Tv Clips Quotes

The average TV commercial of sixty seconds has one hundred and twenty half-second clips in it, or one-third of a second. We bombard people with sensation. That substitutes for thinking.

The endless newsreel clips of nuclear explosions that we saw on TV in the 1960s (were) a powerful incitement to the psychotic imagination, sanctioning *everything*.

The President is also captured in a well-worn TV news clip, making a boilerplate response to a question on terrorism and then asking the reporters to watch his drive. Well, that's what you get if you catch the President on a golf course. If Eisenhower had done this, as he often did, it would have been presented as calm statesmanship. If Clinton had done it, as he often did, it would have shown his charm.

On the TV is a clip of President Reagan giving a speech about the economy

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

The work I do is not exactly respectable. But I want to explain how it works without any of the negatives associated with my infamous clients. I’ll show how I manipulated the media for a good cause. A friend of mine recently used some of my advice on trading up the chain for the benefit of the charity he runs. This friend needed to raise money to cover the costs of a community art project, and chose to do it through Kickstarter, the crowdsourced fund-raising platform. With just a few days’ work, he turned an obscure cause into a popular Internet meme and raised nearly ten thousand dollars to expand the charity internationally. Following my instructions, he made a YouTube video for the Kickstarter page showing off his charity’s work. Not a video of the charity’s best work, or even its most important work, but the work that exaggerated certain elements aimed at helping the video spread. (In this case, two or three examples in exotic locations that actually had the least amount of community benefit.) Next, he wrote a short article for a small local blog in Brooklyn and embedded the video. This site was chosen because its stories were often used or picked up by the New York section of the Huffington Post. As expected, the Huffington Post did bite, and ultimately featured the story as local news in both New York City and Los Angeles. Following my advice, he sent an e-mail from a fake address with these links to a reporter at CBS in Los Angeles, who then did a television piece on it—using mostly clips from my friend’s heavily edited video. In anticipation of all of this he’d been active on a channel of the social news site Reddit (where users vote on stories and topics they like) during the weeks leading up to his campaign launch in order to build up some connections on the site. When the CBS News piece came out and the video was up, he was ready to post it all on Reddit. It made the front page almost immediately. This score on Reddit (now bolstered by other press as well) put the story on the radar of what I call the major “cool stuff” blogs—sites like BoingBoing, Laughing Squid, FFFFOUND!, and others—since they get post ideas from Reddit. From this final burst of coverage, money began pouring in, as did volunteers, recognition, and new ideas. With no advertising budget, no publicist, and no experience, his little video did nearly a half million views, and funded his project for the next two years. It went from nothing to something. This may have all been for charity, but it still raises a critical question: What exactly happened? How was it so easy for him to manipulate the media, even for a good cause? He turned one exaggerated amateur video into a news story that was written about independently by dozens of outlets in dozens of markets and did millions of media impressions. It even registered nationally. He had created and then manipulated this attention entirely by himself.

Let me first establish—on your behalf—feelings of animosity and disgust at the mendacity inherent in this concept of "cartoon." Whenever someone hits you with a conversational shot that is crude or is intended to hurt, and you bristle, the shooter quickly throws up his/her hands and tries to get you to believe, "I was only kidding. It was all in fun. Boy, are you overreacting. You musn't take it seriously, it was just a joke." Well, we know it wasn't any such thing. It was a snippet of truth slipping past the cultural safeguards that keep us dealing with one another with civility. It was for real. Similarly, when such films as Streets of Fire and Gremlins and Temple of Doom are made, we are expected to take them seriously enough to plonk down five bucks for a ticket. When they fail to deliver what they've promised in all those tv clips, and we express our anger at having been fleeced, the shooters tell us we're overreacting and we should feel a lot better about losing our five or ten or whatever amount they got out of us, because it was all a gag. I wonder how well they'd take the gag if we paid for the tickets with counterfeit bills. Or pried open the firedoor at the theater and sneaked in with the entire Duke University Marching Band. "It was all a joke, fellahs; don't take it so seriously; gawd, are you overreacting!" No, they cannot have that cake and eat it, too.

They watch her when she comes to City Hall, they watch her at the social events, they watch the way she walks, hips rolling with no suggestion of provocation but with every sense that she knows more than any of the rest. A woman like that, they seem to be thinking, a woman like that has lived. Their wives from Orange County, they come from Minnesota or Dallas or St.Louis. They come from places with families, with sagging mothers and fathers with dead eyes and heavy-hanging brows. They carry their own promise of future slackness and clipped lips and demands. They have sisters, sisther with more babies, babies with sweet saliva hanging and more appliance and with husbands with better salaries and two cars and club membership. They iron in housedresses in front of the television set or by the radio, steam rising, matting their faces, as the children with the damp necks cling on them, sticky-handed. They are this. And Alice… and Alice…

Sabit was his own worst enemy. He had earlier given a TV interview where he had called one of the top religious men in the country a 'donkey pussy,' a common epithet in Afghanistan. Tolo started playing the clip of Sabit saying 'donkey pussy' incessantly - inserting it into the satirical TV show Danger Bell.

I heard Chloe Monahan’s voice on the television and the shock of it made me jerk my head toward the screen again—but it was just a clip from her interview on Ellen. Bonnie put her hands on her hips and fixed me with a death ray. “Once more, Brinkman, and I’ll let you go out there looking like a raccoon in drag.

I have watched enough cheesy detective television shows in my young life to know that when one is presented with an inexplicable mystery, the first order of business (after procuring good donuts and coffee—check) is to create a wall of clues with photos of suspects and article clippings, preferably in an artistic yet seemingly random fashion.

What’s this one?” Allan said, holding up a blocky pistol. “Glock,” Matt answered. Allan flipped it over. “How big is the clip for it?” “Magazine,” Matt corrected. “They always call it a clip on the telly.” “So? TV and movies also say that UV hurts vampires like sunlight, too.” Allan frowned. “All right. How much does the magazine hold?” “Seventeen,

The unchurched kids laughed at the Bible studies based on television shows or songs of the moment. They weren't impressed at all by the video clips provided by the denomination's publisher, or by the knock-off Christian boy bands crooning about the hotness of sexual purity. What riveted their attention wasn't what was relatable to them but what wasn't.

Last year CNN brought me on live TV to discuss a proposal to create “kid-free planes,” and I explained if we were really going to start segregating passengers I’d prefer to ride in an “a-hole-free plane” because babies almost never ask you to join the Mile-High Club, or clip their toenails while in flight, or do any of a plethora of horrible things I’ve witnessed from others.

It was the Age of Anything-Can-Happen, he reminded himself. He had heard many people say that on TV and on the outré video clips floating in cyberspace, which added a further, new-technology depth to his addiction. There were no rules any more. And in the Age of Anything-Can-Happen, well, anything could happen. Old friends could become new enemies and traditional enemies could be your new besties or even lovers. It was no longer possible to predict the weather, or the likelihood of war, or the outcome of elections. A woman might fall in love with a piglet, or a man start living with an owl. A beauty might fall asleep and, when kissed, wake up speaking a different language and in that new language reveal a completely altered character. A flood might drown your city. A tornado might carry your house to a faraway land where, upon landing, it would squash a witch. Criminals could become kings and kings be unmasked as criminals. A man might discover that the woman he lived with was his father’s illegitimate child. A whole nation might jump off a cliff like swarming lemmings. Men who played presidents on TV could become presidents. The water might run out. A woman might bear a baby who was found to be a revenant god. Words could lose their meanings and acquire new ones. The world might end, as at least one prominent scientist- entrepreneur had begun repeatedly to predict. An evil scent would hang over the ending. And a TV star might miraculously return the love of a foolish old coot, giving him an unlikely romantic triumph which would redeem a long, small life, bestowing upon it, at the last, the radiance of majesty.

This week I was watching the Rachel Maddow Show (you'd love her: she's funny and brilliant and just happens to be a stunning butch), and she was interviewing the outgoing attorney general, Loretta Lynch, about the country's post election future. The entire show was like a burst of hope so bright I almost had to put on sunglasses. The African American attorney general, prim and plump, sat perched on a barstool talking to a white butch lesbian who has her own national television news show! The event was being recorded in the Stonewall Inn, the site of one of the first places where queer people fought back against police violence! (I was so nervous about being a lesbian in 1969, I hid the tiny newspaper clipping from you.) Simply that the interview was happening made me remember that there are people in the world who are not such egotistical, political careerists as to believe that human rights don't matter. Then, as if just showing up wasn't enough, Attorney General Lynch spoke a truth that is hard to remember from our short-lived perspective: "History is bigger than one turn of the electoral wheel." During your eighty-eight years on this plane, you saw numerous turns of the wheel, and many of them did not land on a prize. Still, toward the end of your life, you took me in and bestowed not just a roof and clothes and food but the gift of your history and the knowledge that we find hope inside ourselves.

After our clips were seen on YouTube, we gained some fame and were invited to Dubai to kick off a five country tour of the region. This was a big deal because no American-based comedy troupe had ever gone to the Middle East to perform for Middle Eastern people. As a matter of fact, normally whenever Middle Easterners hear the words "American" and "troop" in a sentence, it usually means their country is about to be attacked. So it was important for us to emphasize the word "comedy" when publicizing our Dubai arrival. It was also important for us to spell troupe with a "u". What a difference a vowel makes.

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

Jane doesn't watch very much television. She used to watch it more. She used to watch comedy series, in the evenings, and when she was a student at university she would watch afternoon soaps about hospitals and rich people, as a way of procrastinating. For a while, not so long ago, she would watch the evening news, taking in the disasters with her feet tucked up on the Chesterfield, a throw rug over her legs, drinking a hot milk and rum to relax before bed. It was all a form of escape. But what you can see on the television, at whatever time of day, is edging too close to her own life; though in her life, nothing stays put in those tidy compartments, comedy here, seedy romance and sentimental tears there, accidents and violent deaths in thirty-second clips they call bites, as if they were chocolate bars. In her life, everything is mixed together.

The channel does not pay lip service to fairness. It does not employ any neutral commentators. On the contrary, it celebrates its own ability to manipulate reality. At one point in 2018, the station showed a clip from a press conference; the then leader of the opposition party, Grzegorz Schetyna, was asked what his party achieved during its eight years in government, from 2007 to 2015. The clip shows Schetyna pausing and frowning; the video slows down and then ends. It’s as if he had nothing to say. In reality, Schetyna spoke for several minutes about the mass construction of roads, investments in the countryside, and advances in foreign policy. But this manipulated clip—one example of many—was deemed such a success that for several days, it remained pinned to the top of Telewizja Polska’s Twitter feed. Under Law and Justice, state television doesn’t just produce regime propaganda; it draws attention to the fact that it is doing so. It doesn’t just twist and contort information, it glories in deceit.

games. A summary: Exposing children to a violent TV or film clip increases their odds of aggression soon after.41 Interestingly, the effect is stronger in girls (amid their having lower overall levels of aggression). Effects are stronger when kids are younger or when the violence is more realistic and/or is presented as heroic. Such exposure can make kids more accepting of aggression—in one study, watching violent music videos increased adolescent girls’ acceptance of dating violence. The violence is key—aggression isn’t boosted by material that’s merely exciting, arousing, or frustrating. Heavy childhood exposure to media violence predicts higher levels of aggression in young adults of both sexes (“aggression” ranging from behavior in an experimental setting to violent criminality). The effect typically remains after controlling for total media-watching time, maltreatment or neglect, socioeconomic status, levels of neighborhood violence, parental education, psychiatric illness, and IQ. This is a reliable finding of large magnitude. The

The communists didn’t release their grip until the late 1980s. Effective organisation kept them in power for eight long decades, and they eventually fell due to defective organisation. On 21 December 1989 Nicolae Ceaus¸escu, the communist dictator of Romania, organised a mass demonstration of support in the centre of Bucharest. Over the previous months the Soviet Union had withdrawn its support from the eastern European communist regimes, the Berlin Wall had fallen, and revolutions had swept Poland, East Germany, Hungary, Bulgaria and Czechoslovakia. Ceaus¸escu, who had ruled Romania since 1965, believed he could withstand the tsunami, even though riots against his rule had erupted in the Romanian city of Timis¸oara on 17 December. As one of his counter-measures, Ceaus¸escu arranged a massive rally in Bucharest to prove to Romanians and the rest of the world that the majority of the populace still loved him – or at least feared him. The creaking party apparatus mobilised 80,000 people to fill the city’s central square, and citizens throughout Romania were instructed to stop all their activities and tune in on their radios and televisions. To the cheering of the seemingly enthusiastic crowd, Ceauşescu mounted the balcony overlooking the square, as he had done scores of times in previous decades. Flanked by his wife, Elena, leading party officials and a bevy of bodyguards, Ceaus¸escu began delivering one of his trademark dreary speeches. For eight minutes he praised the glories of Romanian socialism, looking very pleased with himself as the crowd clapped mechanically. And then something went wrong. You can see it for yourself on YouTube. Just search for ‘Ceauşescu’s last speech’, and watch history in action.20 The YouTube clip shows Ceaus¸escu starting another long sentence, saying, ‘I want to thank the initiators and organisers of this great event in Bucharest, considering it as a—’, and then he falls silent, his eyes open wide, and he freezes in disbelief. He never finished the sentence. You can see in that split second how an entire world collapses. Somebody in the audience booed. People

Thanks.” “For what?” “For everything.” I shrug and my smile wobbles a little. “Thanks for talking me into taking this trip instead of staying home and wallowing in self-pity. For sticking by my side, but also giving me space. For…being my best friend.” She gives the impression of being cool, clipped, controlled, but deep down Fanny is a smushy-mushy sentimental marshmallow. She grabs me and gives me a fierce hug. “It’s just my time,” she finally says, pulling away. “You know?” I shake my head. I don’t know. “Being best friends is like playing baseball. Right now, it’s my turn to step up to the plate and carry the team.” She lifts her chin and looks up at me with her trademark confidence. “Don’t worry. Your time at bat will come.” “I hope I will carry the team as well as you have.” “You will.” “Wait!” I laugh. “Did you just make a baseball analogy?” “Yeah. So?” “The Americanization of Fanny is complete.” I stroke my chin and chuckle maniacally. “Funny!” Fanny snaps. “I don’t think so!” “It starts with reality television binges and baseball analogies. Soon, you’ll be forgoing French chocolate for Hershey’s bars and baguettes for Wonder Bread.

My talent can take me anywhere I want to go. I’m not conceited or cocky. I’m just convinced. Trust me, you have to fight to get to that point. I would continue to get tested. It happens all the time. Take the live tweeting of the Olympics as a perfect example. I’m just sitting and watching TV and tweeting my love for those incredible athletes for y’all, and for free. No one helps me with that. I do everything myself. But then NBC started to give me a hard time about rights to the clips I was referencing. Again, it’s people thinking my talent is a fluke, or it’s impossible for me to be that funny or they think that they can copy what I do, but what they don’t understand is what they’re seeing is real passion. I am incredibly passionate about the skills of Olympians—those athletes are incredible, and it brings me so much joy to watch them and that’s what comes across when I tweet. You can’t fake that, or own it! It means so much to me still because it’s something that me and my dad used to share—we’d watch every single minute of every Olympics together. (How many of y’all watched the Olympics with your loved ones?) But OK, you think you can get other people to do the same thing I do? No, you can’t, because when I do it, I come from an innocent, passionate place that goes all the way back to my childhood.

Ryan was complex—he was big-hearted and caring but also resolute and direct. He once e-mailed me an audio clip of a television news interview he gave after a group of Navy SEALs rescued the captain of the Maersk Alabama tanker ship. Pirates had taken the ship and the captain hostage off the coast of Somalia, Africa. The story was later made into the film Captain Phillips, starring Tom Hanks. A team of Navy SEAL snipers shot and killed all but one of the hostage takers, who had placed themselves and their hostage in a desperate situation. Ryan told the TV reporter, “Despite what your momma told you, violence does solve problems.”1 I understood exactly what Ryan meant—there was no diplomatic or political solution to the crisis, and allowing pirates to take American vessels and crews hostage would set a bad precedent in other parts of the globe. Weeks before, in fact, the pirates had killed other hostages. Ryan’s statement was in no way meant to be bravado; he was merely conveying the fact that many times violence brings about a successful conclusion to a hostage crisis. The SEALs spoke the only language that the Somali pirates understood: violence. Apparently, the SEALs’ response acted as a deterrent, since the Somali pirates have consequently stayed clear of US flagged vessels. Chris Kyle later turned Ryan’s statement into a patch he wore on his hat.

Thrasher" They were hiding behind hay bales, They were planting in the full moon They had given all they had for something new But the light of day was on them, They could see the thrashers coming And the water shone like diamonds in the dew. And I was just getting up, hit the road before it's light Trying to catch an hour on the sun When I saw those thrashers rolling by, Looking more than two lanes wide I was feelin' like my day had just begun. Where the eagle glides ascending There's an ancient river bending Down the timeless gorge of changes Where sleeplessness awaits I searched out my companions, Who were lost in crystal canyons When the aimless blade of science Slashed the pearly gates. It was then I knew I'd had enough, Burned my credit card for fuel Headed out to where the pavement turns to sand With a one-way ticket to the land of truth And my suitcase in my hand How I lost my friends I still don't understand. They had the best selection, They were poisoned with protection There was nothing that they needed, Nothing left to find They were lost in rock formations Or became park bench mutations On the sidewalks and in the stations They were waiting, waiting. So I got bored and left them there, They were just deadweight to me Better down the road without that load Brings back the time when I was eight or nine I was watchin' my mama's T.V., It was that great Grand Canyon rescue episode. Where the vulture glides descending On an asphalt highway bending Thru libraries and museums, galaxies and stars Down the windy halls of friendship To the rose clipped by the bullwhip The motel of lost companions Waits with heated pool and bar. But me I'm not stopping there, Got my own row left to hoe Just another line in the field of time When the thrasher comes, I'll be stuck in the sun Like the dinosaurs in shrines But I'll know the time has come To give what's mine. Neil Young, Rust Never Sleeps (1979)

Real Quick" [Intro:] Valuable lesson, man I had to grow up That's why I never ask for help I'll do it for you niggaz and do it for myself [Chorus:] I go 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga! [50 Cent:] I'll run my blade 'cross a nigga ass {"real quick"} I'm so for real I'm on some real real nigga shit You playin boy I'll get you hit {"real quick"} You better hope the parademics come {"real quick"} Got me fucked up you think it's different now a nigga rich Before I get to cuttin know you niggaz better cut the shit Boy, you gon' have ya head popped, pull a trigger for me And my lil' niggaz trigger op' like it's legal homie No game when I bang, boy I empty the clip You run like a bitch, you ain't 'bout that shit Hey hey hey hey, I'll catch you another day day day day It's the Unit back to the bullshit [Tony Yayo:] Yeah! Nothin in life is out of bounds AK hold about a hundred rounds 60 shots like K.D. at the Rucker's Okay! When I see you on respirators Southside nigga 'til the day I'm gone Indulge in the violence when the drama on Yeah, these rap niggaz lukewarm I'm two sleeves of dope, when the mic on [Chorus] [Kidd Kidd:] Real quick, Rida Gang fuck nigga, huh! Don't Tweet me, see me when you see me Down to make the news just to say that I'm on TV (Kidd Kidd) This clip rated R, niggaz PG Them shells burn like a bootleg CD (huh?) Fuck love, I want the money When you get too much of it they gon' say you actin funny "Kidd, how you feel now that the Unit's back?" Like a million bucks, muh'fucker do the math! [Young Buck:] Cold-blooded, boy my heart don't feel shit Get with me, ask 50, I'll take the hit {"real quick"} Balenciagas, you can still get ya ass kicked Take a rapper nigga bitch and make a real flick I know I'm different from what you usually be dealin with Don't need a mic, give me some white to make a million with Single borough, six shots on the Brooklyn Bridge I'll let the nigga Drake tell you what I just did (yeah) [Chorus] [Lloyd Banks:] Nigga gettin money new to you (uh) I give a fuck if shit get ugly, there'll be a beautiful funeral You fit the script I'm gon' assume it's true Can't manuever through the street without a strategy, ain't nobody to tutor you And man was lucky Unit's through, you know why he flows 15 years, switchin dealers like casinos And my goon'll clip you on the arm (uhh) I'm out the country every week and dumpin ash out on the Autobahn Auto-pilot's always on Rather better livin, I've been [?] green bills callin me all day long This is homicide, more tears in your mama eyes More reason to wake up, real niggaz arrive [Chorus]

It’s more an affliction than the expression of any high-minded ideals. I watch Mark Bittman enjoy a perfectly and authentically prepared Spanish paella on TV, after which he demonstrates how his viewers can do it at home—in an aluminum saucepot—and I want to shove my head through the glass of my TV screen and take a giant bite out of his skull, scoop the soft, slurry-like material inside into my paw, and then throw it right back into his smug, fireplug face. The notion that anyone would believe Catherine Zeta-Jones as an obsessively perfectionist chef (particularly given the ridiculously clumsy, 1980s-looking food) in the wretched film No Reservations made me want to vomit blood, hunt down the producers, and kick them slowly to death. (Worse was the fact that the damn thing was a remake of the unusually excellent German chef flick Mostly Martha.) On Hell’s Kitchen, when Gordon Ramsay pretends that the criminally inept, desperately unhealthy gland case in front of him could ever stand a chance in hell of surviving even three minutes as “executive chef of the new Gordon Ramsay restaurant” (the putative grand prize for the finalist), I’m inexplicably actually angry on Gordon’s behalf. And he’s the one making a quarter-million dollars an episode—very contentedly, too, from all reports. The eye-searing “Kwanzaa Cake” clip on YouTube, of Sandra Lee doing things with store-bought angel food cake, canned frosting, and corn nuts, instead of being simply the unintentionally hilarious viral video it should be, makes me mad for all humanity. I. Just. Can’t. Help it. I wish, really, that I was so far up my own ass that I could somehow believe myself to be some kind of standard-bearer for good eating—or ombudsman, or even the deliverer of thoughtful critique. But that wouldn’t be true, would it? I’m just a cranky old fuck with what, I guess, could charitably be called “issues.” And I’m still angry. But eat the fucking fish on Monday already. Okay? I wrote those immortal words about not going for the Monday fish, the ones that’ll haunt me long after I’m crumbs in a can, knowing nothing other than New York City. And times, to be fair, have changed. Okay, I still would advise against the fish special at T.G.I. McSweenigan’s, “A Place for Beer,” on a Monday. Fresh fish, I’d guess, is probably not the main thrust of their business. But things are different now for chefs and cooks. The odds are better than ever that the guy slinging fish and chips back there in the kitchen actually gives a shit about what he’s doing. And even if he doesn’t, these days he has to figure that you might actually know the difference. Back when I wrote the book that changed my life, I was angriest—like a lot of chefs and cooks of my middling abilities—at my customers. They’ve changed. I’ve changed. About them, I’m not angry anymore.

What is your name?” she said crossing her legs. “I am Raj Singhania, owner of Singhania group of Industries and I am on my way to sign a 1000 crore deal.” “Oh my God, Oh my God!” she said laughing and looked at Bobby from top to bottom. “What’s with this OMG thing and girls, stop saying that. I am not going to propose you anytime soon. But it’s OK. I can understand how girls feel when they meet famous dudes like me,” Bobby said smiling. “What kind of an idiot are you?” she said laughing. “Indeed, a very rare one. The one that you find after searching for millions of years,” Bobby said. “Do you always talk like this?” she said laughing. “Only to strangers on bus or whenever I get bored,” Bobby said. “OK, tell me your real name,” she said. “My name is Mogaliputta Tissa and I am here to save the world.” “Oh no not again!” she said squeezing her head with both her hands. “I know you are dying inside to kiss me,” Bobby said flashing a smile. “Why would I kiss you?” she said with a pretended sternness. “Because, you are impressed with my intelligence level and the hotness quotient, I can see that in your eyes.” “You think you are hot! Oh no! You look like that cartoon guy in 7 up commercial,” she said laughing. “Thank you. He was the coolest guy I saw on TV,” Bobby said. “OK fine, let’s calm down. Tell me your real name,” she said calmly. “I don’t remember my name,” Bobby said calmly. “What kind of idiot forgets his name?” she said staring into Bobby’s eyes. “I am suffering from multiple personality disorder and I forgot my present personality’s name. Can you help me out?” Bobby said with an innocent look on his face. “I will kill you with my hair clip. Leave me alone,” she said and closed her eyes. “You look like a Pomeranian puppy,” Bobby said looking at her hair. “Don’t talk to me,” she said. “You look very beautiful,” Bobby said. “Nice try but I am not going to open my eyes,” she said. “Your ear rings are very nice. But I think that girl in the last seat has better rings,” Bobby said. “She is not wearing any ear rings. I know because I saw her when I was getting inside. It takes just 5 seconds for a girl to know what other girls around her are wearing,” she said with her eyes still closed. “Hey, look. They are selling porn CDs at a roadside shop,” Bobby said. “I have loads of porn in my personal computer. I don’t need them,” she said. “OMG, that girl looks hotter than you,” Bobby said. “I will not open my eyes no matter what. Even if an earthquake hits the road, I will not open my eyes,” she said crossing her arms over her chest. Bobby turned back and waved his hand to the kid who was poking his mom’s ear. The kid came running and halted at Bobby’s seat. “This aunty wants to give you a chocolate if you tell her your name,” Bobby whispered to the kid and the kid perked up smiling. “Hello Aunty! Wake up, my name is Bintu. Give me my chocolate, Aunty, please!” the kid said yanking at the girl’s hand. All of a sudden, she opened her eyes and glared at the kid. “Don’t call me aunty. What would everyone think? I am a teenage girl. Go away. I don’t have anything to give you,” she said and the kid went back to his seat. “This is what happens when you mess with an intelligent person like me,” Bobby said laughing. “Shut up,” she said. “OK dude.” “I am not a dude. Stop it.” “OK sexy. Oops! OK Saxena,” “I will scream.” “OK. Where do you study?” “Why should I tell you?” “Are you suffering from split personality disorder like me?” Bobby said staring into her eyes. “Shut up. Don’t talk to me,” she said with a pout. “What the hell! I have enlightened your mind with my thoughts, told you my name and now you are acting like you don’t know me. Girls are mad.

I remember a television program I saw once... The program was a documentary, about one of those wars. They interviewed people and showed clips from films of the time, black and white, and still photos... The interviews with people still alive then were in colour. The one I remember best was with a woman who had been the mistress of a man who had supervised one of the camps where they put the Jews, before they killed them. In ovens, my mother said... From what they said, the man had been cruel and brutal... The woman said she didn't notice much that she found unusual. She denied knowing about the ovens. ...He was not a monster, she said. People say he was a monster, but he was not one. What could she have been thinking about? Not much, I guess; not back then, not at the time. She was thinking about how not to think. The times were abnormal. She took pride in her appearance. She did not believe he was a monster. He was not a monster, to her. Probably he had some endearing trait: he whistled, off key, in the shower, he had a yen for truffles, he called his dog Liebchen and made it sit for little pieces of raw steak. How easy to invent a humanity, for anyone at all. What an available temptation. A big child, she would have said to herself. Her heart would have melted, she'd have smoothed the hair back from his forehead, kissed him on the ear, and not just to get something out of him either. The instinct to soothe, to make it better. There there, she'd say, as he woke from a nightmare. Things are so hard for you. All this she would have believed, because otherwise how could she have kept on living? She was very ordinary, under that beauty. She believed in decency, she was nice to the Jewish maid, or nice enough, nicer than she needed to be. Several days after this interview with her was filmed, she killed herself. It said that, right on television. Nobody asked her whether or not she had loved him. What I remember now, most of all, is the makeup.

YouTube would lead a revolution in the realm of video content. A clip from an episode of Jackass or one of Jonze’s skateboarding videos or quirky ads might air on television and be seen by a live audience of a few hundred thousand viewers, but then it either faded from memory or cost the network hefty sums to re-air. The same clip, uploaded for free to YouTube, would live on the site indefinitely and could rack up millions and millions of views through the

In May 2016, there appeared a website called WhoIsElonMusk .com. Most prominent on the site was an autoplaying video on the home page that featured foreboding music and the dark, smoky-voiced narration of a true-crime TV show. It spent two minutes shifting through B-roll footage and clips pilfered from documentaries about Musk.

A few years from now, far away from here, a young woman will be sitting on a sofa at a party. Everyone around will be dancing and drinking but his eyes will be glued to the television. It's just a short clip from concert by one of the country's most female performers right now. Her name is Maya Andersson, and the young man has always loved that name. How ordinary it sounds. He's never thought about her accent, has never reflected upon why it sound so familiar to hin, But now he sees her on television and she's singing a song about someone she loved,because it's hit birthday, and on the huge screen behind ger a photograph of him flashes up for moment. She knows no one will really see it, a thousand more images flash past right after it, she just inclided that particular photograph for her own sake. But he man on sofa recognizes it. Because he remembers fingertips and glances. Beer bottles on a worn bar counter and smoke in a silent forest. The way snow feels as it falls on your skin while a boy with sad eyes and a wild heart teaches you to skate. The man on the sofa pack almost nothing. He takes just a light bag and the case containing his bass guitar and travels to the next town on Maya's tour. He elbows past her security guard and almost gets knocked to the floor and he he calls out: "I knew him! I knew Benji! I loved him too!" Maya stops mid-stride. They look each other in the eye and see only him, the boy in the forest, sad and wild. "Do you play?" May asks. "I'm a bass player," he says. From then on he is her bass player. No one plays her songs like he does. No one else cries as much each night.

The occasion was the broadcast of a television program about the artistic avant-garde entitled Supervisions, which was produced by the Los Angeles public television station KCET. Smith’s and Shoup’s work on Superpaint had started to win wide notice outside PARC, thanks in part to a tape called “Vidbits” which Smith had compiled from clips of his best work for playing to artists’ gatherings all around California. After one such showing, KCET commissioned the two of them to supply some brief color-cycling effects for Supervisions. They had scrupulously insisted that the producers give Xerox screen credit, assuming that the parent company would appreciate the honor. Instead, Taylor marched into the video lab a day or two after the broadcast and buttonholed Smith. “Xerox wants their logo off every piece of tape,” he said. “Right now.

She sat on the wall, opened her book, and paid him no mind. After a few minutes the sounds of clipping stopped, and she felt his gaze on her. She turned a page. “Jane,” he said with a touch of exasperation. “Shh, I’m reading,” she said. “Jane, listen, someone warned me that another fellow heard my telly playing and told Mrs. Wattlesbrook, and I had to toss it out this morning. If they spot me hanging around you..” “You’re not hanging around me, I’m reading.” “Bugger, Jane…” “Martin, please, I’m sorry about your TV but you can’t cast me away now. I’ll go raving mad if I have to sit in that house again all afternoon. I haven’t sewn a thing since junior high Home Ec when I made a pair of gray shorts that ripped at the butt seam the first time I sat down, and I haven’t played pianoforte since I quit from boredom at age twelve, and I haven’t read a book in the middle of the day since college, so you see what a mess I’m in.” “So,” Martin said, digging in his spade. “You’ve come to find me again when there is no one else to flirt with.” Huh! thought Jane. He snapped a dead branch off the trunk. Huh! she thought again. She stood and started to walk away. “Wait.” Martin hopped after her, grabbing her elbow. “I saw you with those actors, parading around the grounds this morning. I hadn’t seen you with them before. In the context. And it bothered me. I mean, you don’t really go in for this stuff, do you?” Jane shrugged. “You do?” “More than I want to, though you’ve been making it seem unnecessary lately.” Martin squinted up at a cloud. “I’ve never understood the women who come here, and you’re one of them. I can’t make sense of it.” “I don’t think I could explain it to a man. If you were a woman, all I’d have to say is ‘Colin Firth in a wet shirt’ and you’d say, ‘Ah.’” “Ah. I mean, aha! is what I mean.” Crap. She’d hoped he would laugh at the Colin Firth thing. And he didn’t. And now the silence made her feel as though she were standing on a seesaw, waiting for the weight to drop on the other side. Then she smelled it. The musty, acrid, sour, curdled, metallic, decaying odor of ending. This wasn’t just a first fight. She’d been in this position too many times not to recognize the signs. “Are you breaking up with me?” she asked. “Were we ever together enough to require breaking up?” Oh. Ouch. She took a step back on that one. Perhaps it was her dress that allowed her to compose herself more quickly than normal. She curtsied. “Pardon the interruption, I mistook you for someone I knew.” She turned and left, wishing for a Victorian-type gown so she could have whipped the full skirts for a satisfying little cracking sound. She had to satisfy herself with emphatically tightening her bonnet ribbon as she marched. You stupid, stupid girl, she thought. You were fantasizing again. Stop it! It had all been going so well. She’d let herself have fun, unwind, not plague a new romance with constant questions such as, What if? And after? And will he love me forever? “Are you breaking up with me…?” she muttered to herself. He must think she was a lunatic. And really, he’d be right. Here she was in Pembrook Park, a place where women hand over scads of dough to hook up with men paid to adore them, but she finds the one man on campus who’s in a position to reject her and then leads him into it. Typical Jane.

table, a chest of drawers, a window seat, a color television with a working remote, and a closet with a light that came on automatically when he opened it. He went to the closet, pulled out a briefcase and opened it on the bed. Inside was a monocular, a cassette recorder with a phone clip, and a Polaroid Spectra camera with a half-dozen rolls of film. Excellent. He closed the briefcase, made a quick trip to the bathroom, and rode back down to the street. A bellhop, loitering in the phone-booth-sized lobby, said, “Cab, Mr. Davenport?” “No. I’ve got a car coming,” he said. Outside, he hurried down the street to a breakfast bar, got a pint of orange juice in a wax carton, and went back outside. After leaving Fell the night before, he’d gone to Lily’s apartment and given her the key impressions. Lily knew an intelligence officer

From inside the Contuzzi apartment I heard the phone ring. Once, twice, three times. “Bolitar?” It stopped after six rings. “We know you’re still in London. Where are you?” I hung up and looked at Mario’s door. The ringing phone—ringing like a phone used to, not like some ringtone on a cell—had sounded very much like a landline. Hmm. I put my hand on the door. Thick and sturdy. I pressed my ear against the cool surface, hit Mario’s cell phone number, watched the LCD display on my mobile. It took a moment or two before the connection went through. When I heard the faint chime of Mario’s cell phone through the door—the landline had been loud; this was not—dread flooded my chest. True, it may be nothing, but most people nowadays do not travel even the shortest of distances, including bathroom visits, without the ubiquitous cell phone clipped or carried upon their person. You can bemoan this fact, but the chances that a guy working in television news would leave his cell phone behind while heading to his office seemed remote. “Mario?” I shouted. I started pounding on the door. “Mario?” I didn’t expect him to answer, of course. I pressed my ear against the door again, listening for I’m not sure what—a groan maybe. A grunt. Calling out. Something. No sound. I wondered about my options. Not many. I reared back, lifted my heel, and kicked the door. It didn’t budge. “Steel-enforced, mate. You’ll never kick it down.” I turned toward the voice. The man wore a black leather vest without any sort of shirt underneath, and sadly, he didn’t have the build to pull it off. His physique, on too clear a display, managed to be both scrawny and soft. He had a cattle-ring piercing in his nose. He was balding but the little hair he had left was done up in what might be called a comb-over Mohawk. I placed his age at early fifties. It looked like he had gone out to a gay bar in 1979 and had just gotten home. “Do you know the Contuzzis?” I asked. The man smiled. I expected another dental nightmare, but while the rest of him might be in various stages of decay, his teeth were gleaming. “Ah,” he said. “You’re an American.” “Yes.” “Friends with Mario, are we?” No reason to go into a long answer here: “Yes.” “Well, what can I tell you, mate? Normally they’re a quiet couple, but you know what they say—when the wife’s away, the mouse will play.

Real Quick [Intro:] Valuable lesson, man I had to grow up That's why I never ask for help I'll do it for you niggaz and do it for myself [Chorus:] I go 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga! [50 Cent:] I'll run my blade 'cross a nigga ass {"real quick"} I'm so for real I'm on some real real nigga shit You playin boy I'll get you hit {"real quick"} You better hope the parademics come {"real quick"} Got me fucked up you think it's different now a nigga rich Before I get to cuttin know you niggaz better cut the shit Boy, you gon' have ya head popped, pull a trigger for me And my lil' niggaz trigger op' like it's legal homie No game when I bang, boy I empty the clip You run like a bitch, you ain't 'bout that shit Hey hey hey hey, I'll catch you another day day day day It's the Unit back to the bullshit [Tony Yayo:] Yeah! Nothin in life is out of bounds AK hold about a hundred rounds 60 shots like K.D. at the Rucker's Okay! When I see you on respirators Southside nigga 'til the day I'm gone Indulge in the violence when the drama on Yeah, these rap niggaz lukewarm I'm two sleeves of dope, when the mic on [Chorus] [Kidd Kidd:] Real quick, Rida Gang fuck nigga, huh! Don't Tweet me, see me when you see me Down to make the news just to say that I'm on TV (Kidd Kidd) This clip rated R, niggaz PG Them shells burn like a bootleg CD (huh?) Fuck love, I want the money When you get too much of it they gon' say you actin funny "Kidd, how you feel now that the Unit's back?" Like a million bucks, muh'fucker do the math! [Young Buck:] Cold-blooded, boy my heart don't feel shit Get with me, ask 50, I'll take the hit {"real quick"} Balenciagas, you can still get ya ass kicked Take a rapper nigga bitch and make a real flick I know I'm different from what you usually be dealin with Don't need a mic, give me some white to make a million with Single borough, six shots on the Brooklyn Bridge I'll let the nigga Drake tell you what I just did (yeah) [Chorus] [Lloyd Banks:] Nigga gettin money new to you (uh) I give a fuck if shit get ugly, there'll be a beautiful funeral You fit the script I'm gon' assume it's true Can't manuever through the street without a strategy, ain't nobody to tutor you And man was lucky Unit's through, you know why he flows 15 years, switchin dealers like casinos And my goon'll clip you on the arm (uhh) I'm out the country every week and dumpin ash out on the Autobahn Auto-pilot's always on Rather better livin, I've been [?] green bills callin me all day long This is homicide, more tears in your mama eyes More reason to wake up, real niggaz arrive [Chorus]

When was the last time we took a verse like, “Let there be no filthiness nor foolish talk nor crude joking, which are out of place, but instead let there be thanksgiving” (Eph. 5:4) and even began to try to apply this to our conversation, our movies, our YouTube clips, our television and commercial intake? What does it mean that there must not be even a hint of immorality among the saints (v. 3)? It must mean something. In our sex-saturated culture, I would be surprised if there were not at least a few hints of immorality in our texts and tweets and inside jokes. And what about our clothes, our music, our flirting, and the way we talk about people who aren’t in the room?

To say that I didn’t watch TV news is underselling my position. I actively avoided not just the news but also clips of the news on social media. I believed (or maybe wanted to believe) that I lived in a bubble world unaffected by the kinds of things that happened on cable news.

It was the Age of Anything-Can-Happen, he reminded himself. He had heard many people say that on TV and on the outré video clips floating in cyberspace, which added a further, new-technology depth to his addiction. There were no rules anymore. And in the Age of Anything-Can-Happen, well, anything could happen.

You’re coming with me to the gym later, right?” Max asked as we ambled down the sidewalk, braced against the wind with our hands shoved in our coat pockets. “Mari sent me video of your badassery at Holywell Fight Night, and I’m pretty sure Dad’s been running choice clips on the gym TVs all week. You’re now a legend.” “Please, I was already a legend.

Who?” “Bill Judd Jr.” “Oh, noooo.” Round, Swedish oooo’s. “Miz Sweet, when we were going through Judd Sr.’s office, we found some invoices on your computer, for chemicals that were apparently used in an ethanol plant out in South Dakota…” “I heard about it on TV. That was the same one? The one where they were making drugs?” “Yes, it was,” Virgil said. “Oh, nooo.” The sound was driving him crazy; she sounded like a bad comedian. “Who in town knew about the ethanol plant?” She turned her face to one side and put a hand to her lips. “Well, the Judds, of course.” “Both of them?” Virgil asked. “Well…Junior set it up, but Senior knew about it.” He pressed. “Are you sure about that?” “Well, yes. He signed the checks.” “Did you see him signing the checks?” Virgil asked. “No, but I saw the checks. It was his signature…” “Do you remember the bank?” She shook her head. “No, no, I don’t.” She frowned. “I’m not even sure that the bank name was on the checks.” “Did you ever talk to Junior about that?” “No. It wasn’t my business,” she said. “They wanted to keep it quiet, because, you know, when ethanol started, it sounded a little like the Jerusalem artichoke thing. The Judds were involved in that, of course.” “So how quiet did they keep it?” Virgil asked. “Who else knew? Did you tell anybody?” He saw it coming, the noooo. “Oh, noooo…Junior told me, don’t talk about this, because of my father. So, I didn’t.” “Not to anybody?” Her eyes drifted. She was thinking, which meant that she had. “It’s possible…my sister, I might have told. I think there might have been some word around town.” “It’s really important that you remember…” She put her hand to her temple, as though she were going to move a paper clip with telekinesis, and said, “I might have mentioned it at bridge. At our bridge club. That a plant was being built, and some local people were involved.” “All right,” Virgil said. “So who was at the bridge club?” “Well, let me see, there would have been nine or ten of us…” She listed them; he only recognized one of the names. WHEN HE WAS DONE with Sweet, he strolled up the hill to the newspaper office. He pushed in, and found Williamson behind the business counter, talking to a woman customer. Williamson looked past the woman and snapped, “What do you want?” “I have a question, when you’re free.” “Wait.” Williamson was wearing a T-shirt and had sweat stains under his arms, as though he’d been lifting rocks. “Take just a minute.” The customer was trying to dump her Beanie Baby collection locally—ten years too late, in Virgil’s opinion—and wanted the cheapest possible advertisement. She got twenty words for six dollars, looking back and forth between Virgil and Williamson, and after writing a check for the amount, said to Virgil, “I’d love to hear your question.” Virgil looked at her over his sunglasses and grinned: “I’d love to have you, but I’m afraid it’s gotta be private, for the moment.” “Shoot.” She looked at Williamson, who shrugged, and she said, “Oh, well.” WHEN SHE’D GONE out the door, Williamson said, “I’m working. You can ask me out back.” “You still pissed about the search?

We overschedule our days and complain constantly about being too busy; we shop endlessly for stuff we don’t need and then feel oppressed by the clutter that surrounds us; we rarely sleep well or enough; we compare our bodies to the artificial ones we see in magazines and our lives to the exaggerated ones we see on television; we watch cooking shows and then eat fast food; we worry ourselves sick and join gyms we don’t visit; we keep up with hundreds of acquaintances but rarely see our best friends; we bombard ourselves with video clips and emails and instant messages; we even interrupt our interruptions.

Astrophysicist Neil deGrasse Tyson—appearing in an old clip from the Cosmos television show—declared good-naturedly, “If a Creator designed our universe to support life, he did a terrible job. In the vast, vast majority of the cosmos, life would die instantly from lack of atmosphere, gamma-ray bursts, deadly pulsars, and crushing gravitational fields. Believe me, the universe is no Garden of Eden.

Does the idea of having insufficient time to analyze all the points of a communication remind you of how you have to respond to the rapid-fire presentation of many messages these days? Think about it for a second. Better yet, think about it for an unlimited time: Isn't this the way the broadcast media operate, transmitting a swift stream of information that can't be easily slowed or reversed to give us the chance to process it thoroughly`We're not able to focus on the real quality of the advertiser's case in a radio or television spot. Nor are we able to respond mindfully to a news clip of a speech by a politician. Instead, we're left to a focus on secondary features of the presentations, such as the attractiveness of the advertising spokesperson or the politician's charisma.

My favorite prototypical Beatlemaniac appears in the great documentary The Compleat Beatles, in a TV news clip.

the same thing happened when I first heard Big Bill Broonzy. I saw a clip of him on TV, playing in a nightclub, lit by the light from a single lightbulb, swinging in its shade from the ceiling, creating an eerie lighting effect. The tune he was playing was called “Hey Hey,” and it knocked me out. It’s a complicated guitar piece, full of blue notes, which are what you get by splitting a major and a minor note. You usually start with the minor and then bend the note up toward the major, so it’s somewhere between the two. Indian and Gypsy music also use this kind of note bending. When I first heard Big Bill and, later, Robert Johnson, I became convinced that all rock ’n’ roll—and pop music too, for that matter—had sprung from this root.

Now compare the way these two ideas—HDTV and YouTube—changed the basic rules of engagement for their respective platforms. Going from analog television to HDTV is a change in degree, not in kind: there are more pixels; the sound is more immersive; the colors are sharper. But consumers watch HDTV the exact same way they watched old-fashioned analog TV. They choose a channel, and sit back and watch. YouTube, on the other hand, radically altered the basic rules of the medium. For starters, it made watching video on the Web a mass phenomenon. But with YouTube you weren’t limited to sitting and watching a show, television-style; you could also upload your own clips, recommend or rate other clips, get into a conversation about them.

A whole new smart glass industry has been incubating for a decade. As the global construction industry comes back to life, the thousands of smart glass installations in North America, Europe, Asia and Australia are evidence of the technology’s rapidly escalating adoption rate. Corning, the world leader in specialized glass and ceramic products, has produced a series of YouTube clips called A Day Made of Glass. In them, every piece of glass in the home contains intelligence and sensors that serve as a ubiquitous contextual computing system. In Corning’s vision, the home is one big connected computer and every piece of glass is a screen that you touch to move an image from one glass surface to the next. For example, you can look up a recipe on your phone and drag the result to a space on your stovetop next to your burner as you prepare the dish. If you are video chatting on a smart glass tabletop, you can slide the image onto your TV screen without missing a beat.

My next task was to secure a weapon. I remembered the old TV show, McGyver, where the hero would defeat the bad guys by making a device out of whatever he happened to find handy—a comb, two paper clips, a hub cap.

Today, movies are one of a near-limitless array of viewing options including television shows, YouTube clips, and TikTok videos. But in the late 1960s and early ’70s, movies weren’t just popular, they were important. They dominated the cultural conversation. They were the most influential and widely consumed art

Nationwide, every member of the waning audience for live morning news programming promptly affixed themselves to their preferred online social networks, wrongfully assuming to be the first to share their witty reports and captured clips of the hilarious fumbling of their local television and radio newscasters.