noticing it. Five or six or seven hours a day watching TV, thirty-five or forty hours a week, two thousand hours a year, year after year—after a while, we cannot distinguish our real lives from the fantasy world we enter through the screen.
Matt Walsh (Church of Cowards: A Wake-Up Call to Complacent Christians)
Why, then, would MLB allow Bowman’s BAM to make such a forceful push into the digital age? As counterintuitive as it may sound, BAM’s pursuit of direct-to-consumer, paid-content products actually strengthens MLB’s existing revenue model. BAM increases the league’s leverage over its existing distribution partners. MLB’s aim is to gain the upper hand in negotiations with television networks—not to eventually displace those networks as channel partners. This is a common theme in markets for entertainment: when content producers pursue new channels, they typically do so not to disintermediate their current distribution partners, but rather to increase competition and drive up fees for their content. In MLB’s case, the more it has a significant online presence and a direct route to the consumer, the more the league can credibly threaten to walk away from a deal it deems insufficiently lucrative. After all, when trying to profit from its content, MLB is no longer completely at the mercy of its distribution partners.
Anita Elberse (Blockbusters: Hit-making, Risk-taking, and the Big Business of Entertainment)
The rise of original, risk-taking television is directly tied to the decline of original, risk-taking filmmaking and the dawn of the franchise age of film—one in which studios no longer coddle creative talent, release movies of every type for everyone, or pride themselves for taking risks on quality and new ideas. Instead, movie studios now exist primarily for the purpose of building and supporting branded franchises that continue in sequels, toys, and theme-park attractions.
Ben Fritz (The Big Picture: The Fight for the Future of Movies)
In many contexts defaults have some extra nudging power because consumers may feel, rightly or wrongly, that default options come with an implicit endorsement from the default setter, be it the employer, government, or TV scheduler. For this and other reasons, setting the best possible defaults will be a theme we explore often in the course of this book.
Richard H. Thaler (Nudge: Improving Decisions About Health, Wealth, and Happiness)
In 2014, we worked together for the last time. We did a Volkswagen commercial—for German television. It was a simple concept to introduce its new electric car. In recognition of the international appeal of Star Trek, a young German boy recognizes me. As the theme plays in the background, he runs into his room, which is filled from floor to ceiling with Star Trek memorabilia. Then, as the Star Trek theme plays, a garage door slowly lifts open to reveal—the new Volkswagen—with me driving. As the two of us drive along, we suddenly stop next to a futuristic concept car—with Leonard driving. He looks at us, looks at the car, and says the one word that so defined Spock: “Fascinating.” It’s hard to believe that was the last time I saw him, but it was.
William Shatner (Leonard: My Fifty-Year Friendship with a Remarkable Man)
The insomniac brain comes in various flavours; different personality types you’re forced to share your skull with for several hours. It’s like being trapped in a lift with someone who won’t shut up. Sometimes your companion is a peppy irritant who passes the time by humming half-remembered TV theme tunes until 7 a.m. Other times it’s a morose critic who has recently compiled a 1,500-page report on your innumerable failings and wants to run over it with you a few times before going to print. Worst of all is the hyper-aware sportscaster who offers an uninterrupted commentary describing which bits of your body are currently the least comfortable. No matter where you put that leg, he won’t be satisfied. And he’s convinced you’ve got one arm too many.
Charlie Brooker (I Can Make You Hate)
What puts this film over the top, and cements it as a classic, is the soundtrack by Queen. Yep, THE MF’n Queen. It includes the badass track, “Princes of the Universe,” also the theme for the ’90s Highlander TV series, which was actually pretty good.
Jon Moxley (MOX)
dlaurent The Ballad of Johnny Jihad (Down Desert Storm Way). © c. 2001 During the Gulf War (1990-1991), American Pro-Taliban Jihadist John Philip Walker Lindh was captured while serving with the enemy forces. Here is his tale in song and legend. My nowex at the time did not want me to run to the radio station with this, thought I’d look singularly ridiculii. The following, 'The Ballad of Johnny Jihad' is sung to the tune of 'The Ballad of Jed Clampett' (1962), commonly known as 'The Beverly Hillbillies' song, the theme tune for the TV show series starring Buddy Ebsen. (Lyrics, Paul Henning, vocals Jerry Scoggins, Lester Flatt; master musicians of the art of the ballad and bluegrass ways, Lester Flatt and Earl Scruggs). The Ballad of Johnny Jihad (Sung) Come and listen to the story of Johnny Jihad, Who left home and country to study his Islam, And then one day he was shooting at our troops, So down through the camp did the government swoop. (Voice Over): ‘Al Que-da that is, Af-ghani Tali-ban, Terror-ist . . .’ (Sung) Well, the first thing you know ol’ John from ’Frisco roamed, The lawman said ‘he’s a lad misunderstood very far from home.’ Said, ‘Californee is the place he oughta be,’ So they request his trial be moved to Berkeley . . . (Voice Over): ‘Liberals that is, group-ies, peace-activists . . .’ Announcer: The Johnny Jihad Show! (Intense bluegrass banjo pickin’ music) . . . (Sung) Now its time to say goodbye to John and all his kin, Hope ya don’t think of him as a fightin’ Taliban, You’re all invited back again to this insanity, To get yourself a heapin’ helpin’ of this travesty . . . Johnny Jihad, that’s what they call ’im now Nice guy; don’t get fooled now, y’hear? (Voice Over): ‘Lawyerin’ that is, O.J.ism, media-circus . . .’ (Music) . . . end
Douglas M. Laurent
Anyone comparing photos of Glenn Frey and Don Henley in 1972 and, say, 1977 could track the price of the years of drugs and high living. Julia Phillips's drug addiction incinerated her Hollywood career. Martin Scorsese barely survived his own cocaine addiction in the mid-seventies. Since the days of Bonnie and Clyde and The Graduate, Los Angeles had sold a vision of personal liberation. A decade later, liberation had curdled into license. The theme song for Los Angeles in the buoyant early 1970s could have been "Take It Easy" or "Rock Me on the Water." But by 1976, when the Eagles released Hotel California, the mood of lengthening shadows was more precisely captured by their rueful "Life in the Fast Lane.
Ronald Brownstein (Rock Me on the Water: 1974—The Year Los Angeles Transformed Movies, Music, Television and Politics)
Mike Post [the prolific TV-theme composer] used to say, ‘Everybody is an expert on two things: their jobs and music.’ The same is true of television,” said Stephen J. Cannell, one of the most successful writer-producers of the seventies and eighties. “Why? Because we’ve all watched so damned much of it. It’s like saying, ‘I fly first class all the time. I think I could land this thing.
Brett Martin (Difficult Men: Behind the Scenes of a Creative Revolution)
The major TV networks at the time all aired some version of melodramatic afternoon programming for teens. ABC called its afternoon movie series After School Specials, and CBS called their version Schoolbreak. NBC went with Special Treat, which, given the content of these shows, strikes me now as darkly comic. I rarely managed to watch one of these programs in its entirety because I wasn’t allowed to turn on the television during homework time, but occasionally I’d sneak a half hour. They ranged from mild domestic drama, like “Divorced Kids’ Blues,” to more sensational stories, such as “Are You My Mother?,” in which a girl finds out the mom she thought was dead is actually alive and in some kind of institution. Then there were episodes like these: “One Too Many”—one of several specials about drunk-driving accidents. “Don’t Touch”—a variation on the theme that abuse can come at you from any direction: a sitter, a parent, an uncle, a family friend… (See also, and I swear I’m not making this up: “Please Don’t Hit Me, Mom.”) “Andrea’s Story: A Hitchhiking Tragedy”—What happened to Andrea when she accepted a ride from a stranger? Well, it wasn’t good at all, I can tell you that. “A Very Delicate Matter”—Guess what? The matter is gonorrhea. “Tattle: When to Tell on a Friend”—Answer: as soon as you notice their interest in cocaine.
Mary Laura Philpott (Bomb Shelter: Love, Time, and Other Explosives)
The movies teach us that we won’t be happy until we find our Prince Charming or Princess Whatever. It’s not just the jocks and cheerleaders who get wrapped up in this theme, it’s all of us. All the TV shows and books (especially the young adult ones) feature teenagers who are finding their places in the world through the establishment of relationships and the acquisition of popularity. Whoever lands the cutest girl or guy is always esteemed above the rest, looked up to, and envied. Whoever gets good at sports is more likely to get laid. Whoever’s cool is sleeping around. Whoever’s sleeping around is desirable. To a large degree, our social status is defined by who we are able to seduce...
Michael J. Heil (Pursued: God’s relentless pursuit and a drug addict’s journey to finding purpose)
When I broached the subject with my father, when I worked up the nerve to speak to him about my Crazy Idea, I made sure it was in the early evening. That was always the best time with Dad. He was relaxed then, well fed, stretched out in his vinyl recliner in the TV nook. I can still tilt back my head and close my eyes and hear the sound of the audience laughing, the tinny theme songs of his favorite shows, Wagon Train and Rawhide.
Phil Knight (Shoe Dog)
The novel is presented in a screenplay-like format, reflecting the characters' experiences as actors in a TV show called "Black and White." It offers a thought-provoking exploration of race, assimilation if you want to related to interior or theme go the
Charles Yu.
The inability to control a child's recollections is a frustrating one. I know my own parents did their best to provide sun-dappled days of picnics and paddling pools, but mainly I remember advertising jingles, wet socks on radiators, inane TV theme tunes, arguments about wasted food. With my own sun, there were times when I definitely thought 'remember this' - Albie toppling through the high grass of a summer meadow, the three of us lolling in bed on a winter Sunday (...) - wishing there was some way to press 'record'.
David Nicholls (Us)
Culture is power. The music we listen to, the social media we consume, the food we eat, the moves and television shows we watch-these all inform our values, behaviors, and worldviews. Culture is in a constant battle for our imagination. It is our most valuable tool to inspire the social change these times demand… As the old narrative of capitalism reveals its devastating failures, we urgently need more compelling and relatable stories that show us what a just, sustainable, and healthy world can look like. The old myths will die when we replace them with new ones. … A recent look at episodic TV shows found that in 2019 only three dealt with climate change (excluding docuseries that explicitly focus on climate); “a crisis that’s reshaping every aspect of human experience is being effectively ignored.” … Stories are like individual stars. For thousands of years, humans used the stars to tell stories, to help make sense of their lives, to orient them on the planet. Stories work in the same way. When many stars coalesce around similar themes, they form a narrative constellation that can disrupt business as usual. They reveal patterns and help illuminate what was once obscured. The powerful shine in one story can inspire other stories. HARNESSING CULTURAL POWER by Favianna Rodriguez
Ayana Elizabeth Johnson (All We Can Save: Truth, Courage, and Solutions for the Climate Crisis)
The children were actors on a moving stage, carrying out philosophical debates while borrowing fragments of floating dialogue. Themes from fairy tales and television cartoons combined with social commentary and private fantasy to form a tangible script that was not random and erratic.
Vivian Gussin Paley (Bad Guys Don't Have Birthdays: Fantasy Play at Four)
The time period covered in NITRO - 1995 to 2001 - represents a number of themes that transcend its subject matter; notably, the rise of early Internet culture, the still-active notion of 'mainstream', the limits of creative expression, ‘edgy’ entertainment that pushed the envelope, television and its cultural power (including, as a corollary, the decline of the televised communal experience), and the relative tranquility of America’s cultural, economic and political affairs. was in this context that the explosion in wrestling’s popularity occurred.
Guy Evans (NITRO: Expanded Edition - The Incredible Rise and Inevitable Collapse of Ted Turner's WCW)
Not only this, but through television and telephony we shall see and hear one another as perfectly as though we were face to face, despite intervening distances of thousands of miles; and the instruments through which we shall be able to do this will be amazingly simple compared with our present telephone. A man will be able to carry one in his vest pocket. We shall be able to witness and hear events—the inauguration of a President, the playing of a World Series game, the havoc of an earthquake or the terror of a battle—just as though we were present.” Gernsback, who was twenty-eight years younger, became Tesla’s most prominent advocate. The first theme issue of Modern Electrics was wholly devoted to his work.
Steve Silberman (NeuroTribes: The Legacy of Autism and the Future of Neurodiversity)
A scouting craft soon entered our solar system. It detected several broadcast signals, and routed the strongest one (WABC-TV in New York) to a distant team of anthropologists—who then found themselves watching a first-run episode of the hit sitcom Welcome Back, Kotter (the one in which Arnold Horshack joins a zany youth cult). Before I get into what happened next, I should mention that music is the most cherished of the forty so-called Noble Arts that Refined beings revere and dedicate their lives to. It is indeed viewed as being many times Nobler than the other thirty-nine Arts combined. And remember—their music sucks. The first alien Kotter watchers initially doubted that we had music at all, because everything about the show screamed that we were cultural and aesthetic dunderheads. Primitive sight gags made them groan. Sloppy editing made them chuckle. Wardrobe choices practically made them wretch. And then, it happened. The show ended. The credits rolled, and the theme music began. And suddenly, the brainless brutes that they’d been pitying were beaming out the greatest creative achievement that the wider universe had ever witnessed. Welcome back, Welcome back, Welcome back.
Rob Reid (Year Zero)
MIRACULOUS!” . . . “Revolutionary!” . . . “Greatest ever!” We are inundated by a flood of extravagant claims as we channel surf the television or flip magazine pages. The messages leap out at us. The products assure that they are new, improved, fantastic, and capable of changing our lives. For only a few dollars, we can have “cleaner clothes,” “whiter teeth,” “glamorous hair,” and “tastier food.” Automobiles, perfume, diet drinks, and mouthwash are guaranteed to bring happiness, friends, and the good life. And just before an election, no one can match the politicians’ promises. But talk is cheap, and too often we soon realize that the boasts were hollow, quite far from the truth. “Jesus is the answer!” . . . “Believe in God!” . . . “Follow me to church!” Christians also make great claims but are often guilty of belying them with their actions. Professing to trust God and to be his people, they cling tightly to the world and its values. Possessing all the right answers, they contradict the gospel with their lives. With energetic style and crisp, well-chosen words, James confronts this conflict head-on. It is not enough to talk the Christian faith, he says; we must live it. “What good is it, my brothers and sisters, if someone claims to have faith but has no deeds? Can such faith save them?” (2:14). The proof of the reality of our faith is a changed life. Genuine faith will inevitably produce good deeds. This is the central theme of James’ letter, around which he supplies practical advice on living the Christian life. James begins his letter by outlining some general characteristics of the Christian life (1:1–27). Next, he exhorts Christians to act justly in society (2:1–13). He follows this practical advice with a theological discourse on the relationship between faith and action (2:14–26). Then James shows the importance of controlling one’s speech (3:1–12). In 3:13–18, James distinguishes two kinds of wisdom—earthly and heavenly. Then he encourages his readers to turn from evil desires and obey God (4:1–12). James reproves those who trust in their own plans and possessions (4:13—5:6). Finally, he exhorts his readers to be patient with each other (5:7–11), to be straightforward in their promises (5:12), to pray for each other (5:13–18), and to help each other remain faithful to God (5:19, 20). This letter could be considered a how-to book on Christian living. Confrontation, challenges, and a call to commitment await you in its pages. Read James and become a doer of the Word (1:22–25).
Anonymous (Life Application Study Bible: NIV)
Dear friends and enemies, Season’s greetings! It’s me, Serge! Don’t you just hate these form letters people stuff in Christmas cards? Nothing screams “you’re close to my heart” like a once-a-year Xerox. Plus, all the lame jazz that’s going on in their lives. “Had a great time in Memphis.” “Bobby lost his retainer down a storm drain.” “I think the neighbors are dealing drugs.” But this letter is different. You are special to me. I’m just forced to use a copy machine and gloves because of advancements in forensics. I love those TV shows! Has a whole year already flown by? Much to report! Let’s get to it! Number one: I ended a war. You guessed correct, the War on Christmas! When I first heard about it, I said to Coleman, “That’s just not right! We must enlist!” I rushed to the front lines, running downtown yelling “Merry Christmas” at everyone I saw. And they’re all saying “Merry Christmas” back. Hmmm. That’s odd: Nobody’s stopping us from saying “Merry Christmas.” Then I did some research, and it turns out the real war is against people saying “Happy holidays.” The nerve: trying to be inclusive. So, everyone … Merry Christmas! Happy Hannukah! Good times! Soul Train! Purple mountain majesties! The Pompatus of Love! There. War over. And just before it became a quagmire. Next: Decline of Florida Roundup. —They tore down the Big Bamboo Lounge near Orlando. Where was everybody on that one? —Remember the old “Big Daddy’s” lounges around Florida with the logo of that bearded guy? They’re now Flannery’s or something. —They closed 20,000 Leagues. And opened Buzz Lightyear. I offered to bring my own submarine. Okay, actually threatened, but they only wanted to discuss it in the security office. I’ve been doing a lot of running lately at theme parks. —Here’s a warm-and-fuzzy. Anyone who grew up down here knows this one, and everyone else won’t have any idea what I’m talking about: that schoolyard rumor of the girl bitten by a rattlesnake on the Steeplechase at Pirate’s World (now condos). I’ve started dropping it into all conversations with mixed results. —In John Mellencamp’s megahit “Pink Houses,” the guy compliments his wife’s beauty by saying her face could “stop a clock.” Doesn’t that mean she was butt ugly? Nothing to do with Florida. Just been bugging me. Good news alert! I’ve decided to become a children’s author! Instilling state pride in the youngest residents may be the only way to save the future. The book’s almost finished. I’ve only completed the first page, but the rest just flows after that. It’s called Shrimp Boat Surprise. Coleman asked what the title meant, and I said life is like sailing on one big, happy shrimp boat. He asked what the surprise was, and I said you grow up and learn that life bones you up the ass ten ways to Tuesday. He started reading and asked if a children’s book should have the word “motherfucker” eight times on the first page. I say, absolutely. They’re little kids, after all. If you want a lesson to stick, you have to hammer it home through repetition…In advance: Happy New Year! (Unlike 2008—ouch!)
Tim Dorsey (Gator A-Go-Go (Serge Storms Mystery, #12))
popular TV sitcoms sprang up, each a variation on a single theme: something alien is close and secretly among us, and one person is burdened with protecting all others from the unspeakable truth of their presence and power: My Favorite Martian, My Mother the Car, I Dream of Jeannie, The Munsters, Mister Ed, Bewitched—they all pointed to the growing anxiety of middle-class whites that nothing was as it appeared,
David Henry (Furious Cool: Richard Pryor and the World That Made Him)
Although Saudi authorities promised after the September 11 attacks to revise textbooks that taught hatred against Jews and Christians, as late as 2006 Saudi texts still referred to Jews as “apes” and Christians as “swine.”27 And in April 2008 a British employment tribunal awarded 70,000 pounds ($115,000) to a teacher who had been fired from a Saudi-funded Islamic school for exposing that the school’s textbooks spoke of “the repugnant characteristics of the Jews” and asserted, “Those whom God has cursed and with whom he is angry, he has turned into monkeys and pigs. They worship Satan.”28 There is an endless parade of similar examples. In March 2004 Sheikh Ibrahim Mudayris, speaking on official Palestinian Authority television, railed against “the Jews today taking revenge for their grandfathers and ancestors, the sons of apes and pigs.”29 And during the swine flu scare in May 2009, Sheikh Ahmad ‘Ali ‘Othman, the superintendent of da’wa [Islamic proselytizing] affairs at the Egyptian Ministry of Religious Endowments, declared that “all pigs are descended from the Jews whom Allah transformed into apes, swine and worshippers of Satan, and must therefore be slaughtered.” Othman based his argument on Koran 5:60, one of the Koran’s notorious “apes and pigs” passages.30 In his televised sermon denouncing the Jews regardless of their actions in Israel or elsewhere, Muhammad Hussein Ya’qoub also invoked this theme: “As for you Jews—the curse of Allah upon you. The curse of Allah upon you, whose ancestors were apes and pigs. . . . Allah, we pray that you transform them again, and make the Muslims rejoice again in seeing them as apes and pigs. You pigs of the earth! You pigs of the earth! You kill the Muslims with that cold pig [blood] of yours.”31 Jews as apes and pigs: it’s in the Koran, holy book of the religion of peace.
Robert Spencer (The Complete Infidel's Guide to the Koran (Complete Infidel's Guides))
Well before Trump, we had wars fought as televised entertainment. The 1990 Gulf War was dubbed the first video-game war, complete with its own logo and theme music on CNN. But that was nothing compared with the show put on during the 2003 Iraq invasion, based on a military strategy called “Shock and Awe.” The attacks were designed as a spectacle for cable news consumers, but also for Iraqis, to maximize their sense of helplessness, to “teach them a lesson.” Now, that fearsome technology is in the hands of the first reality TV president.
Naomi Klein (No Is Not Enough: Resisting Trump's Shock Politics and Winning the World We Need)
It is easy to blame television or the movies or rap music for desensitizing our children to human suffering, to violence, and even to death. Yet the fundamental invulnerability does not come from commercialized culture, reprehensible as it is for pandering to and exploiting children's emotional hardening and immaturity. The invulnerability of peer-oriented kids is fueled from the inside. Even if there were no movies or television programs to shape its expression, it still would spring forth spontaneously as the modus operandi of peer-oriented youth. Though peer-oriented children can come from all over the world and belong to an infinite number of subcultures, the theme of invulnerability is universal in youth culture. Fashions may come and go, music can change form, the language may vary, but cool detachment and emotional shutdown seem to permeate it all. The pervasiveness of this culture is a powerful testimony to the desperate flight from vulnerability of its members.
Gabor Maté (Hold On to Your Kids: Why Parents Need to Matter More Than Peers)
The applause light comes on. The audience claps like crazy. Theme music swells out of the speaker.
James Patterson (I Funny TV: A Middle School Story (I Funny Series Book 4))
Evan had the rear sensor array blasting the ground with what looked to be old television sitcoms, with enough power behind them that the wires of the buildings below might be playing the theme song all by themselves. Phil wondered if that constituted a war crime, and laughed to himself.
Blaze Ward (Persephone (CS-405 Book 3))
Makers of the hit reality TV show, Bigg Boss have announced the details of their upcoming season 12. The show will now have couples for participants, Bigg Boss has seen a major drop in viewers which is why the makers have decided to bring something new to the table. Announcing the auditions for the upcoming season, Indian TV channel Colors TV tweeted: While the tweet did not explicitly mention what kind of couples the show is looking for, reports suggest that the makers are looking for romantic couples. A report by The Indian Express quoted a source, mentioning, “Bigg Boss is one of the most watched shows across the world and the show-runners make an effort to bring something new for its viewers every year. While the partner angle was played during the ninth season themed – Double Trouble – this would be special, as for the first time, contestants will get to participate with their loved ones.” With the new format of the show, fans were also concerned if Salman Khan will be hosting the show this time as well as the actor was recently involved in a court case. However, it’s been confirmed that the 52-year-old actor will be returning to the Bigg Boss stage for season 12. Colors TV believes that despite busy schedules, Salman has always been on time for his Bigg Boss shoots. In addition, he has also added much needed star value to the show. Apart from Bigg Boss 12, Salman has a game show, Dus Ka Dum lined up as well, which will be premiering in July 2018.
This kind of present-centrism is parodied beautifully in a 2020 TV adaptation of Aldous Huxley’s Brave New World in which the ‘Savage Lands’ – more like an Indian reservation in the novel – are reimagined as a theme park devoted to twenty-first-century American decline.
Louise Perry (The Case Against the Sexual Revolution: A New Guide to Sex in the 21st Century)
For that to happen, she decided to exclude bestsellers from the bookshop. If there was a book that became an overnight hit thanks to a famous person who mentioned it on TV, she would no longer bring in more copies of it after they sold out their existing stock. Not because it wasn’t a good book, but to uphold diversity. In such cases, she would seek out books with similar themes and stock them instead. Customers who came in looking for the title would be directed to these books.
Hwang Bo-Reum (Welcome to the Hyunam-dong Bookshop)
The old man is by this time pretty much unable to converse about anything except the television program “M*A*S*H.” The theory of the theme of this Burns-slash-Burning apocalypse now sort of spreads out to become huge and complex theories about wide-ranging and deeply hidden themes having to do with death and time, on the show. Like evidence of some sort of coded communication to certain viewers about an end to our familiar type of world-time and the advent of a whole different order of world-time.
David Foster Wallace (Infinite Jest)