Watching Documentaries Quotes

So you're Zach." Townsend didn't even try to hide the judgement in his voice as he looked Zach up and down in some sort of silent but dangerous examination. Zach huffed but smiled. "so you're Townsend." The two of them stared for a long time, wordless. It felt like I was watching a documentary on the Nature Channel, something about alpha males in the wild.

Anyway. I’m not allowed to watch TV, although I am allowed to rent documentaries that are approved for me, and I can read anything I want. My favorite book is A Brief History of Time, even though I haven’t actually finished it, because the math is incredibly hard and Mom isn’t good at helping me. One of my favorite parts is the beginning of the first chapter, where Stephen Hawking tells about a famous scientist who was giving a lecture about how the earth orbits the sun, and the sun orbits the solar system, and whatever. Then a woman in the back of the room raised her hand and said, “What you have told us is rubbish. The world is really a flat plate supported on the back of a giant tortoise.” So the scientist asked her what the tortoise was standing on. And she said, “But it’s turtles all the way down!” I love that story, because it shows how ignorant people can be. And also because I love tortoises.

Truth is stranger than fiction," as the old saying goes. When I watch a documentary, I can't help crying and then I think to myself, "Fiction can't compete with this." But when I mentioned this to a veteran manga artist friend of mine he said that "fiction brings salvation to characters in stories that would otherwise have no salvation at all." His words strengthened the conviction of my manga spirit.

Law enforcement would rather we remember a dull man as brilliant than take a good hard look at the role they played in this absolute sideshow, and I am sick to death of watching them in their pressed shirts and cowboy boots, in their comfortable leather interview chairs, in hugely successful and critically acclaimed crime documentaries, talking about the intelligence and charm and wiliness of an ordinary misogynist. This story is not that. The story is not that.

I’ll check on you when I get home. I love you, baby. (Kiefer) I love you too, Daddy. (Kiara) What the hell was that action? (Syn) I think it’s something called ‘paternal concern.’ (Nykyrian) What…? You sure? I thought that crap was a myth. (Syn) No, really. I watched it once in a documentary. It was fascinating. Believe it or not, there are people out there who actually have feelings for their progeny. (Nykyrian) Get the fuck out. No way. You’re screwing with my head again, aren’t you? (Syn) No, I swear. You just saw it with your own eyes. I did not make that shit up. (Nykyrian) Yeah but it’s really messing with my concept of the natural order of the universe. Paternal love? What’s next? Limb regrowth? Genetic splicing reversals? (Syn)

I could sit and watch nature documentaries with Jenks and the kids the rest of the night if I wanted. And trust me, watching a dozen pixies scream as a crocodile chomped on a zebra was something not to be missed. They invariably cheered for the crocodile, not the zebra.

Silence, please? I'm trying to watch this documentary." Laurel nodded at The Bachelor. "I believe one of the females is about to present to the alpha.

Every moment, as we walk on this earth, we are watched and judged by the eyes of the universe.

We know fun. Like two weekends ago we stayed up all night watching a documentary marathon on the brain.” She rolled her eyes toward Erin. “We’re positively wild.

Now i'm home again and none of my usuals methods of escape are doing the trick. I tend to watch a lot of movies. Ideally, documentaries about loners, outcats, pioneers. Give me a cult leader, obscure historical figures, dead musicians. I want to see a misunderstood person who someone is finally taking the time to understand.

It’s an essential part of becoming more creative. Expand your interests in life. Seek out new, interesting experiences, no matter how mundane or inconsequential they might seem to others. Read books, watch documentaries, and discuss your ideas with others. No subject, no matter how specialized or esoteric, is off limits. You never know where your imagination will find pieces for its puzzles.

You don’t have to watch many wildlife documentaries to know that the herd doesn’t accept the lone straggler.

The dismal fact is that self-respect has nothing to do with the approval of others — who are, after all, deceived easily enough; has nothing to do with reputation, which, as Rhett Butler told Scarlett O’Hara, is something people with courage can do without. To do without self-respect, on the other hand, is to be an unwilling audience of one to an interminable documentary that deals with one’s failings, both real and imagined, with fresh footage spliced in for every screening. There’s the glass you broke in anger, there’s the hurt on X’s face; watch now, this next scene, the night Y came back from Houston, see how you muff this one. To live without self-respect is to lie awake some night, beyond the reach of warm milk, the Phenobarbital, and the sleeping hand on the coverlet, counting up the sins of commissions and omission, the trusts betrayed, the promises subtly broken, the gifts irrevocably wasted through sloth or cowardice, or carelessness. However long we postpone it, we eventually lie down alone in that notoriously uncomfortable bed, the one we make ourselves. Whether or not we sleep in it depends, of course, on whether or not we respect ourselves.

I just watched this documentary on the mating habits of whiptail lizards and trust me, if those things can make it happen, you can too, my friend.

NO greater love has a husband for his wife than to watch a 2hr documentary on an elite ballet competition.

He keeps a close eye on his weight, hardly ever takes a drink, swims, walks the dog, and watches documentaries in the evening. Anything involving real-life crime interests him, which always surprises me, considering what happened. And he talks to no one. Least of all to me.

Dear Hunger Games : Screw you for helping cowards pretend you have to be great with a bow to fight evil. You don't need to be drafted into a monkey-infested jungle to fight evil. You don't need your father's light sabre, or to be bitten by a radioactive spider. You don't need to be stalked by a creepy ancient vampire who is basically a pedophile if you're younger than a redwood. Screw you mainstream media for making it look like moral courage requires hair gel, thousands of sit ups and millions of dollars of fake ass CGI. Moral courage is the gritty, scary and mostly anonymous process of challenging friends, co-workers and family on issues like spanking, taxation, debt, circumcision and war. Moral courage is standing up to bullies when the audience is not cheering, but jeering. It is helping broken people out of abusive relationships, and promoting the inner peace of self knowledge in a shallow and empty pseudo-culture. Moral courage does not ask for - or receive - permission or the praise of the masses. If the masses praise you, it is because you are helping distract them from their own moral cowardice and conformity. Those who provoke discomfort create change - no one else. So forget your politics and vampires and magic wands and photon torpedoes. Forget passively waiting for the world to provoke and corner you into being virtuous. It never will. Stop watching fictional courage and go live some; it is harder and better than anything you will ever see on a screen. Let's make the world change the classification of courage from 'fantasy' to 'documentary.' You know there are people in your life who are doing wrong. Go talk to them, and encourage them to pursue philosophy, self-knowledge and virtue. Be your own hero; you are the One that your world has been waiting for.

Sometimes I think my ability to concentrate is being nibbled away by the internet; other times I think it's being gulped down in huge, Jaws-shaped chunks. In those quaint days before the internet, once you made it to your desk there wasn't much to distract you. You could sit there working or you could just sit there. Now you sit down and there's a universe of possibilities – many of them obscurely relevant to the work you should be getting on with – to tempt you. To think that I can be sitting here, trying to write something about Ingmar Bergman and, a moment later, on the merest whim, can be watching a clip from a Swedish documentary about Don Cherry – that is a miracle (albeit one with a very potent side-effect, namely that it's unlikely I'll ever have the patience to sit through an entire Bergman film again). Then there's the outsourcing of memory. From the age of 16, I got into the habit of memorising passages of poetry and compiling detailed indexes in the backs of books of prose. So if there was a passage I couldn't remember, I would spend hours going through my books, seeking it out. Now, in what TS Eliot, with great prescience, called "this twittering world", I just google the key phrase of the half-remembered quote. Which is great, but it's drained some of the purpose from my life. Exactly the same thing has happened now that it's possible to get hold of out-of-print books instantly on the web. That's great too. But one of the side incentives to travel was the hope that, in a bookstore in Oregon, I might finally track down a book I'd been wanting for years. All of this searching and tracking down was immensely time-consuming – but only in the way that being alive is time-consuming.

I flopped on the overstuffed kitchen couch and watched him go. I wondered what would happen to all his films and photographs in the upstairs closet - the documentaries on homelessness and drug addiction, the funny short subjects, the half-finished romantic comedy, the boxes of slice-of-life photographs that spoke volumes about the human condition. I wondered how you stop caring about what you've ached over, sweated over. (Thwonk)

So why’d you flake out on the party?” “I wasn’t in the mood. I kept picturing you crying here alone and pity won out.” “I’m not crying, jackass.” I point to the boring-ass milk documentary that’s flashing on the TV screen. “I’m learning about pasteurization.” She stares at me. “You guys pay money to subscribe to a gazillion channels and this is what you choose to watch?” “Well, I flipped by it and saw a bunch of cow udders, and, well, you know, it turned me on, so—” “EW!” I burst out laughing. “Kidding, babe. If you must know, the batteries in the remote died and I was too lazy to get up and change the channel. I was watching this wicked-awesome miniseries about the Civil War before cow udders came on.

Educating ourselves and others is an essential step in the process of change. Few of us have been taught to think critically about issues of social injustice. We have been taught not to notice or to accept our present situation as a given, “the way it is.” But we can learn the history we were not taught, we can watch the documentaries we never saw in school, and we can read about the lives of change agents, past and present. We can discover another way. We are surrounded by a “cloud of witnesses” who will give us courage if we let them.

I want to climb every last mountain, row down every last river, explore every last cave, cross every last bridge, run across every last beach, visit every last town, city, country. Everywhere. I should've done more than watch documentaries and video blogs about these places.

White exceptionalism is the belief that because you have read antiracism books and articles, listened to social justice–based podcasts, watched documentaries on the effects of racism, and follow some BIPOC activists and teachers, you know it all and do not need to dig deeper.

What are you watching? Is it comforting? I don’t have the bandwidth to give a fuck about anything not comforting to me most of the time. I know that’s “uncultured,” but also I don’t care because who are you, person challenging me? I want to watch Veep before bed because it makes me laugh, and I want to watch true crime documentaries, and I want to watch British actors in terrific costumes battling through emotions they weren’t even aware they had. That’s all. I’m tired. Find your comforting shit. Build your mental fort and hang out there.

War crimes, you say? No matter how many policies you put on paper, in reality, there are no rights and wrongs in war. War itself is a crime. War cannot be justified. I believe, the only people, in this world, whose opinions matter, are the ones who go the extra mile to help other people expecting nothing in return. Soldiers who fight fiercely for their country, the doctors in Sri Lanka's public hospitals attending to hundreds of patients at a time for no extra pay , the nuns who voluntarily teach English and math to children of refugee camps in the north, the monks who collect food to feed entire villages during crises, they are the people worth listening to, their opinion matters. So find me one of them who will say: they wish the war didn't end in 2009, that they wish Sri Lanka was divided into two parts. Find me one of them who agrees with the international war crime allegations against Sri Lanka, and I will listen. But I will not listen to the opinions of those who are paid to find faults in a war they were never a part of, a war they never experienced themselves. I will not listen to the opinions of those who watched the war on tv or read about it on the internet or were moved by a documentary on Al Jazeera. The war is over. The damage is done. Let Sri Lanka move on. So our children will never have to see what we've seen.

Whenever I watch a documentary about the space, I find the news in the world very funny and dull!

What would people in their old lives be saying about these girls? Would they be called missing? Would some documentary program on the ABC that nobody watched, or one of those thin newspapers nobody read, somehow connect their cases, find the thread to make them a story? The Lost Girls, they could be called. Would it be said, they 'disappeared', 'were lost'? Would it be said that they were abandoned or taken, the way people said a girl was attacked, a woman was raped, this femaleness always at the centre, as if womanhood itself were the cause of these things? As if the girls somehow, through the natural way of things, did it to themselves. They lured abduction and abandonment to themselves, they marshalled themselves into this prison where they had made their beds, and now, once more, were lying in them.

The one I love the most is about two mayflies on a date; they watch a nature documentary about themselves and discover their life span is only one day long ― after mating, they'll die.

What the hell was that action?"Syn asked him. "I think it´s something called ´paternal concern.´" Syn scowled at his bland explanation. "What...? You sure? I thought that crap was a myth." Nykyrian shrugged. "No, really. I watched it once in a documentary. It was fascinating. Belive it or not, there are people out there who actually have feelings for their progeny." "Get the f*ck out. No way. You´re screwing with my head again, aren´t you?" "No, I swear. You just saw it with your own eyes. I did not make this shit up." Syn shivered. "Yeah but it´s really messing with my concept of natural order of the universe. Paternal love? What´s next? Limp regrowth? Genetic splicing reversals?

I’ve seen all those movies, of course. Schindler’s List, The Pianist, Sophie’s Choice. And I’ve watched a few documentaries and read a few books. But you don’t really get a sense of it until you’re actually there, do you? Have you ever been, Mrs F.?’ I said nothing.

There is a spate of prime-time documentaries about "psychological weapons." One is The Call of the Void. It features secret service men who inform the audience about the psychic weapons they have developed. The Russian military has "sleepers," psychics who can go into a trance and enter the world's collective uncounscious, its deeper soul, and from thence penetrate the minds of foreign statesmen to uncover their nefarious designs. One has entered the mind of the US president and then reconfigured the intentions of one of his advisers so that whatever hideous plan the US had hatched has failed to come off. The message is clear: if the secret services can see into the US president's mind, they could definitely see into yours; the state is everywhere, watching your every thought.

Don't you ever watch wildlife documentaries? Wild animals are always at their most dangerous when they've been wounded.

I wrinkled my nose at her. “You really need to stop watching those nature documentaries with Layne.” She ran her fingers through her hair. “I know, but the footage is so amazing.

• Must-watch documentary The Gatekeepers (2012)

Roberts had watched a documentary on Francis Bacon. He especially liked Bacon’s cry when he entered a club in Soho: ‘Champagne for my real friends. Real pain for my sham friends’.

Watching Paris is Burning, I began to think that the many yuppie-looking, straight -acting, pushy, predominantly white folks in the audience were there because the film in no way interrogates “whiteness.” These folks left the film saying it was “amazing,” “marvellous,” incredibly funny,” worthy of statements like, “Didn’t you just love it?” And no, I didn’t love it. For in many ways the film was a graphic documentary portrait of the way in which colonized black people (in this case black gay brothers, some of whom were drag queens) worship at the throne of whiteness, even when such worship demands that we live in perpetual self-hate, steal, go hungry, and even die in its pursuit. The "we" evoked here is all of us, black people/people of color, who are daily bombarded by a powerful colonizing whiteness that seduces us away from ourselves, that negates that there is beauty to be found in any form of blackness that is not imitation whiteness.

As a last resort, with the orange nearing my face and my back pressing hard against the sharp edge of my broadcast table, I grabbed my phone to tell Carlos that if I didn't make it home tonight, it wasn't because I didn't love him, or didn't want to watch a documentary on special scientific graphs, or was too obsessed with my job to relax and enjoy a good meal and some television. It was only because I was zapped out of existence by a lunatic Non-John Peters. And that, in fact, I do love Carlos, and I would want nothing more than to watch a documentary on scientific graphs over some homemade linguini, or go out to eat again, or whatever. But then, as I grabbed my phone, I thought: That's way too long to write for a text. So I just hit John Peters upside the head with it...

Law enforcement would rather we remember a dull man as brilliant than take a good hard look at the role they played in this absolute sideshow, and I am sick to death of watching them in their pressed shirts and cowboy boots, in their comfortable leather interview chairs, in hugely successful and critically acclaimed crime documentaries, talking about the intelligence and charm and wiliness of an ordinary misogynist.

I fill up by reading poetry that excites me, reading poetry I don’t always get, watching nature documentaries, writing notes over a period of days, researching the etymology of words,”-Benjamin Garcia @bengarciapoet

We must've been down here for at least an hour" I have no idea if that's true. I just know every second before we touched felt like a century. Then once we did, time lost all meaning, I think of the black hole documentary I watched with my dad a few years ago, how astrophysicists speculated that there were places in our universe where the rules of time and space inverted, moments becoming a place where you could stay indefinitely.

I seriously doubt that Agnès Varda ever followed in anyone else’s footsteps, in any corner of her life or her art…which were one in the same. She charted and walked her own path each step of the way, she and her camera. Every single one of her remarkable handmade pictures, so beautifully balanced between documentary and fiction, is like no one else’s—every image, every cut… What a body of work she left behind: movies big and small, playful and tough, generous and solitary, lyrical and unflinching…and alive. I saw her for the last time a couple of months ago. She knew that she didn’t have much longer, and she made every second count: she didn’t want to miss a thing. I feel so lucky to have known her. And to all young filmmakers: you need to watch Agnès Varda’s pictures.

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.

Load your bookshelves with the best literature you can find. Hang beautiful, thought-provoking art work around your house. Watch history and science documentaries as well as good movies and television programs. Listen to beautiful music (which, of course, is open to interpretation).

The world couldn’t have been hungrier for Anthology, with a ten-hour documentary and three huge-selling volumes of outtakes, turning into a joyous global celebration. The Anthology double-CD packages might have been more purchased than played (everybody back then bought more music than they had time to listen to). They included two new songs, Lennon tape fragments that the others finished: “Free as a Bird” and “Real Love.” The flaw was Jeff Lynne’s production—George Martin wasn’t invited, because Harrison flatly refused to work with him. It’s ironic that when you watch Anthology, the only music that sounds dated is from 1995. But no matter how blasphemous the idea seemed, both songs were disarmingly beautiful, as was the documentary, to the point where you could drop in on any random hour (or binge all ten) and enjoy. One of the wisest decisions of Anthology was

Anywhere you wanted to travel to?” ‘I’m suffocated by the darkness and this question. I wish I was brave enough to have travelled. Now that I don’t have time to go anywhere, I want to go everywhere: I want to get lost in the deserts of Saudi Arabia; find myself running from the bats under the Congress Avenue Bridge in Austin, Texas; stay overnight on Hashima Island, this abandoned coal-mining facility in Japan sometimes known as Ghost Island; travel the Death Railway in Thailand, because even with a name like that, there’s a chance I can survive the sheer cliffs and rickety wooden bridges; an everywhere else. I want to climb every last mountain, row down every last river, explore every last cave, cross every last bridge, run across last beach, visit every last town, city, country. Everywhere. I should’ve done more than watch documentaries and video blogs about these places.

You might have saved the Dance," I say loftily, "but I saved this school from Cats." "Not all heroes wear capes," Ryan says, pushing open the classroom door. "You know, I kind of like Cats." "You like watching aviation disaster documentaries too," I say blandly, hiking up my backpack on one shoulder.

Once, in sixth-grade history, we watched a documentary on King Tut. When the archaeologists first opened his tomb, they heard a loud tearing sound, like a knife gashing through cloth. It was the sound of all the textiles inside the tomb, the imperial fabrics, ripping at the sudden exposure to fresh air.

Nami Emo was also the greatest storybook reader in the world. Like my grandfather before her, she worked as a voice actress, doing voice-overs for documentaries and dubbing anime episodes, which Seong Young and I would watch over and over on VHS. At night, she'd read Korean Sailor Moon books to me and do all the voices. It didn't matter that she couldn't translate the chapters into English---her voice was elastic and could swing seamlessly from the cackle of an evil queen to the catchphrase of the resolute heroine, then quiver words of caution from a useless sidekick and resolve with a dashing prince's gallant coo.

I don’t know if the other defectors had the same problems, but for me the most difficult part of the program was learning to introduce myself in class. Almost nobody knew how to do this, so the teachers taught us that the first thing you say is your name, age, and hometown. Then you can tell people about your hobbies, your favorite recording artist or movie star, and finally you can talk about “what you want to be in the future.” When I was called on, I froze. I had no idea what a “hobby” was. When it was explained that it was something I did that made me happy, I couldn’t conceive of such a thing. My only goal was supposed to be making the regime happy. And why would anyone care about what “I” wanted to be when I grew up? There was no “I” in North Korea—only “we.” This whole exercise made me uncomfortable and upset. When the teacher saw this, she said, “If that’s too hard, then tell us your favorite color.” Again, I went blank. In North Korea, we are usually taught to memorize everything, and most of the time there is only one correct answer to each question. So when the teacher asked for my favorite color, I thought hard to come up with the “right” answer. I had never been taught to use the “critical thinking” part of my brain, the part that makes reasoned judgments about why one thing seems better than another. The teacher told me, “This isn’t so hard. I’ll go first: My favorite color is pink. Now what’s yours?” “Pink!” I said, relieved that I was finally given the right answer. In South Korea, I learned to hate the question “What do you think?” Who cared what I thought? It took me a long time to start thinking for myself and to understand why my own opinions mattered. But after five years of practicing being free, I know now that my favorite color is spring green and my hobby is reading books and watching documentaries. I’m not copying other people’s answers anymore.

And I actually think that’s probably not that unusual a reaction. I mean, that’s why cars slow down when they’re passing a traffic accident, right? Or why people watch true-crime documentaries, or read books about Ted Bundy. This stuff is, in a weird way, exciting. Right?’ ‘You think that’s what Liz is?’ I said. ‘Excited?

I’m a grown fucking man, and I nearly bawled like a baby watching that shit.” Rhys’s sincerity caused a tightening of attraction deep in my gut. He watched wildlife documentaries? I did bawl like a baby at the walruses and was strangely turned on that he was compassionate enough to admit to feelings on the matter. I might have emitted a moan.

One day, back when I working at a video store, a woman accompanied by her two small sons walked up the counter with a tape box displaying a man slicing off someone’s head with a chainsaw. “Does this have any sex in it?” she asked. In my mind, it was like I was narrating a nature documentary on humans. “Watch as the American mother protects her young ones from dangerous influences.

A woman once told me that, for a time after her husband died, her grief was as constant as breathing. Then one day, while pushing a shopping cart, she realized she was thinking about yogurt. With time, thoughts in this vein became contiguous. With more time thoughts in this vein became sustained. Eventually they won a kind of majority. Her grieving had ended while she wasn’t watching (although, she added, grief never ends). And so it was with my depression. One day in December I changed a furnace filter with modest interest in the process. The day after that I drove to Gorst for the repair of a faulty seat belt. On the thirty-first I went walking with a friend—grasslands, cattails, asparagus fields, ice-bound sloughs, frost-rimed fencerows—with a familiar engrossment in the changing of winter light. I was home, that night, in time to bang pots and pans at the year’s turn: “E quindi uscimmo a riveder le stelle.” It wasn’t at all like that—this eve was cloudy, the stars hidden by high racing clouds—but I found myself looking skyward anyway, into the night’s maw, and I noticed I was thinking of January’s appointments without a shudder, even with anticipation. Who knows why, but the edge had come off, and being me felt endurable again. My crucible had crested, not suddenly but less gradually than how it had come, and I felt the way a newborn fawn looks in an elementary school documentary. Born, but on shaky, insecure legs. Vulnerable, but in this world for now, with its leaf buds and packs of wolves. Was it pharmacology, and if so, is that a bad thing? Or do I credit time for my healing? Or my Jungian? My reading? My seclusion? My wife’s love? Maybe I finally exhausted my tears, or my dreams at last found sufficient purchase, or maybe the news just began to sound better, the world less precarious, not headed for disaster. Or was it talk in the end, the acknowledgments I made? The surfacing of so many festering pains? My children’s voices down the hall,

When I was a kid I watched a documentary about the movie Planet of the Apes. The first one, with Charlton Heston. They were talking about how they would make up all the extras as various types of apes, like chimps and gorillas and orangutans, and then the extras would go to lunch and they would segregate. All the people made up like gorillas would sit with other gorillas, all the chimps would sit with chimps.

I suppose a part of me wished when I put my key in the door, it would magically open into a different apartment, a different life, a place so bright with joy and excitement that I'd be temporarily blinded when I first saw it. I pictured what a documentary film crew would capture in my face as I glimpsed this whole new world before me, like in those home improvement shows Reva liked to watch when she came over. First, I'd cringe with surprise. But then, once my eyes adjusted to the light, they'd grow wide and glisten with awe. I'd drop the keys and the coffee and wander in, spinning around with my jaw hanging open, shocked at the transformation of my dim, gray apartment into a paradise of realized dreams. But what would it look like exactly? I had no idea. When I tried to imagine this new place, all I could come up with was a cheesy mural of a rainbow, a man in a white bunny costume, a set of dentures in a glass, a huge slice of watermelon on a yellow plate—an odd prediction, maybe, of when I'm ninety-five and losing my mind in an assisted-living facility where they treat the elderly residents like retarded children. I should be so lucky, I thought. I opened the door to my apartment, and, of course, nothing had changed.

I’d seen a documentary once on a nightly news program about a woman who had woken up in her own home one morning, clueless as to how she’d gotten there. She didn’t know her children or her husband. She didn’t know her past or her present. She’d walked through the hallways and the rooms of her home, looking at the pictures of her loved ones and her life and staring at her unfamiliar face in the mirror. And she decided to fake it. For years, she didn’t let on that she couldn’t remember anything before that day. Her family had never guessed her secret until she’d tearfully confessed years later. Doctors believed she’d had some sort of aneurism, some health issue that had affected her memory but left her otherwise whole. I had watched the program with great skepticism—doubting not that she’d forgotten but that she’d been able to pull such a thing off without her family realizing something was terribly wrong.

He wanted to call his mother, to let her sweet voice swathe him, but instead he watched a documentary about Krakatoa on his laptop. He was imagining what the world would look like under volcanic ash. As if some mad child had come along and scribbled black and gray over the landscape: the streams gone greasy, the trees powder puffs of ash, greensward a slick of gleaming oil. An image of Hades. Fields of punishment, screams in the night, the Asphodel Meadows. The dead clacketing their bones. Luxuriating in the horror, he was. In the unhappiness of being broken. There was not not a kind of wallowing joy in this.

sandy-haired, friendly, smiling, small-town attorney of Pennington, had been born in 1950 in a roach-infested Newark slum. His father had been a construction worker fully employed through World War II and Korea creating new factories, dockyards and government offices along the Jersey Shore. But with the ending of the Korean War, work had dried up. Cal was five when his mother walked out of the loveless union and left the boy to be raised by his father. The latter was a hard man, quick with his fists, the only law on many blue-collar jobs. But he was not a bad man and tried to live by the straight and narrow, and to raise his toddler son to love Old Glory, the Constitution and Joe DiMaggio. Within two years, Dexter Senior had acquired a trailer home so that he could move where the work was available. And that was how the boy was raised, moving from construction site to site, attending whichever school would take him, and then moving on. It was the age of Elvis Presley, Del Shannon, Roy Orbison and the Beatles, over from a country Cal had never heard of. It was also the age of Kennedy, the Cold War and Vietnam. His formal education was fractured to the point of near nonexistence, but he became wise in other ways: streetwise, fight-wise. Like his departed mother, he did not grow tall, topping out at five feet eight inches. Nor was he heavy and muscular like his father, but his lean frame packed fearsome stamina and his fists a killer punch. By seventeen, it looked as if his life would follow that of his father, shoveling dirt or driving a dump truck on building sites. Unless . . . In January 1968 he turned eighteen, and the Vietcong launched the Têt Offensive. He was watching TV in a bar in Camden. There was a documentary telling him about recruitment. It mentioned that if you shaped up, the Army would give you an education. The next day, he walked into the U.S. Army office in Camden and signed on. The master sergeant was bored. He spent his life listening to youths doing everything in their power to get out of going to Vietnam. “I want to volunteer,” said the youth in front of him. The master sergeant drew a form toward him, keeping eye contact like a ferret that does not want the rabbit to get away. Trying to be kindly, he suggested

I thought you weren't supposed to force action." He laughed. "You know, my wife was filming a nature documentary a couple of years ago, and a flock of penguins got stuck in a ravine. The crew had to watch, completely helpless, as dozens of birds tried and tried and tried to get out to no avail. And if they did nothing, that entire flock would've died. So they broke their rule about intervening and carved stairs in the ice and snow, and the penguins marched right out of that ravine as soon as they had the chance." I shook my head. "Not sure that's a flattering comparison if you're me." He slapped me on the back. "They were smart enough to climb those stairs, Griffin. All I'm asking you to do is open your eyes. Once you do, your life will never be the same.

Content is not mere facts, drummed into tender little minds under the relentless pounding of rote learning. Content--even the date of the Quebec Act, Confederation, or the Battle of Vimy Ridge, or the name of the first prime minister-- is cultural capital, a basic requirement of life that every Canadian needs to comprehend the daily newspaper, to watch the TV news or a documentary, or to argue about politics and cast a reasonably informed vote. In an increasingly complex and immediate world, cultural capital must also include some knowledge of Europe, Africa, and Asia, too. Without some factual basis, some understanding of why Afghanis, Bosnians, or Congolese act as they do, Canadians will never make sense of what is happening around them. A knowledge of fact and an understanding of trends form the critical elements of our society's public discourse, and if Canadians do not have cultural capital in common, the fragmentation of our society is inevitable.

The first book he gave me was “The Autobiography of Malcolm X” And I thought he was trying to tell me something because Malcolm was Muslim Malcolm was a thug Malcolm was in jail Malcolm was all about the people Malcolm went to Mecca Malcom said some shit Malcolm was shot dead The only book I gave Clyde was “The Rose That Grew from Concrete” I was definitely trying to tell him something because Tupac was a poet Tupac was a thug Tupac went to jail Tupac was all about the people Tupac went everywhere Tupac said some shit Tupac was shot dead Clyde didn’t know that Umi made me read all about Malcolm in eighth grade Clyde didn’t know that I read about Martin Luther King and Nelson Mandela, too Clyde didn’t know that I’d read big books and watched documentaries on my own Clyde didn’t know that I’d reread that book in five days because after two months He asked me if I was done And by that point I had gotten through twelve books To take my mind off things for a little while, I said

Agnes, who had once thought days existed merely for identification purposes, temporal name-tags to facilitate social confluence, came to know each one as a prisoner does her jailers. Of course Monday was the worst, a jack-booted Nazi of a day; people did suicidal things on Mondays, like start diets and watch documentaries. Fear of Monday also tended to ruin Sunday, an invasion which Agnes resented deeply. Moreover, it made her suspicious of Tuesday; a day whose unrelenting tedium was deceptively camouflaged by the mere fact of its not being Monday. Wednesday, on the other hand, was touch and go, delicately balanced between the memory of the last weekend and the thought of the weekend to come. Wednesday was a plateau and dangerous things could happen on plateaux. For example, one could forget one was in prison at all. Thursday was Agnes’s favourite, a day dedicated to pure anticipation. By then she was on the home stretch, sprinting in glorious slow-motion towards the distant flutter of Friday’s finishing line; which, however, when reached, often felt to her like nothing but a memento mori of the next incarceration.

Kiara ached as her father left her alone with the two men she wasn’t so sure about. Her heart heavy, she locked the door, then frowned at the mocking expression on Syn’s face as he walked over to Nykyrian. “What the hell was that action?” Syn asked him. “I think it’s something called ‘paternal concern.’” Syn scowled at his bland explanation. “What…? You sure? I thought that crap was a myth.” Nykyrian shrugged. “No, really. I watched it once in a documentary. It was fascinating. Believe it or not, there are people out there who actually have feelings for their progeny.” “Get the fuck out. No way. You’re screwing with my head again, aren’t you?” “No. I swear. You just saw it with your own eyes. I did not make that shit up.” Syn shivered. “Yeah but it’s really messing with my concept of the natural order of the universe. Paternal love? What’s next? Limb regrowth? Genetic splicing reversals?” Kiara gave Syn an irritated grimace. “Don’t your parents ever worry about either of you?” Syn arched a brow. “What parents?” A ripple of apprehension went through Kiara that she might have been insensitive to them. “Are they dead?” “Careful,” Nykyrian said, returning to the kitchen. “You might not want an answer to that question.” She tried to understand his cryptic response. “What do you mean?” Syn laughed evilly. “Kip wasn’t born, he was spawned.” Now she was completely confused. “Who’s Kip?” Syn indicated Nykyrian with his thumb. “You were a tubie?” Nykyrian glanced up from his dinner preparations. “Syn has a brain disorder that causes him to lie most of the time. Ignore him.” Syn snorted. “I don’t lie. I merely tell the truth creatively.

You remember that documentary they showed us in sixth grade? The one about Hurricane Katrina?” “Yeah.” I shrug, remembering how we’d all piled into the media center to watch it on the big, pull-down screen. I don’t recall much about the movie itself, but I’m pretty sure Brad Pitt had narrated it. “What about it?” "I had nightmares for weeks. I have no idea why it affected me the way it did.” “Seriously?” He nods. “Ever since, well…let’s just say I don’t do well in storms. Especially hurricanes.” I just stare at him in stunned silence. “You’re going to have fun with this, aren’t you?” “No, I…of course not. Jeez.” How big of a bitch does he think I am? “I’m not going to tell a soul. I promise. Okay? What happens in the storm shelter stays in the storm shelter,” I quip, trying to lighten the mood. His whole body seems to relax then, as if I’ve taken a weight off him. “Did you seriously think I was going to rag on you for this? I mean, we’ve been friends forever.” He quirks one brow. “Friends?” “Well, okay, not friends, exactly. But you know what I mean. Our moms used to put us in a crib together. Back when we were babies.” He winces. “I know.” “When we were little, things were fine. But then…well, middle school. It was just…I don’t know…awkward. And then in eighth grade, I thought maybe…” I shake my head, obviously unable to form a complete sentence. “Never mind.” “You thought what? C’mon, don’t stop now. You’re doing a good job distracting me.” “Yeah?” “Yeah. Call it a public service. Or…pretend I’m just one of the pets.” “Poor babies,” I say, glancing over at the cats. Kirk and Spock are curled up together in the back of the crate, keeping the bromance alive. Sulu is sitting alone in the corner, just staring at us. “He’s a she, you know.” “Who?” “Sulu. Considering she’s a calico, you’d think Daddy would have figured it out.

Then, just as we were to leave on a whirlwind honeymoon in the beautiful Pacific Northwest, a call came from Australia. Steve’s friend John Stainton had word that a big croc had been frequenting areas too close to civilization, and someone had been taking potshots at him. “It’s a big one, Stevo, maybe fourteen or fifteen feet,” John said over the phone. “I hate to catch you right at this moment, but they’re going to kill him unless he gets relocated.” John was one of Australia’s award-winning documentary filmmakers. He and Steve had met in the late 1980s, when Steve would help John shoot commercials that required a zoo animal like a lizard or a turtle. But their friendship did not really take off until 1990, when an Australian beer company hired John to film a tricky shot involving a crocodile. He called Steve. “They want a bloke to toss a coldie to another bloke, but a croc comes out of the water and snatches at it. The guy grabs the beer right in front of the croc’s jaws. You think that’s doable?” “Sure, mate, no problem at all,” Steve said with his usual confidence. “Only one thing, it has to be my hand in front of the croc.” John agreed. He journeyed up to the zoo to film the commercial. It was the first time he had seen Steve on his own turf, and he was impressed. He was even more impressed when the croc shoot went off flawlessly. Monty, the saltwater crocodile, lay partially submerged in his pool. An actor fetched a coldie from the esky and tossed it toward Steve. As Steve’s hand went above Monty’s head, the crocodile lunged upward in a food response. On film it looked like the croc was about to snatch the can--which Steve caught right in front of his jaws. John was extremely impressed. As he left the zoo after completing the commercial shoot, Steve gave him a collection of VHS tapes. Steve had shot the videotapes himself. The raw footage came from Steve simply propping his camera in a tree, or jamming it into the mud, and filming himself single-handedly catching crocs. John watched the tapes when he got home to Brisbane. He told me later that what he saw was unbelievable. “It was three hours of captivating film and I watched it straight through, twice,” John recalled to me. “It was Steve. The camera loved him.” He rang up his contacts in television and explained that he had a hot property. The programmers couldn’t use Steve’s original VHS footage, but one of them had a better idea. He gave John the green light to shoot his own documentary of Steve. That led to John Stainton’s call to Oregon on the eve of our honeymoon. “I know it’s not the best timing, mate,” John said, “but we could take a crew and film a documentary of you rescuing this crocodile.” Steve turned to me. Honeymoon or crocodile? For him, it wasn’t much of a quandary. But what about me?” “Let’s go,” I replied.

Steve was a warrior in every sense of the word, but battling wildlife perpetrators just wasn’t the same as old-fashioned combat. Because Steve’s knees continued to deteriorate, his surfing ability was severely compromised. Instead of giving up in despair, Steve sought another outlet for all his pent-up energy. Through our head of security, Dan Higgins, Steve discovered mixed martial arts (or MMA) fighting. Steve was a natural at sparring. His build was unbelievable, like a gorilla’s, with his thick chest, long arms, and outrageous strength for hugging things (like crocs). Once he grabbed hold of something, there was no getting away. He had a punch equivalent to the kick of a Clydesdale, he could just about lift somebody off the ground with an uppercut, and he took to grappling as a wonderful release. Steve never did anything by halves. I remember one time the guys were telling him that a good body shot could really wind someone. Steve suddenly said, “No one’s given me a good body shot. Try to drop me with a good one so I know what it feels like.” Steve opened up his arms and Dan just pile drove him. Steve said, in between gasps, “Thanks, mate. That was great, I get your point.” I would join in and spar or work the pads, or roll around until I was absolutely exhausted. Steve would go until he threw up. I’ve never seen anything like it. Some MMA athletes are able to seek that dark place, that point of total exhaustion--they can see it, stare at it, and sometimes get past it. Steve ran to it every day. He wasn’t afraid of it. He tried to get himself to that point of exhaustion so that maybe the next day he could get a little bit further. Soon we were recruiting the crew, anyone who had any experience grappling. Guys from the tiger department or construction were lining up to have a go, and Steve would go through the blokes one after another, grappling away. And all the while I loved it too. Here was something else that Steve and I could do together, and he was hilarious. Sometimes he would be cooking dinner, and I’d come into the kitchen and pat him on the bum with a flirtatious look. The next thing I knew he had me in underhooks and I was on the floor. We’d be rolling around, laughing, trying to grapple each other. It’s like the old adage when you’re watching a wildlife documentary: Are they fighting or mating? It seems odd that this no-holds-barred fighting really brought us closer, but we had so much fun with it. Steve finally built his own dojo on a raised concrete pad with a cage, shade cloth, fans, mats, bags, and all that great gear. Six days a week, he would start grappling at daylight, as soon as the guys would get into work. He had his own set of techniques and was a great brawler in his own right, having stood up for himself in some of the roughest, toughest, most remote outback areas. Steve wasn’t intimidated by anyone. Dan Higgins brought a bunch of guys over from the States, including Keith Jardine and other pros, and Steve couldn’t wait to tear into them. He held his own against some of the best MMA fighters in the world. I always thought that if he’d wanted to be a fighter as a profession, he would have been dangerous. All the guys heartily agreed.

I can’t bear to watch the television news. Or war documentaries. Or movies like ‘Titanic’. They are too intense, too upsetting, an assault and battery on the feeling cognisance. It is simply too much negative emotion for me to process all at once; it floods my senses and sits on my mind like a bloated, malevolent ghost waiting to pounce. Even newspapers have this effect of leaving me feeling low and fearful, so I dare not peruse them, least I catch sight of a headline of some disaster or other.

The closest I had ever come to seeing human nakedness before was in a movie. A documentary. It showed hundreds and hundreds of naked Jews, men, women, and children, being escorted by armed Nazi guards and barking German shepherds to their deaths. All the Jews were naked. Not undressed. Naked. And it seemed to me then, while I watched that documentary, that it wasn’t just the Jews that the Nazis wanted annihilated but the very concept of nakedness as well.

No one was allowed to make noise when television was on. Children were supposed to watch the news in silence while the adults discussed the atrocities in South Africa every time a picture of Nelson Mandela came up, wondering when those bad white people were going to set that good man free. Children were supposed to watch documentaries in silence; watch fast-talking cartoons, which they called “porkou-porkou,” in silence. They had to be quiet during whatever British or French or American series CRTV was broadcasting, soap operas and sitcoms which they barely understood but nonetheless giggled at whenever kissing scenes came on and groaned whenever someone was punched. The only time children were allowed to talk was when a music video came on. Then, they were encouraged by the adults to stand up and dance to Ndedi Eyango, or Charlotte Mbango, or Tom Yoms. And every time they would stand up and bust out their best makossa moves, twirling tiny buttocks and moving clenched fists from right to left with all their might, smiling to no end. To be able to see their favorite musicians singing in a black box, what a privilege.

In the documentary program Passive Investing: The Evidence the Fund Management Industry Would Prefer You Not See, many of the world's top economists and financial academics voice the futility of buying actively managed funds. But as the title suggests, it's the program most financial advisors will never want you watching.

So why not use me to shoot what’s going to be like a recruitment video, right? Some Norwegian dude tried it once already with a documentary featuring a Vatican-approved exorcist. But seriously, who watches Norwegian documentaries, right?

A filmmaker made a short documentary about this happy-go-lucky teenager on death row, called My Last Days. It showed Zach living happily, hanging out with his family, and playing music. Everybody loved Zach. When you see the footage, you can’t help but like him. As you watch him laugh and love and sing, you catch yourself forgetting: this kid is about to die. Zach’s family tells the camera how knowing he would die has helped them realize what matters in life and to find true meaning. “It’s really simple, actually,” Zach says. “Just try and make people happy.” As the 22-minute film closes, Zach looks into the camera, smiling, and says, “I want to be remembered as the kid who went down fighting, and didn’t really lose.” Not long after he said those words, Zach passed away. When Eli Pariser and Peter Koechley of Upworthy saw the film, they thought, This is a story that needs to be heard. Now just over a year old, Upworthy has become quite popular. In fact, it recently hit 30 million monthly visitors, making it, according to the Business Insider, the fastest-growing media company in history.* (Seven-year-old BuzzFeed was serving 50 million monthly visitors at the time.) The Zach Sobiech story illustrates how Upworthy used rapid feedback to do it: According to Upworthy’s calculations, My Last Days had the potential to reach a lot of people. But so far, few had seen it. The filmmaker had posted the documentary under the headline, “My Last Days: Meet Zach Sobiech.” Though descriptive, it was suboptimal packaging. In the ADD world of Facebook and Twitter, it’s no surprise that few people clicked. Upworthy reposted the video with a new title: “We Lost This Kid 80 Years Too Early. I’m Glad He Went Out with a Bang,” and shared it with a small number of its subscribers, then waited to see who clicked.

I’ll write you a note a day,” Peter says suddenly, with gusto. “That’ll drive her ass crazy.” I write down, Peter will write Lara Jean one note every day. Peter leans in. “Write down that you have to go to some parties with me. And write down no rom coms.” “Who said anything about rom coms? Not every girl wants to watch rom coms.” “I can just tell that you’re the kind of girl who does.” I’m annoyed that he has this perception of me, and even more annoyed that he’s right. I write, NO DUMB ACTION MOVIES. “Then what does that leave us with?” Peter demands. “Superhero movies, horror movies, period films, documentaries, foreign films--” Peter makes a face, grabs the pen and paper from me, and writes down, NO FOREIGN FILMS. He also writes, Lara Jean will make Peter’s picture her phone wallpaper. “And vice versa!” I say. I point my phone at him. “Smile.” Peter smiles, and ugh, it’s annoying how handsome he is. Then he reaches for his phone and I stop him. “Not right now. My hair looks sweaty and gross.” “Good point,” he says, and I want to punch him. “Can you also write down that under no circumstances can either of us tell anyone the truth?” I ask him. “The first rule of Fight Club,” Peter says knowingly. “I’ve never seen that movie.” “Of course you haven’t,” he says, and I make a face at him. Also: mental note, watch Fight Club.

As negotiations seemed to be grinding to a halt, we were all feeling frustrated. Steve looked around at John, Judi, and the others. He could see that everybody had gotten a bit stretched on all our various projects. He decided we needed a break. He didn’t lead us into the bush this time. Instead, Steve said a magic word. “Samoa.” “Sea snakes?” I asked. “Surfing,” he said. He planned a ten-day shoot for a surfing documentary. Steve loved surfing almost as much as he loved wildlife. The pounding his body had taken playing rugby, wrestling crocs, and doing heavy construction at the zoo had left him with problem knees and a bad shoulder. He felt his time tackling some of the biggest surf might be nearing an end. In Samoa, Steve didn’t spend just a few hours out in the waves. He would be out there twelve to fourteen hours a day. I didn’t surf, but I was awestruck at Steve’s ability to stare down the face of a wave that was as high as a building. He had endurance beyond any surfer I had ever seen. Steve had a support boat nearby, so he could swim over, get hydrated, or grab a protein bar. But that was it. He didn’t stop for lunch. He would eat breakfast, surf all day, and then eat a big dinner. I knew this was the best therapy for him. Surfing at Boulders was downright dangerous, but Steve reveled in the challenge. He surfed with Wes, his best mate in the world. I sat on a rocky point with my eye glued to the camera so I wouldn’t miss a single wave. While Bindi gathered shells and played on the beach under her nanny’s watchful eye, I admired Steve with his long arms and broad shoulders, powerfully paddling onto wave after wave. Not even the Pacific Ocean with its most powerful sets could slow him down. He caught the most amazing barrels I have ever seen, and carved up the waves with such ferocity that I didn’t want the camera to miss a single moment. On the beach in Samoa, while Bindi helped her dad wax his board, I caught a glimpse of joy in eyes that had been so sad.

Watching Steve around the camp was witnessing a man at one with his environment. Steve had spent all his life perfecting his bush skills, first learning them at his father’s side when he was a boy. He hero-worshiped Bob and finally became like his dad and then some. Steve took all the knowledge he’d acquired over the years and added his own experience. Nothing seemed to daunt him, from green ants, mozzies, sand flies, and leeches, to constant wet weather. On Cape York we faced the obvious wildlife hazards, including feral pigs, venomous snakes, and huge crocodiles. I never saw Steve afraid of anything, except the chance of harm coming to someone he loved. He learned how to take care of himself over the years he spent alone in the bush. But as his life took a sharp turn, into the unknown territory of celebrity-naturalist, he suddenly found himself with a whole film crew to watch out for. Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra.

Filming wildlife documentaries couldn’t have happened without John Stainton, our producer. Steve always referred to John as the genius behind the camera, and that was true. The music orchestration, the editing, the knowledge of what would make good television and what wouldn’t--these were all areas of John’s clear expertise. But on the ground, under the water, or in the bush, while we were actually filming, it was 100 percent Steve. He took care of the crew and eventually his family as well, while filming in some of the most remote, inaccessible, and dangerous areas on earth. Steve kept the cameraman alive by telling him exactly when to shoot and when to run. He orchestrated what to film and where to film, and then located the wildlife. Steve’s first rule, which he repeated to the crew over and over, was a simple one: Film everything, no matter what happens. “If something goes wrong,” he told the crew, “you are not going to be of any use to me lugging a camera and waving your other arm around trying to help. Just keep rolling. Whatever the sticky situation is, I will get out of it.” Just keep rolling. Steve’s mantra. On all of our documentary trips, Steve packed the food, set up camp, fed the crew. He knew to take the extra tires, the extra fuel, the water, the gear. He anticipated the needs of six adults and two kids on every film shoot we ever went on. As I watched him at Lakefield, the situation was no different. Our croc crew came and went, and the park rangers came and went, and Steve wound up organizing anywhere from twenty to thirty people. Everyone did their part to help. But the first night, I watched while one of the crew put up tarps to cover the kitchen area. After a day or two, the tarps slipped, the ropes came undone, and water poured off into our camp kitchen. After a full day of croc capture, Steve came back into camp that evening. He made no big deal about it. He saw what was going on. I watched him wordlessly shimmy up a tree, retie the knots, and resecure the tarps. What was once a collection of saggy, baggy tarps had been transformed into a well-secured roof. Steve had the smooth and steady movements of someone who was self-assured after years of practice. He’d get into the boat, fire up the engine, and start immediately. There was never any hesitation. His physical strength was unsurpassed. He could chop wood, gather water, and build many things with an ease that was awkwardly obvious when anybody else (myself, for example) tried to struggle with the same task. But when I think of all his bush skills, I treasured most his way of delivering up the natural world. On that croc research trip in the winter of 2006, Steve presented me with a series of memories more valuable than any piece of jewelry.

It was a brave new world that I found myself in. At night I would hear the sounds of the fruit bats as they came into the trees. Also in the mix were the strange, far-off grunts of the koalas as they sang out their mating calls. Herds of wild pigs passed right behind the tent. Venturing outside in the middle of the night with my dunny roll to go use a bush was a daunting experience. Steve was a natural in front of the camera. John had to give him only one important piece of advice. “Stevo,” John instructed, “there are three people in this documentary. There’s you, Terri, and the camera. Treat the camera just like another person.” Steve’s energy and enthusiasm took over. He completely relaxed, and he managed to just be himself--which was true of his entire career. This wasn’t just a film trip, it was also our honeymoon. Steve would sometimes escape the camera crew and take us up a tributary to be alone. We watched the fireflies come out. I’d never seen fireflies in Oregon. The magical little insects glowed everywhere, in the bushes and in the air. The darker it got, the brighter their blue lights burned on and off. I had arrived in a fairyland.

It felt fantastic to be back filming again, and it made me realize how much I missed it. The crew represented our extended family. I never once caught a feeling of annoyance or impatience at the prospect of having a six-day-old baby on set. To the contrary, the atmosphere was one of joy. I can mark precisely Bindi Irwin’s introduction to the wonderful world of wildlife documentary filming: Thursday, July 30, 1998, in the spectacular subtropics of the Queensland coast, where the brilliant white sand meets the turquoise water. This is where the sea turtles navigate the rolling surf each year to come ashore and lay their eggs. Next stop: America, baby on board. Bindi was so tiny she fit on an airplane pillow. Steve watched over her almost obsessively, fussing with her and guarding to see if anything would fall out of the overhead bins whenever they were opened. Such a protective daddy. Our first shoot in California focused on rattlesnakes and spiders. We got a cute photo of baby Bindi with a little hat on and a brown tarantula on her head. In Texas she got to meet toads and Trans-Pecos rat snakes. Steve found two stunning specimens of the nonvenomous snakes in an abandoned house. I watched as two-week-old Bindi reacted to their presence. She gazed up at the snakes and her small, shaky arms reached out toward them. I laughed with delight at her eagerness. Steve looked over at me, as if to say, See? Our own little wildlife warrior!

As much as he influenced her, Bindi changed Steve, too. After our Florida trip, Bindi and I went home, while Steve flew off to the Indonesian island of Sumatra. We couldn’t accompany him because of the malaria risk, so we kept the home fires burning instead. At one point, Steve was filming with orangutans when his newfound fatherhood came in handy. A local park ranger who had worked with the national park’s orangutans for twenty-five years accompanied Steve into the rain forest, where they encountered a mother and baby orangutan. The rangers keep a close eye on the orangutans to prevent poaching, and the ranger recognized a lot of the animals by sight. “She reminds me of Bindi,” Steve exclaimed, seeing the infant ape. It was a mischievous, happy baby, clinging to her mother way up in the top branches of a tree. “This will be great to film,” Steve said. “I’ll climb into the tree, and then you can get me and the orangutans in the same shot.” The ranger waved his hands, heading Steve off. “You absolutely can’t do that,” the ranger said. “The mother orangutans are extremely protective. If you make a move anywhere near that tree, she’ll come down and pull your arms off.” Steve paused to listen. “They are very strong,” the ranger said. “She won’t tolerate you in her tree.” “I won’t climb very close to her,” Steve said. “I’ll just go a little way up. Then the camera can shoot up at me and get her in the background.” The ranger looked doubtful. “Okay, Steve,” he said. “But I promise you, she will come down out of that tree and pull your head off.” “Don’t worry, mate,” Steve said confidently, “she’ll be right.” He climbed into the tree. Down came the mother, just as the ranger had predicted. Tugging, pulling, and dragging her baby along behind her, she deftly made her way right over to Steve. He didn’t move. He sat on his tree limb and watched her come toward him. The crew filmed it all, and it became one of the most incredible shots in documentary filmmaking. Mama came close to Steve. She swung onto the same tree limb. Then she edged her way over until she sat right beside him. Everyone on the crew was nervous, except for Steve. Mama put her arm around Steve’s shoulders. I guess the ranger was right, Steve thought, wondering if he would be armless or headless in the very immediate future. While hanging on to her baby, Mama pulled Steve in tight with her other arm, looked him square in the face, and…started making kissy faces at him. The whole crew busted up laughing as Mama puckered up her lips and looked lovingly into Steve’s eyes. “You’ve got a beautiful little baby, sweetheart,” Steve said softly. The baby scrambled up the limb away from them, and without taking her eyes off Steve, the mother reached over, grabbed her baby, and dragged the tot back down. “You’re a good mum,” Steve cooed. “You take good care of that little bib-bib.” “I have never seen anything like that,” the park ranger said later. I had to believe that the encounter was further evidence of the uncanny connection Steve had with the wildlife he loved so much, as well as one proud parent recognizing another.

Steve knew the sharks intimately by now. “The big tiger sharks will show up at eleven o’clock,” he said. And sure enough, they did, right on the dot. We had the shark cage and the dinghy, with myself (and Igor), Steve, and Sui. I sat in the dingy and watched the enormous tigers as they circled around. They had to be more than fourteen feet long, and some of them were larger than the boat itself. I quickly figured out that because of my great belly I was very unbalanced. I had to be careful so as not to tip the boat. Sui was an old hand at all of this. She planted herself in the center of the boat and lay down, sticking to the safest spot possible. Steve enjoyed going into the cage. The sharks came up to him one by one, trying to open this strange container and get to the nice yummy food inside. “They have a childlike curiosity,” he told me, breaking to the surface before lowering himself down again. “They’re really trying to figure out how to get me!” I got to experience them on the surface, in the dinghy. Tiger sharks don’t just feed under the water. They readily take food off the surface, too, and even lift themselves partially out of the water. Huge tiger sharks, wider across than I was (which at that point was saying a lot) came up to taste the boat, taste the motor, and put their heads all the way over the back of the dinghy. I was fascinated and had to stop myself from reaching out and stroking them. Of course I didn’t dare move, because I needed to counterbalance the boat, so the sharks wouldn’t rock it over. After a day of filming, my opinion of sharks was even better. Steve was right. Bringing people into close proximity to wildlife was all you had to do. I fell in love with tiger sharks that day. As it turned out, that was the last documentary of my pregnancy. For the next few weeks I’d be restricted to working at the zoo.

Well, I guess that;s a good move, you asking everyone 'cause I might not've come if it were just you and me." He takes his eyes off the road right when I take a look at him and he's got this big smirky smile on his face. I laugh and say, "Maybe you had better watch the road.

Hillary’s America was met with outrage on the Left, but no one could rebut a single fact in the book or movie. Even my most incriminating allegations proved invulnerable. I noted that, in 1860, the year before the Civil War, no Republican owned a slave; all the four million slaves at the time were owned by Democrats. Now this generalization could easily be refuted by someone providing a list of Republicans who owned slaves. The Left couldn’t do it. One assiduous researcher finally sought to dispute me with a single counterexample. Ulysses S. Grant, he pointed out, once inherited a slave from his wife’s family. I conceded the point but reminded him that, at the time, Ulysses S. Grant was not a Republican. Fearful that they had no substantive answer to Hillary’s America, the mainstream media went into complete denial. If you watched the major networks or public television, or listened to National Public Radio, you would have no idea that Hillary’s America even existed. The book was Number One on the New York Times bestseller list and the movie was the top-grossing documentary of the year. Both were dense with material directly relevant to the ongoing election debate. Yet they were completely ignored by a press that was squarely in the Hillary camp. Despite the failed fulminations and widespread denial, however, the book and movie had an effect. Many people credit it with motivating Republicans and persuading undecideds and thus helping Trump get to the White House. I have no idea how to measure this effect. I do know my book and film helped shape the election narrative. They helped expose Hillary as a gangster and the Democrats as her accomplices with a long history of bigotry and exploitation to account for. In the 2016 election, for the first time the Democrats could not drop the race bomb and get away with it.

There are streaming media devices like Roku, Kodi, or Amazon’s Fire TV Stick that allow you to access most of the same programs that you normally get through a cable subscription. Each of these devices gives you access to thousands of streaming channels. Some are free and some are premium. Even if you pay for two or three of these services, it still results in a significant cost savings. For instance, my setup is simple right now and only costs an average of $40 (as of March 2017), which is significantly less than the $130+ cable bill we once had: Netflix ($7 monthly) Amazon Prime ($99 per year or $8 monthly) Sling TV ($25 monthly) With Netflix and Amazon, you can watch most of the movies, documentaries, and premium TV shows that you love. And with Sling TV, you have access to your favorite network shows. It’s television-on-demand at its best, and more importantly, you don’t have to sit through commercials, which are distracting and reinforce negative spending habits.

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

Understanding the Sensory-Motor Cortex The next stage revolves around scanning your body mentally. Have you ever watched a documentary demonstrating what happens when a person’s brain matter is carefully stimulated with probes? What happens is that physical movements and feelings occur as a result of the probing. For instance, one area being probed causes a physical movement somewhere in the body, whereas another might bring on laughter or tears. This is an expression of the brain-body connection. Yoga’s Ayurvedic healers figured this out ages ago, but instead of stimulating the brain with probes to cause a bodily reaction, the opposite was done. They brilliantly realized that mentally scanning the body in a particular way affects the brain positively. The nerve pathways between the body and brain become clear and are strengthened, facilitating deeply healing relaxation.

I was watching a documentary that described a night at Thomas Jefferson’s house Monticello. After the meal each night the family, with their guests, would retire into the parlor to drink tea and spend 3-4 hours discussing things they learned or were pondering lately. Without the television or other individualistic electronic means of entertainment I think we’d still do this to avoid boredom.

I was watching a documentary that described a night at Thomas Jefferson’s house Monticello. After the meal each night the family, with their guests, would retire into the parlor to drink tea and spend 3-4 hours discussing things they learned or were pondering lately. Without the television or other individualistic electronic means of entertainment I think we’d still do this to avoid boredom. When I first heard about this practice my first thought was, “Oh, that’s what a family does.” I grew up in an age where it was natural to entertain myself or go off with friends but it makes sense that, in the absence of these things, a family would need to learn to interact and really enjoy each other’s company. So 3-4 times per week we have an informal meal followed by what we simply call “family time.” This can be done around the dining room table or the coffee table but it’s been an amazing experience. I begin by asking if anyone learned or had any ideas or questions they’ve been pondering about God. We move from that topic into a more general question like, “Did anyone learn anything today or have something they want to discuss?” We share stories from the day, passages of things we’ve read, watch funny videos or play a family game. At the end we often talk about what’s in store for tomorrow and pray together.

Whatever movie or documentary or any videos I watch in any languages, I scan each and every cast in each and every second of their motion, acting, body language, orientation, how they play - because each second of the movie not only portrays the plot but also portrays what government wants and each second of every cast also portrays who they are( The actors and Actresses), You can deviate the truth but can not deny the truth. So make still 1000 movies or even stronger AI, few people will never be under this because they have dreams beyond imagination and it is because they are born for it. But we will continue watching all movies in all languages just because we don't want to waste your work, you work must be appreciated well.

Mom made me watch this boring documentary where this kid my age - twelve, if it matters to you - is hand-scrubbing clothes against a block of wood for hours, which, ugh, brutal. And you wanna know how you determined the clothes were clean enough? When your arm fell off.

He'd been so much happier when he was little, when he hadn't realized his mom had been lying on those nights when she would make him dinner but not eat anything herself because she had "already eaten." Other kids had been simpler back then too, not noticing or caring that Zack's clothes and shoes were never new, or that he watched free documentaries on YouTube instead of the newest Netflix shows, or that he and his mom never went on any vacations or ate at any fancy restaurants. When she had free time and the sun was shining, she would pack some food and take him for a picnic in Central Park, and that had been enough for him.

Once, in a documentary I had watched earlier, a top Ivy League professor claimed, “Einstein’s brain was 15% bigger than a normal brain.” I wanted a similar study on her eyes to determine how bigger they were than normal ones. I swear, I could have expressed my feelings to her a long time before if not for fear of her eyes. I could never explain to anyone that if I was so afraid of her eyes, then what exactly caused me to fall in love with her? Just the thought of her big eyes would make me sweat like a pig.

If you saw the documentary Super Size Me, you recall filmmaker Morgan Spurlock’s quest to see what would happen if he ate nothing but McDonald’s food for thirty consecutive days. For the first few days, we watched him cringe, even vomit from his relentless fare of Big Macs, fries, and shakes. He felt sick. He suffered terrible headaches. But then a funny thing happened. That feeling of sickness went away. The headaches disappeared. Suddenly, he began to crave the food that just days prior had him cringing and buckled over. Then he began to wake up each morning with a headache that wouldn’t quit until he got his McDonald’s fix. How can this be explained? According to Compton, Morgan’s dietary shift from a primarily plant-based diet to an entirely fast-food regimen effectively and quite rapidly replaced his healthy gut flora with a pathogenic microbial ecology that thrived specifically on the ingredients present in McDonald’s food.

The general public are so enthralled by my actions that they are even willing to watch a hastily cobbled together Channel 5 documentary about me, which included a fat astronomer explaining that my star sign predicted my case. He got my star sign wrong.

Were they going to shave my head? I had definitely watched too many cult documentaries.

writing of The Lost Girls of Willowbrook, I relied on the following books: American Snake Pit by Dan Tomasulo; The Willowbrook Wars by David J. Rothman and Sheila M. Rothman; A History and Sociology of Willowbrook State School by David Goode, Darryl Hill, Jean Reiss, and William Bronston. I also watched Geraldo Rivera’s expose, “Willowbrook: The Last Great Disgrace,” and “Cropsey,” a documentary by Joshua Zeman and Barbara Brancaccio.

I’ve devoured every serial killer-based film and series I can, read the biographies, listened to hours of true crime podcasts, watched intensely questionable YouTube videos and every new Netflix true crime documentary. I’ve rewatched The Silence of the Lambs every year, as my own sort of holiday classic, and if stressed out, I’ll turn to Zodiac as my comfort blanket movie. I see it as a safe peek inside a psychology so far removed from my life, so totally inconceivable morally, that it’s the cinematic equivalent of bungee jumping.

He noted more than once that had Citizens United released the same material in a different format—on the Internet or in a book, for instance—there would be no constitutional issue, as Congress had only banned corporate electioneering for broadcast media. Justice Scalia appeared to agree, and offered some thoughts that seemed to aid Olson’s position: It may well be that the kind of speech that is reflected in a serious 90-minute documentary is entitled to greater constitutional protection. And it may well be that the kind of speech that is not only offered but invited by the listener is entitled to heightened First Amendment scrutiny, which is what this is since you have pay for view. Scalia’s was an important distinction, if one accepted the premise that Congress had sought to ban electioneering communications with the understanding that the voting public could find corporate-funded advertising persuasive, and also that people would have little choice with regard to the advertisements that they saw during a given telecast. Because people were in effect paying to watch Hillary: The Movie at their leisure (via television on-demand), Scalia was suggesting that perhaps it was difficult to argue that they were being forcibly influenced.

I put a bowl of milk out for the cat then watch a documentary on heroin addiction among transvestites in Wisconsin then cut up the dead kid in my basement and vacuum seal the pieces and store them in the freezer down there. After all that, I go to take a shower, taking the cat and the corn on the cob with me.

Jericho would happily spend the rest of his life cooking dinners, watching murder documentaries and raising two wild boys with his fussy, bowtie-wearing husband. He honestly couldn’t think of anything better.

They are scary eyes, don’t get me wrong, but what frightens me, what infuriates me, is that there isn’t anything exceptionally clever going on behind them. A series of national ineptitudes and a parsimonious attitude toward crimes against women created a kind of secret tunnel through which a college dropout with severe emotional disturbances moved with impunity for the better part of the seventies. Law enforcement would rather we remember a dull man as brilliant than take a good hard look at the role they played in this absolute sideshow, and I am sick to death of watching them in their pressed shirts and cowboy boots, in their comfortable leather interview chairs, in hugely successful and critically acclaimed crime documentaries, talking about the intelligence and charm and wiliness of an ordinary misogynist.