Well Known Movie Quotes

A celebrity is any well-known TV or movie star who looks like he spends more than two hours working on his hair.

Outside of my professional life, I have known many couples over the years who had passion and electricity between them and who treated each other well. But unfortunately there is wide acceptance in our society of the unhealthy notion that passion and aggression are interwoven and that cruel verbal exchanges and bomblike explosions are the price you pay for a relationship that is exciting, deep, and sexy. Popular romantic movies and soap operas sometimes reinforce this image.

IT’S HARDLY a coincidence that “Shipping Out,” Wallace’s most well-known essay, appeared only a month before Infinite Jest, his most well-known novel, was published. Both are about the same thing (amusing ourselves to death), with different governing données (lethally entertaining movie, lethally pampering leisure cruise). In an interview after the novel came out, Wallace, asked what’s so great about writing, said that we’re existentially alone on the planet—I can’t know what you’re thinking and feeling, and you can’t know what I’m thinking and feeling—so writing, at its best, is a bridge constructed across the bridge of human loneliness.

A creator used to create' You got me young... You told what to want; you showed me in your movies and your shows. And I faithfully did your work. I created... I willingly clipped my wings and built myself a golden cage and you smiled and said, "well done." I let your fear tactics rule my actions until I could no longer hear my heart song. I took your medication and I ate your poison until my body was too sick to fight back. Ah, but I'm onto your game. I see it now and my only regret is that I didn't see it sooner. I made a life for myself only to realize it's never really what I wanted. My soul didn't want this hectic, materialistic life- your greed and your thirst for power wanted this. I don't belong here, but you've always known that, haven't you? You figured if you kept me caged long enough, kept me sick enough, kept me scared enough that I would eventually forget what I am. You slipped up with this one. So, hear me now. You had your fun with me, but I've had about enough of your bullshit for one lifetime. Watch me fly.

Well, if you were going to be miserable, you could be miserable anywhere. She’d known that for years: the way one person could starve to death at the banquet, the way you could sob through the funniest movie.

Outside of my professional life, I have known many couples over the years who had passion and electricity between them and who treated each other well. But unfortunately there is wide acceptance in our society of the unhealthy notion that passion and aggression are interwoven and that cruel verbal exchanges and bomblike explosions are the price you pay for a relationship that is exciting, deep, and sexy. Popular romantic movies and soap operas sometimes reinforce this image. Most

It’s becoming quite a well-known disease. Popular. People love new and creepy. I remember when anorexia hit in the eighties. The more TV movies on it, the more girls starved themselves.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world. Yours, Anne M. Frank ANNE’S DIARY ENDS HERE.

I may not have known much about my future-- my college choice or degree, my someday job and city, boys I'd love and lose. But I knew who'd be beside me. Chalk it up to too many movies, too many TV finales that flashed forward, but I saw these girls as clearly as I saw the moon overhead. Beyond college, beyond even our twenties. I'd drive across state lines to get to them, to soothe small disappointments and big heartbreaks. I'd come crawling home to them when I got lost, to guide off their stars. I'd be their witness to diplomas received, vows spoken to partners, oaths taken for office. And when the rest of the decisions felt like a tightrope, precarious with no back-stepping allowed-- well, I had a net.

To paraphrase Hannah Arendt—as portrayed in the recently released movie of the same name—the Nazi war criminal’s actions stemmed from her well-known phrase “banality of evil,” not as a result of mental illness but as a result of a lack of thinking. Their greatest error was delegating the process of thinking and decision-making to their higher ups. In Rudolf Höss’s case, this would have been his superiors, particularly Heinrich Himmler. To many this conclusion is troubling, for it suggests that if everyday, “normal,” sane men and women are capable of evil, then the atrocities perpetrated during the Holocaust and other genocides could be repeated today and into the future. Yet, this is exactly the lesson we must learn from the war criminals at Nuremberg. We must be ever wary of those who do not take responsibility for their actions. And we ourselves must be extra vigilant, particularly in this day of accelerated technological power, heightened state surveillance, and global corporate reach, that we do not delegate our thinking to others.

Now, my all-time favorite accolade from a book reviewer was when Fernanda Pivano, Italy’s best-known critic, wrote in a leading Italian newspaper that “Tom Robbins is the most dangerous writer in the world.” I never read my reviews, even in English, but others sometimes pass choice bits along, so when I had occasion to meet the legendary Signora Pivano at a reception in Milan, I asked her what she meant by that wonderfully flattering remark. She replied, “Because you are saying zat love is zee only thing that matters and everything else eese a beeg joke.” Well, being uncertain, frankly, that is what I’d been saying, I changed the subject and inquired about her recent public denial that she’d ever gone to bed with Ernest Hemingway, whom she’d shown around Italy in the thirties. “Why didn’t you sleep with Hemingway?” I inquired. Signora Pivano sighed, closed her large brown eyes, shook her gray head, and answered in slow, heavily accented English, “I was a fool.” Okay, back to the New York Cinematheque. Why did I choose to go watch a bunch of jerky, esoteric, often self-indulgent 16mm movies rather than sleep with the sexy British actress? Move over, Fernanda, there’s room for two fools on your bus.

What’s your dad doing for his bachelor party?” I laugh. “Have you met my dad? He’s the last person who would ever have a bachelor party. He doesn’t even have any guy friends to have a party with!” I stop and consider this. “Well, I guess Josh is the closest thing he has. We haven’t seen much of him since he went to school, but he and my dad still e-mail every so often.” “I don’t get what your family sees in that guy,” Peter says sourly. “What’s so great about him?” It’s a touchy subject. Peter’s paranoid my dad likes Josh better than him, and I try to tell him it’s not a contest--which it definitely isn’t. Daddy’s known Josh since he was a kid. They trade comic books, for Pete’s sake. So, no contest. Obviously my dad likes Josh better. But only because he knows him better. And only because they’re more alike: Neither of them is cool. And Peter’s definitely cool. My dad is bewildered by cool. “Josh loves my dad’s cooking.” “So do I!” “They have the same taste in movies.” Peter throws in, “And Josh was never in a hot tub video with one of his daughters.” “Oh my God, let it go already! My dad’s forgotten about that.” “Forgotten” might be too strong of a word. Maybe more like he’s never brought it up again and he hopefully never will. “I find that hard to believe.” “Well, believe it. My dad is a very forgiving, very forgetful man.

Mary Anne is a real worrywart. Not to mention shynesswart and politenesswart. The teeniest things can make her cry, too — movies, books, you name it. Whisper the words “Old Yeller” to her and watch her eyes well up. Usually I have no patience for people like that. I’m the opposite — tearless and fearless, loud and proud. But I’ve known Mary Anne since we were babies, and she happens to be my best friend in the world. As you may have guessed, I have a forceful personality. My friends say I’m bossy and stubborn, but don’t listen to

The most well known theory concerning the whereabouts of the Ark, made famous by the movie Raiders of the Lost Ark, places it in the ruins of the ancient city of Tanis in Egypt. This theory proposes that the Ark was plundered by the Egyptians shortly after Solomon’s death. According to the Old Testament, the pharaoh Sheshonq I of Egypt attacked Jerusalem, raided the Temple, and plundered its treasures (1 Kgs 14:26). Sheshonq I established Tanis as the new Egyptian capital, and so it is here that Indiana Jones discovers the lost Ark in Steven Spielberg’s movie.

On the one hand, online movie reviews are convenient for training sentiment-classifying algorithms because they come with handy star ratings that indicate how positive the writer intended a review to be. On the other hand, it’s a well-known phenomenon that movies with racial or gender diversity in their casts, or that deal with feminist topics, tend to be “review-bombed” by hordes of bots posting highly negative reviews. People have theorized that algorithms that learn from these reviews whether words like feminist and black and gay are positive or negative may pick up the wrong idea from the angry bots.

In a letter to Pixar shareholders, Jobs explained that winning the right to have equal branding with Disney on all the movies, as well as advertising and toys, was the most important aspect of the deal. “We want Pixar to grow into a brand that embodies the same level of trust as the Disney brand,” he wrote. “But in order for Pixar to earn this trust, consumers must know that Pixar is creating the films.” Jobs was known during his career for creating great products. But just as significant was his ability to create great companies with valuable brands. And he created two of the best of his era: Apple and Pixar.

Do human software games have directors?" said Tetsuo. "Like movies?" "Yeah," I said, "if they're real pretentious, like Weapon Eternal." "Af be Hui was the director of A Tower of Sand," said Tetsuo. "She became well-known. High-status. She made seven other games and her games changed history a little bit. I think we should play more of her work." "To what purpose? Did she finally get the Ip Shkoy to calm down about the Constellation?" Ashley wriggled violently and Tetsuo crawled off of her tail. "Purpose?" said Tetsuo. "What is purpose? History is not a trash compactor where you lost something important. You have to spend some time there.

Marriage, after all, was the known, not the unknown: the dull dinner party, not the madcap masquerade. It was a set of issues and events that audiences knew all too well offscreen. Unlike the wide-open frontier of the western, offering freedom and adventure, or the lyrical musical, with its fantasy of release through singing and dancing, or the woman's film, with its placing of a marginalized social figure (the woman) at the center of the universe, or the gangster movie, with its violent excitement and obvious sexual freedom, the marriage film had to reflect what moviegoers already had experienced: marriage, in all its boredom and daily responsibilities.

You can make quite a life for yourself hosting charity dinners and collecting art. You can find a way to be happy with whatever the truth is. Until your daughter dies. Connor was diagnosed with late-stage breast cancer two and a half years ago, when she was thirty-nine. She was given months to live. I knew what it was like to realize that the one you love would leave this earth well before you. But nothing could prepare me for the pain of watching my child suffer. I held her when she puked from the chemo. I wrapped her in blankets when she was so cold she was crying. I kissed her forehead like she was my baby again, because she was forever my baby. I told her every single day that her life had been the world’s greatest gift to me, that I believed I was put on earth not to make movies or wear emerald-green gowns and wave at crowds but to be her mother. I sat next to her hospital bed. “Nothing I have ever done,” I said, “has made me as proud as the day I gave birth to you.” “I know,” she said. “I’ve always known that.” I had made a point of not bullshitting her ever since her father died. We had the sort of relationship where we believed each other, believed in each other. She knew she was loved. She knew that she had changed my life, that she had changed the world. She made it eighteen months before she passed away. And when they put her in the ground next to her father, I broke like I have never broken before. The devastating luxury of panic overtook me. And it has never left.

Let’s define a Crapitalist: A well-connected friend of the powers that be who scores big bucks at taxpayer expense. From bagging millions in tax dollars for phony “green energy” companies that go bust, to vacuuming public coffers to build glitzy sports stadiums, to utilizing little-known tax credit loopholes to loot $1.5 billion a year for Hollywood movies—Crapitalists know how to use every trick to enrich themselves at taxpayer expense. Rather than playing and winning in the rough-and-tumble world of business competition, Crapitalists use government to rig the game in their favor and leave you and me—the taxpayers—holding the bill. These corporate sissies know their ideas suck, so they try to stack the deck to privatize their profits and socialize their losses. And there’s the rub: crony capitalism is socialism’s Trojan horse.

Trump doesn’t happen in a country where things are going well. People give in to their baser instincts when they lose faith in the future. The pessimism and anger necessary for this situation has been building for a generation, and not all on one side. A significant number of Trump voters voted for Obama eight years ago. A lot of those were in rust-belt states that proved critical to his election. What happened there? Trump also polled 2–1 among veterans, despite his own horrific record of deferments and his insulting of every vet from John McCain to Humayun Khan. Was it possible that his rhetoric about ending “our current policy of regime change” resonated with recently returned vets? The data said yes. It may not have been decisive, but it likely was one of many factors. It was also common sense, because this was one of his main themes on the campaign trail—Trump clearly smelled those veteran votes. The Trump phenomenon was also about a political and media taboo: class. When the liberal arts grads who mostly populate the media think about class, we tend to think in terms of the heroic worker, or whatever Marx-inspired cliché they taught us in college. Because of this, most pundits scoff at class, because when they look at Trump crowds, they don’t see Norma Rae or Matewan. Instead, they see Married with Children, a bunch of tacky mall-goers who gobble up crap movies and, incidentally, hate the noble political press. Our take on Trump voters was closer to Orwell than Marx: “In reality very little was known about the proles. It was not necessary to know much.” Beyond the utility that calling everything racism had for both party establishments, it was good for that other sector, the news media.

Chapter 20 we will explore in far greater depth how to avoid brainwashing and how to distinguish reality from fiction. Here I would like to offer two simple rules of thumb. First, if you want reliable information, pay good money for it. If you get your news for free, you might well be the product. Suppose a shady billionaire offered you the following deal: “I will pay you $30 a month, and in exchange you will allow me to brainwash you for an hour every day, installing in your mind whichever political and commercial biases I want.” Would you take the deal? Few sane people would. So the shady billionaire offers a slightly different deal: “You will allow me to brainwash you for one hour every day, and in exchange, I will not charge you anything for this service.” Now the deal suddenly sounds tempting to hundreds of millions of people. Don’t follow their example. The second rule of thumb is that if some issue seems exceptionally important to you, make the effort to read the relevant scientific literature. And by scientific literature I mean peer-reviewed articles, books published by well-known academic publishers, and the writings of professors from reputable institutions. Science obviously has its limitations, and it has gotten many things wrong in the past. Nevertheless, the scientific community has been our most reliable source of knowledge for centuries. If you think the scientific community is wrong about something, that’s certainly possible, but at least know the scientific theories you are rejecting, and provide some empirical evidence to support your claim. Scientists, for their part, need to be far more engaged with current public debates. Scientists should not be afraid of making their voices heard when the debate wanders into their field of expertise, be it medicine or history. Of course, it is extremely important to go on doing academic research and to publish the results in scientific journals that only a few experts read. But it is equally important to communicate the latest scientific theories to the general public through popular science books, and even through the skillful use of art and fiction. Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

Katarina wasn’t afraid of Baden. Not anymore. He took a step to the side, intending to move around her. Oh, no. She flattened her hands on his shoulders, keeping him in place. “I want to know what’s wrong with you.” She said. “Tell me.” He snapped his teeth at her in a show of dominance. “You think you want to know my problem. You’re wrong.” Her tone dry, she said, “I’m so glad you know my mind better than I do.” “Very well. I need sex.” He threw the words at her as if they were weapons. “Badly.” Whoa. Blindside! Heart pounding, she jerked her hands away from him. “Sex...from me?” “Yesss.” A hiss. “Only from you.” Only. Amazing how one little word could send pleasure soaring through her, warming her. “You told me never to touch you.” Which she’d just done, she realized. My bad. “I’ve changed my mind.” His gaze dropped, lingered on her lips. Burning her... “But you and I...we’re a different species.” As if that mattered to her body. Gimme!
 He took a step closer, invading her personal space. “We’ll fit, I promise you.”
 Tristo hrmenych! The raspy quality of his voice, all smoke and gravel...she shivered with longing. Must resist his allure. But...but...why? Before she’d committed to Peter, she’d dated around, had made out in movie theaters, cars and on couches. She’d liked kissing and touching and “riding the belt buckle,” as her friends had called it. Then, after committing to Peter, she’d gifted him with her virginity. At first, he hadn’t known what to do with her—he’d been just as inexperienced—and she’d left each encounter disappointed. When finally she’d gathered the courage to tell him what she wanted, he’d satisfied her well. She missed sex. But connection...intimacy...she thought she missed those more. The dogs barked, jolting her from her thoughts. They’d cleaned their food bowls, and now wanted to play. She clasped Baden’s hand to lead him out of the kennel. He jerked away, severing contact. One action. Tons of hurt. “I’m allowed to touch you and you want to have sex with me, but you’re still disgusted by me.” She stomped outside the kennel, done with him. “Well, I’m leaving. Good riddance! Your do-what-I-say-or-else attitude was annoying, anyway.” He darted in front of her, stopping her. Breath caught in her throat as sunlight streamed over him, paying his chiseled features absolute tribute, making his bronzed skin glimmer. So beautiful. Too beautiful. “I’m not disgusted by you. You need me. I’ve come to accept it,” he admitted, looking away from her. “But being skin-to-skin with another is painful for me. We’ll have to proceed carefully. And you’ll get over your annoyance.” Another order! She would show him the error of his ways.

In the same movie, Emperor Joseph II offers Mozart some musical advice: "Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Just cut a few and it will be perfect." The emperor was put off by the surface complexity of Mozart's music. He didn't see that each note served a purpose-to make a promise or fulfill one, to complete a pattern or vary one. Similarly, at first encounter people are sometimes put off by the superficial complexity of fundamental physics. Too many gluons! But each of the eight color gluons is there for a purpose. Together, they fulfill complete symmetry among the color charges. Take one gluon away, or change its properties, and the structure would fall. Specifically, if you make such a change, then the theory formerly known as QCD begins to predict gibberish; some particles are produced with negative probabilities, and others with probability greater than 1. Such a perfectly rigid theory, one that doesn't allow consistent modification, is extremely vulnerable. If any of its predictions are wrong, there's nowhere to hide. No fudge factors or tweaks are available. On the other hand, a perfectly rigid theory, once it shows significant success, becomes very powerful indeed. Because if it's approximately right and can't be changed, then it must be exactly right! Salieri's criteria explain why symmetry is such an appealing principle for theory building. Systems with symmetry are well on the path to Salieri's perfection. The equations governing different objects and different situations must be strictly related, or the symmetry is diminished. With enough violations all pattern is lost, and the symmetry falls. Symmetry helps us make perfect theories. So the crux of the matter is not the number of notes or the number of particles or equations. It is the perfection of the designs they embody. If removing any one would spoil the design, then the number is exactly what it should be. Mozart's answer to the emperor was superb: "Which few did you have in mind, Majesty?

For members of a particular religious community, the sense of obligation takes a specific form when it comes to their commitment to each other. In the movie Shall We Dance?, Richard Gere plays a bored middle-aged attorney who surreptitiously takes up ballroom dancing. His wife, played by Susan Sarandon, becomes suspicious at his renewed energy and vitality. She hires a private detective, who discovers the dance studio and reports the news. She decides to let her husband continue dancing undisturbed. In the scene where she meets the private detective in a bar to pay his fee and end the investigation, they linger over a drink and discuss why people marry in the first place. The detective, whose countless investigations into infidelity have rendered him cynical about marriage, suggests that the desire to marry has something to do with hormones and passing fancy. She disagrees. The reason we marry, she insists, is that “we need a witness to our lives. There’s a billion people on the planet. . . . I mean, what does any one life really mean? But in a marriage, you’re promising to care about everything. The good things, the bad things, the terrible things, the mundane things . . . all of it, all of the time, every day. You’re saying ‘Your life will not go unnoticed because I will notice it. Your life will not go un-witnessed because I will be your witness.’ ” The sacramental bond that unites two people in a marriage or committed relationship is known as a covenant. A covenant—the word means mutual agreement—is a promise to bear witness to the life of another: the good things, the bad things, the terrible things, the mundane things. At its heart, the relationship among members of a religious community is covenantal as well. As with marriage, the relationship also includes other dimensions, such as friendship and perhaps financial and/or legal partnership. But the defining commitment that members of a religious community make to each other arises from their calling—their covenantal duty—to bear witness to each other’s lives: the lives they now lead and the lives they hope to lead in the future, and the world they now occupy and the world they hope to occupy in the future.

When it begins it is like a light in a tunnel, a rush of steel and steam across a torn up life. It is a low rumble, an earthquake in the back of the mind. My spine is a track with cold black steel racing on it, a trail of steam and dust following behind, ghost like. It feels like my whole life is holding its breath. By the time she leaves the room I am surprised that she can’t see the train. It has jumped the track of my spine and landed in my mothers’ living room. A cold dark thing, black steel and redwood paneling. It is the old type, from the western movies I loved as a kid. He throws open the doors to the outside world, to the dark ocean. I feel a breeze tugging at me, a slender finger of wind that catches at my shirt. Pulling. Grabbing. I can feel the panic build in me, the need to scream or cry rising in my throat. And then I am out the door, running, tumbling down the steps falling out into the darkened world, falling out into the lifeless ocean. Out into the blackness. Out among the stars and shadows. And underneath my skin, in the back of my head and down the back of my spine I can feel the desperation and I can feel the noise. I can feel the deep and ancient ache of loudness that litters across my bones. It’s like an old lover, comfortable and well known, but unwelcome and inappropriate with her stories of our frolicking. And then she’s gone and the Conductor is closing the door. The darkness swells around us, enveloping us in a cocoon, pressing flat against the train like a storm. I wonder, what is this place? Those had been heady days, full and intense. It’s funny. I remember the problems, the confusions and the fears of life we all dealt with. But, that all seems to fade. It all seems to be replaced by images of the days when it was all just okay. We all had plans back then, patterns in which we expected the world to fit, how it was to be deciphered. Eventually you just can’t carry yourself any longer, can’t keep your eyelids open, and can’t focus on anything but the flickering light of the stars. Hours pass, at first slowly like a river and then all in a rush, a climax and I am home in the dorm, waking up to the ringing of the telephone. When she is gone the apartment is silent, empty, almost like a person sleeping, waiting to wake up. When she is gone, and I am alone, I curl up on the bed, wait for the house to eject me from its dying corpse. Crazy thoughts cross through my head, like slants of light in an attic. The Boston 395 rocks a bit, a creaking noise spilling in from the undercarriage. I have decided that whatever this place is, all these noises, sensations - all the train-ness of this place - is a fabrication. It lulls you into a sense of security, allows you to feel as if it’s a familiar place. But whatever it is, it’s not a train, or at least not just a train. The air, heightened, tense against the glass. I can hear the squeak of shoes on linoleum, I can hear the soft rattle of a dying man’s breathing. Men in white uniforms, sharp pressed lines, run past, rolling gurneys down florescent hallways.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

When I walked across a room I saw myself walking as if I were someone else, when I picked up a fork, when I pulled off a dress, as if I were in a movie. It’s what I thought you saw when you looked at me. So when I looked at you, I didn’t see you I saw the me I thought you saw, as if I were someone else. I called that outside—watching. Well I didn’t call it anything when it happened all the time. But one morning after I stopped the pills—standing in the kitchen for one second I was inside looking out. Then I popped back outside. And saw myself looking. Would it happen again? It did, a few days later. My friend Wendy was pulling on her winter coat, standing by the kitchen door and suddenly I was inside and I saw her. I looked out from my own eyes and I saw: her eyes: blue gray transparent and inside them: Wendy herself! Then I was outside again, and Wendy was saying, Bye-bye, see you soon, as if Nothing Had Happened. She hadn’t noticed. She hadn’t known that I’d Been There for Maybe 40 Seconds, and that then I was Gone. She hadn’t noticed that I Hadn’t Been There for Months, years, the entire time she’d known me. I needn’t have been embarrassed to have been there for those seconds; she had not Noticed The Difference. This happened on and off for weeks, and then I was looking at my old friend John: : suddenly I was in: and I saw him, and he: (and this was almost unbearable) he saw me see him, and I saw him see me. He said something like, You’re going to be ok now, or, It’s been difficult hasn’t it, but what he said mattered only a little. We met—in our mutual gaze—in between a third place I’d not yet been.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world.

The fact that no one made demands on her knowledge in her special field was lucky for Simochka. Not only she but many of her girlfriends had graduated from the institute without any such knowledge. There were many reasons for this. The young girls had come from high schools with very little grounding in mathematics and physics. They had learned in the upper grades that at faculty council meetings the school director had scolded the teachers for giving out failing marks, and that even if a pupil didn't study at all he received a diploma. In the institute, when they found time to sit down to study, they made their way through the mathematics and radio-technology as through a dense pine forest. But more often there was no time at all. Every fall for a month or more the students were taken to collective farms to harvest potatoes. For this reason, they had to attend lectures for eight and ten hours a day all the rest of the year, leaving no time to study their course work. On Monday evenings there was political indoctrination. Once a week a meeting of some kind was obligatory. Then one had to do socially useful work, too: issue bulletins, organize concerts, and it was also necessary to help at home, to shop, to wash, to dress. And what about the movies? And the theater? And the club? If a girl didn't have some fun and dance a bit during her student years, when would she do so afterward? For their examinations Simochka and her girlfriends wrote many cribs, which they hid in those sections of female clothing denied to males, and at the exams they pulled out the one the needed, smoothed it out, and turned it in as a work sheet. The examiners, of course, could have easily discovered the women students' ignorance, but they themselves were overburdened with committee meetings, assemblies, a variety of plans and reports to the dean's office and to the rector. It was hard on them to have to give an examination a second time. Besides, when their students failed, the examiners were reprimanded as if the failures were spoiled goods in a production process—according to the well-known theory that there are no bad pupils, only bad teachers. Therefore the examiners did not try to trip the students up but, in fact, attempted to get them through the examination with as good results as possible.

Sometimes Marlboro Man and I would venture out into the world--go to the city, see a movie, eat a good meal, be among other humans. But what we did best was stay in together, cooking dinner and washing dishes and retiring to the chairs on his front porch or the couch in his living room, watching action movies and finding new and inventive ways to wrap ourselves in each other’s arms so not a centimeter of space existed between us. It was our hobby. And we were good at it. It was getting more serious. We were getting closer. Each passing day brought deeper feelings, more intense passion, love like I’d never known it before. To be with a man who, despite his obvious masculinity, wasn’t at all afraid to reveal his soft, affectionate side, who had no fears or hang-ups about declaring his feelings plainly and often, who, it seemed, had never played a head game in his life…this was the romance I was meant to have. Occasionally, though, after returning to my house at night, I’d lie awake in my own bed, wrestling with the turn my life had taken. Though my feelings for Marlboro Man were never in question, I sometimes wondered where “all this” would lead. We weren’t engaged--it was way too soon for that--but how would that even work, anyway? It’s not like I could ever live out here. I tried to squint and see through all the blinding passion I felt and envision what such a life would mean. Gravel? Manure? Overalls? Isolation? Then, almost without fail, just about the time my mind reached full capacity and my what-ifs threatened to disrupt my sleep, my phone would ring again. And it would be Marlboro Man, whose mind was anything but scattered. Who had a thought and acted on it without wasting even a moment calculating the pros and cons and risks and rewards. Who’d whisper words that might as well never have existed before he spoke them: “I miss you already…” “I’m thinking about you…” “I love you…” And then I’d smell his scent in the air and drift right off to Dreamland. This was the pattern that defined my early days with Marlboro Man. I was so happy, so utterly content--as far as I was concerned, it could have gone on like that forever. But inevitably, the day would come when reality would appear and shake me violently by the shoulders. And, as usual, I wasn’t the least bit ready for it.

Tom carried with him a glass full of wine, which clearly hadn’t been his first of the evening. He swaggered and swayed as he started to speak, and his eyes, while not quite at half mast, were certainly well on their way. “In my mind,” Tom began, “this is what love is all about.” Sounded good. A little slurred, but it was nice and simple. “And…and…and in my mind,” Tom continued, “in my mind, I know this is all about…this is all love here.” Oh dear. Oh no. “And all I can say is that in my mind,” he went on, “it’s just so great to know that true love is possible right now in this time.” Crickets. Tap-tap. Is this thing on? “I’ve known this guy for a long, long time,” he resumed, pointing to Marlboro Man, who was sitting and listening respectfully. “And…in my mind, all I have to say is that’s a long…long time.” Tom was dead serious. This was not a joke toast. This was not a ribbing toast. This was what was “in his mind.” He made that clear over and over. “I just want to finish by saying…that in my mind, love is…love is…everything,” he continued. People around the room began to snicker. At the large table where Marlboro Man and I sat with our friends, people began to crack up. Everyone except Marlboro Man. Instead of snickering and laughing at his friend--whom he’d known since they were boys and who, he knew, had recently gone through a rough couple of years--Marlboro Man quietly motioned to everyone at our table with a tactful “Shhhh,” followed by a quietly whispered “Don’t laugh at him.” Then Marlboro Man did what I should have known he’d do. He stood up, walked up to his friend, who was rapidly entering into embarrassing territory…and gave him a friendly handshake, patting him on the shoulder. And the dinner crowd, rather than bursting into the uproarious laughter that had been imminent moments before, clapped instead. I watched the man I was about to marry, who’d always demonstrated a tenderness and compassion for people--whether in movies or in real life--who were subject to being teased or ridiculed. He’d never shown a spot of discomfort in front of my handicapped brother Mike, for all the times Mike had sat on his lap or begged him for rides to the mall. He’d never mocked or ridiculed another person as long as I’d known him. And while his good friend Tom wasn’t exactly developmentally disabled, he’d just gotten perilously close to being voted Class Clown by a room full of people at our rehearsal dinner. But Marlboro Man had swept in and ensured that didn’t happen. My heart swelled with emotion.

Calling Billie Burke a “character actress” is like calling the Grand Canyon “quite a slice.” Though she’s best known for dithering supporting roles in such films as The Wizard of Oz, Topper and Dinner at Eight, Billie was a stage star, silent movie star, and a brilliant dramatic actress as well. Her comic talent was only the tip of the iceberg.

Is Twee the right word for it, for the strangely persistent modern sensibility that fructifies in the props departments of Wes Anderson movies, tapers into the waxed mustache-ends of young Brooklynites on bicycles, and detonates in a yeasty whiff every time someone pops open a microbrewed beer? Well, it is now. An across-the-board examination of this thing is long overdue, and the former Spin writer Marc Spitz is to be congratulated on having risen to the challenge. With Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film , he’s given it a name, and he’s given it a canon. (The canon is crucial, as we shall see.) And if his book is a little all over the place—well, so is Twee. Spitz hails it as “the most powerful youth movement since Punk and Hip-Hop.” He doesn’t even put an arguably in there, bless him. You’re Twee if you like artisanal hot sauce. You’re Twee if you hate bullies. Indeed, it’s Spitz’s contention that we’re all a bit Twee: the culture has turned. Twee’s core values include “a healthy suspicion of adulthood”; “a steadfast focus on our essential goodness”; “the cultivation of a passion project” (T-shirt company, organic food truck); and “the utter dispensing with of ‘cool’ as it’s conventionally known, often in favor of a kind of fetishization of the nerd, the geek, the dork, the virgin.

Many people believed that it was Julio Antonio Mella’s oversized ego that motivated him, but others said that he really was sincere and believed that he could bring about significant changes by his demands. There were also a number of female students known for being political radicals, who played an important part in shaping Julio’s life at that time. Rosario Guillauma (Charito) and Sarah Pascual were both close friends of Julio, as well as being fellow travelers. The overt communist cell at the University of Havana continued to grow dramatically under his leadership and many of the university students became active members of the party. Although, during the time he was at the university he was linked to women radicals and was married to Oliva Zaldivar Freyre. However, following his marriage, it was Tina Modotti, a movie star, model, notorious spy and renowned photographer who became the love of his life!

What is now Tanzania was once Tanganyika and before that part of British East Africa and prior to that a colony of Germany. During World War I the fighting actually came to the Continent of Africa. Known as the East African Campaign, many of the battles almost went unreported and are little known, however the romance of this war is portrayed by many novels and the well-known movie “African Queen,” starring Humphrey Bogart and Katherine Hepburn. The film is a stretch, but strictly speaking it is based on a true story, however even saying this, neither the original novel nor the movie bears more than a passing resemblance to reality. The four years of warfare mostly fought in Europe, cost the lives of hundreds of thousands of people and affected many millions more. The campaigns, skirmishes and battles in Africa, although relatively small, cost the lives of 14 German soldiers with 34 being wounded whereas the British had a total of about 150 casualties. “In actual fact the four years of warfare from 1914 to 1918, cost the lives of hundreds of thousands of people and affected many millions more. The campaigns, skirmishes and battles although relatively small, cost the lives of 14 German troops with 34 being wounded whereas the British had a total of about 150 casualties. An example of the type of battles fought in Africa was the Battle of Bukoba. Here the British objective was the destruction of the Bukoba wireless station on the shore of Lake Victoria, it was decided that the raid should take the form of an amphibious assault by the Loyal North Lancashire Regiment and the 25th Frontier Royal Fusiliers who served in the African Theatre of war around Lake Tanganyika, British East African and German East African territory. Upon reaching the objective at Bukoba, the attackers were mistakenly landed in a large swamp and were pinned down by fierce rifle

In the same way, the miser tends to save words, feelings, and thoughts. He does not want to spend energy in feeling or thinking; he needs this energy for the necessary and unavoidable tasks of life. He remains cold and indifferent to the joys and sorrows of others, even his own. As a substitute for a live experience he substitutes the memory of past experiences. These memories are a precious possession, and often he goes over them in thought as he would count his money, his cattle, or his industrial stocks. In fact, the memory of past feelings or experiences is the only form in which he is in touch with his own experiences. He is feeling little, but he is sentimental; sentimental being used here in the sense of “feelingless feelings,” the thought of or the day-dreams of feelings, rather than felt feelings. It is a well-known fact that many possessive, cold, and even cruel people—and the three belong together—who are not moved by human suffering that is real, can shed tears when a movie presents one of those constellations that they remember from their own childhood or that they think of in daydreams.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

Do not manhandle me. My answer is no. I'm not for sale." "But you don't have any family left," said Nicolas, raising an eyebrow. The next few moments blurred together into one messed-up vision. A fist flying into Nicolas's nose. A loud crack. Blood splattering on Camille's dress. Rémi putting his arm around me. Jane, Phillipa, and Marie racing up to see what the commotion was all about. The clicks of cameras. A nightmare. "This is private property. You're no longer guests of the château. Leave now," said Rémi as Nicolas scrambled up from the ground. "And stay away, far away from my fiancée, or I'll hunt you down." Jane, Marie, and Phillipa flanked my sides, supporting my shaky body. Phillipa hissed to Nicolas. "You're wrong. Sophie has a family. She has all of us. And her dad." I couldn't help but smile. What Phillipa said was true. I had everything. "He broke my nose," said Nicolas, holding his hand up to his face, blood pouring down like a waterfall. "I'm going to press charges against you, all of you, you pieces of merde." "Go ahead," said Rémi. "We may not be as wealthy as you are, but we're not doing so bad. You can try to destroy us, but if you know Sophie as well as I do, you know she fights back. And hard. Believe me. Nothing, not you, not me, will stand in her way. You're the only one with a reputation to lose---and from what I've read, most people think you're the scum of the earth." Camille walked up the steps. "I'm out of here." She stopped and looked over her shoulder. "I'm sorry, Sophie. I should have known. Small dick, small mind." "I do not have a small dick," screamed Nicolas, his face turning red. The guests from the Sunday lunch clasped their hands over their mouths. I felt like I was the star of a B movie. Who were these people? Cartoon characters? "Oh, yes, you have a small penis. The smallest one I've ever seen," said Camille, winking at me. "And you think with it. Now, take me back to Paris so I can get rid of you. That is, unless you want my Instagram to blow up. Don't forget. I have pictures of your cornichon." Nicolas raced after Camille. "You salope, those pictures are private." Camille placed her hands on her skinny hips. "For now," she said. I had to give Camille credit when it was due; she wasn't a brain-dead model, she was fierce.

At Landmark Theatres, we focus on enhancing your escape through the diversity of our curated content: Films, Music, Sports, Gaming, Live Events, etc. We are known for historic theatres and those with neighborhood charm and contemporary locations. We are offering the regular movie concession fare you expect, as well as drinks at many locations. We are also focused on bringing you a state-of-the-art presentation and a safe environment for you to experience it.

He may not be the most well-known killer in this book, but he may well be the most influential in pop culture. No other killer has inspired as many movie franchises as the story of the Butcher of Plainfield. Norman Bates from Psycho, Leatherface from The Texas Chainsaw Massacre, and Buffalo Bill from The Silence of the Lambs were all inspired by his story. The account of the life of Ed Gein is so strange, and what they found in his barn was so macabre, it has influenced the way we think about modern horror.

His name is C. J. Skender, and he is a living legend. Skender teaches accounting, but to call him an accounting professor doesn’t do him justice. He’s a unique character, known for his trademark bow ties and his ability to recite the words to thousands of songs and movies on command. He may well be the only fifty-eight-year-old man with fair skin and white hair who displays a poster of the rapper 50 Cent in his office. And while he’s a genuine numbers whiz, his impact in the classroom is impossible to quantify. Skender is one of a few professors for whom Duke University and the University of North Carolina look past their rivalry to cooperate: he is in such high demand that he has permission to teach simultaneously at both schools. He has earned more than two dozen major teaching awards, including fourteen at UNC, six at Duke, and five at North Carolina State. Across his career, he has now taught close to six hundred classes and evaluated more than thirty-five thousand students. Because of the time that he invests in his students, he has developed what may be his single most impressive skill: a remarkable eye for talent. In 2004, Reggie Love enrolled in C. J. Skender’s accounting class at Duke. It was a summer course that Love needed to graduate, and while many professors would have written him off as a jock, Skender recognized Love’s potential beyond athletics. “For some reason, Duke football players have never flocked to my class,” Skender explains, “but I knew Reggie had what it took to succeed.” Skender went out of his way to engage Love in class, and his intuition was right that it would pay dividends. “I knew nothing about accounting before I took C. J.’s class,” Love says, “and the fundamental base of knowledge from that course helped guide me down the road to the White House.” In Obama’s mailroom, Love used the knowledge of inventory that he learned in Skender’s class to develop a more efficient process for organizing and digitizing a huge backlog of mail. “It was the number-one thing I implemented,” Love says, and it impressed Obama’s chief of staff, putting Love on the radar. In 2011, Love left the White House to study at Wharton. He sent a note to Skender: “I’m on the train to Philly to start the executive MBA program and one of the first classes is financial accounting—and I just wanted to say thanks for sticking with me when I was in your class.

An old Chevy, I think,” he was going on now. “It’s supposed to be back soon, though. Not really the same without it, is it?” He actually sounded genuinely mournful. I was surprised to find myself battling back a quick, involuntary smile. He did seem to be more interesting than your average, run-of-the-mill BMOC. I had to give him that. Get a grip, O’Connor, I chastised myself. “Absolutely not,” I said, giving my head a semi-vigorous nod. That ought to move him along, I thought. You may not be aware of this fact, but agreeing with people is often an excellent way of getting them to forget all about you. After basking in the glow of agreement, most people are then perfectly content to go about their business, remembering only the fact that someone agreed and allowing the identity of the person who did the actual agreeing to fade into the background. This technique almost always works. In fact, I’d never known it not to. There was a moment of silence. A silence in which I could feel the BMOC’s eyes upon me. I kept my own eyes fixed on the top of the carless column. But the longer the silence went on, the more strained it became. At least it did on my side. This guy was simply not abiding by the rules. He was supposed to have basked and moved on by now. “You don’t have the faintest idea what I’m talking about, do you?” he said at last. I laughed before I quite realized what I’d done. “Not a clue,” I said, turning to give him my full attention for the very first time, an action I could tell right away spelled trouble. You just had to do it, didn’t you? I thought. He was even better looking when I took a better look. He flashed me a smile, and I felt my pulse kick up several notches. My brain knew perfectly well that that smile had not been invented just for me. My suddenly-beating-way-too-fast heart wasn’t paying all that much attention to my brain, though. “You must be new, then,” he commented. “I’d remember you if we’d met before.” All of a sudden, his face went totally blank. “I cannot believe I just said that,” he said. “That is easily the world’s oldest line.” “If it isn’t, it’s the cheesiest,” I said. He winced. “I’d ask you to let me make it up to you, but I’m thinking that would make things even worse.” “You’d be thinking right.” This time he was the one who laughed, the sound open and easy, as if he was genuinely enjoying the joke on himself. In retrospect I think it was that laugh that did it. That finished the job his smile had started. You just didn’t find all that many guys, all that many people, who were truly willing to laugh at themselves. “I’m Alex Crawford,” he said. “Jo,” I said. “Jo O’Connor.” At this Alex actually stuck out his hand. His eyes, which I probably don’t need to tell you were this pretty much impossible shade of blue, focused directly on my face. “Pleased to meet you, Jo O’Connor.” I watched my hand move forward to meet his, as if it belonged to a stranger and was moving in slow motion. At that exact moment, an image of the robot from the movie Lost in Space flashed through my mind. Arms waving frantically in the air, screaming, “Danger! Danger!” at the top of its inhuman lungs. My hand kept moving anyhow. Our fingers connected. I felt the way Alex’s wrapped around mine, then tightened. Felt the way that simple action caused a flush to spread across my cheeks and a tingle to start in the palm of my hand and slowly begin to work its way up my arm. To this day, I’d swear I heard him suck in a breath, saw his impossibly blue eyes widen. As if, at the exact same moment I looked up at him, he’d discovered something as completely unexpected as I had, gazing down. He released me. I stuck my hand behind my back. “Pleased to meet you, Jo O’Connor,” he said again. Not quite the way he had the first time.

Take just one well-known event: The Beatles' 1964 appearance on The Ed Sullivan Show. This has been depicted with astonishing regularity as a pivotal cultural moment; in fact an entire movie -- I Wanna Hold Your Hand -- was built around it. And that Sullivan episode was indeed a major event in popular culture. But did you know that in 1961, 26 million people watched a CBS live broadcast of the first performance of a new symphony by classical composer Aaron Copland? Moreover, with all the attention that sixties rock groups receive, it may come as a surprise to learn that My Fair Lady was Columbia Records' biggest-selling album before the 1970s, beating out those of sixties icons Bob Dylan, Janis Joplin and The Byrds.

LET’S ALL GET FAT AND JUMP OFF BRIDGES How many times have you heard how few people exercise and eat enough fruits and vegetables, choosing to binge on TV and sugar- and fat-laden foods instead? These types of statistics are supposed to “scare us straight,” but to those addicted to reruns and junk food, the data is music to their ears. It reminds them of the comforting reality that they’re not alone—that everyone else is just like them. And if everyone is doing it, how wrong can it really be? You may not be one of those people, but don’t think you’re immune to the underlying psychological mechanisms. It’s comforting to think that we singularly chart our own course in our lives, uninfluenced by how other people think and act, but it’s simply not true. Extensive psychological and marketing research has shown that what others do—and even what we think they do—has a marked effect on our choices and behaviors, especially when the people we’re observing are close to us.29 In the world of marketing, this effect is known as “social proof,” and it’s a well-established principle used in myriad ways to influence us to buy. When we’re not sure how to think or act, we tend to look at how other people think and act and follow along, even if subconsciously. Whenever we justify behaviors as acceptable because of all the other people doing it too or because of how “normal” it is, we’re appealing to social proof. We can pick up anything from temporary solutions to long-term habits this way, and both people we know and even people we see in movies can influence us.30 For example, having obese friends and family members dramatically increases your risk of becoming obese as well.31 The

Watching movies (Titanic, Flirting with Disaster, Mannequin, Thelma and Louise, Rushmore, The Goonies, She’s Having a Baby, it mattered very little) was a kind of prayer: She knew the characters as well as she knew herself, as well as she knew anything there was to know, and she could chart and rechart their movements and secrets and misunderstandings endlessly, reflecting in any number of new permutations on all of it, each time. Again and again. They were acquaintances—people she’d known her whole life and understood well, people incapable of letting her down by changing or disappearing or offering up the unexpected. The League of Their Own tears were purely for catharsis. When she was done she would reemerge, reborn. She would make new mistakes. Or maybe none at all. Okay,

Swedish Match Corporation was just one part of Ivar’s empire. He controlled ten other businesses through his public “holding” company, Kreuger & Toll, another Swedish corporation. In addition to its stake in Swedish Match, Kreuger & Toll also invested in banking, real estate, and the film industry. Ivar formed separate real estate companies to hold his properties,14 and he used separate subsidiaries for each business, in order to avoid registration fees applicable to larger companies.15 One of his property holdings was Kvasten 6 Biblioteksgatan, where the well-known Stockholm cinema Röda Kvarn was located.16 This purchase led Ivar to become involved in the film industry, and to meet prominent directors and actors, include a leading director in Sweden, Mauritz Stiller. Ivar formed Svenska Filmindustri, a company that dominated Swedish cinema and brought him great pleasure, though little money. SF, as the company was known, was at the center of the golden age of Swedish film, and made critically acclaimed movies based on novels by the country’s leading writers.

THE SYSTEM in many ways was a necessary one. Each film was entirely different, but all were expensive. Unlike a factory, a lavish movie set might be used just once, especially if the scene called for a fire or explosion. The key employees, writers, actors, and directors were known to be volatile. Even an expensively produced film that got everything right, however, could not guarantee that audiences would actually pay to watch it. And if a movie was well received by audiences, very little of this knowledge could be directly applied to another film. It was art posing as business. The rise of major studios resulted from an ongoing search for an economic formula that could make the movies work as an industry.

We recently saw parading through our streets a line of young women who, under other skies, might very well have been crowned with garlands of flowers in the Panathenaea. They were angry young starlets, demanding an end to the need to sleep with the producer to gain recognition. 'Talent, not tits and bums!' It is somewhat troubling to see such a problem carried out into the streets. It is well known that the publicity around such things repeatedly turns against the victims and merely compounds the initial violation with a further violation by the media. Here too, it will no doubt be said that these young women in search of theatre parts are already in a state of advanced prostitution. The fact that they come and offer themselves up to the lechery of the public eye, after having been offered up, against their wills, to the lechery of producers, at least bears witness to their candour, if not to their innocence.

No matter how highly placed they were, they were still officials, their views were well established and well known, famous. It could have rained frogs over Tan Son Nhut and they wouldn’t have been upset; Cam Ranh Bay could have dropped into the South China Sea and they would have found some way to make it sound good for you; the Bo Doi Division (Ho’s Own) could have marched by the American embassy and they would have characterized it as “desperate”—what did even the reporters closest to the Mission Council ever find to write about when they’d finished their interviews? (My own interview with General Westmoreland had been hopelessly awkward. He’d noticed that I was accredited to Esquire and asked me if I planned to be doing “humoristical” pieces. Beyond that, very little was really said. I came away feeling as though I’d just had a conversation with a man who touches a chair and says, “This is a chair,” points to a desk and says, “This is a desk.” I couldn’t think of anything to ask him, and the interview didn’t happen.) I honestly wanted to know what the form was for those interviews, but some of the reporters I’d ask would get very officious, saying something about “Command postures,” and look at me as though I was insane. It was probably the kind of look that I gave one of them when he asked me once what I found to talk about with the grunts all the time, expecting me to confide (I think) that I found them as boring as he did. And just-like-in-the-movies, there were a lot of correspondents who did their work, met their deadlines, filled the most preposterous assignments the best they could and withdrew, watching the war and all its hideous secrets, earning their cynicism the hard way and turning their self-contempt back out again in laughter. If New York wanted to know how the troops felt about the assassination of Robert Kennedy, they’d go out and get it. (“Would you have voted for him?” “Yeah, he was a real good man, a real good man. He was, uh, young.” “Who will you vote for now?” “Wallace, I guess.”) They’d even gather troop reflections on the choice of Paris as the site of the peace talks. (“Paris? I dunno, sure, why not? I mean, they ain’t gonna hold ’em in Hanoi, now are they?”), but they’d know how funny that was, how wasteful, how profane. They knew that, no matter how honestly they worked, their best work would somehow be lost in the wash of news, all the facts, all the Vietnam stories. Conventional journalism could no more reveal this war than conventional firepower could win it, all it could do was take the most profound event of the American decade and turn it into a communications pudding, taking its most obvious, undeniable history and making it into a secret history. And the very best correspondents knew even more than that.

No, I'll mostly be watching you, anyway.’ His fingers traced patterns across the skin of my arm, raising goosebumps. ‘Will you cry?’ ‘Probably,’ I admitted, ‘if I'm paying attention.’ ‘I won't distract you then.’ But I felt his lips on my hair, and it was very distracting. The movie eventually captured my interest, thanks in large part to Marcel whispering Romeo's lines in my ear-his irresistible, velvet voice made the actor's voice sound week and coarse by comparison. And I did cry, to his amusement, when Juliet woke and found her new husband dead. ‘I'll admit, I do sort of envy him here, ‘Marcel said, drying the tears with a lock of my hair. ‘She's very pretty.’ He made a disgusted sound. ‘I don't envy him the girl-just the ease of the suicide,’ he clarified in a teasing tone. ‘You humans have it so easy! All you have to do is throw down one tiny vial of plant extracts…’ ‘What?’ I gasped. ‘It's something I had to think about once, and I knew from Chiaz's experience that it wouldn't be simple. I'm not even sure how many ways Chiaz tried to kill himself in the beginning… after he realized what he'd become…’ His voice, which had grown serious, turned light again. ‘And he's still in excellent health.’ I twisted around so that I could read his face. ‘What are you talking about?’ I demanded. ‘What do you mean, this something you had to think about once?’ ‘Last spring, when you were… nearly killed…’ He paused to take a deep breath, snuggling to return to his teasing tone. ‘Of course, I was trying to focus on finding you alive, but part of my mind was making contingency plans. As I said, it's not as easy for me as it is for a human.’ For one second, the memory of my last trip to Phoenix washed over my head and made me feel dizzy. I could see it all so clearly-the the blinding sun, the heat waves coming off the concrete as I ran with desperate haste to find the sadistic angel who wanted to torture me to death. James, waiting in the mirrored room with my mother as his hostage-or so I'd thought. I hadn't known it was all a ruse. Just as James hadn't known that Marcel was racing to save me; Marcel made it in time, but it had been a close one. Unthinkingly, my fingers traced the crescent-shaped scar on my hand that was always just a few degrees cooler than the rest of my skin. I shook my head as if I could shake away the bad memories and tried to grasp what Marcel meant. My stomach plunged uncomfortably. ‘Contingency plans?’ I repeated. ‘Well, I wasn't going to live without you.’ He rolled his eyes as if that fact were childishly obvious. ‘But I wasn't sure how to do it- I knew Emmah and Joh would never help… so I was thinking maybe I would go to Italy and do something to provoke the Ministry.’ I didn't want to believe he was serious, but his golden eyes were brooding, focused on something far away in the distance as he contemplated ways to end his own life. Abruptly, I was furious. ‘What is Vulture?’ I demanded. ‘The Ministry is a family,’ he explained, his eyes still remote. ‘A very old, very powerful family of our kind. They are the closest thing our world has to a royal family, I suppose. Chiaz lived with them briefly in his early years, in Italy, before he settled in America-do you remember the story?’ ‘Of course, I remember.

49.​TRUE OR FALSE: 2006’S CASINO ROYALE WAS THE FIRST BOND MOVIE THAT COULD BE WATCHED IN CHINA. True. It was the first film in the James Bond series that the Chinese censor board approved. 50.​TRUE OR FALSE: THE FIRST INTERRACIAL KISS IN TELEVISION HISTORY HAPPENED ON STAR TREK. True. Although the network originally didn’t want to air it, William Shatner reportedly sabotaged all of the other shoots, forcing the network to run the kiss. 51.​TRUE OR FALSE: THE FIRST TELEVISION COMMERCIAL EVER WAS A CAR COMMERCIAL. False. It was actually a commercial for watches, and it aired in 1941. 52.​TRUE OR FALSE: ACTOR JIM CAVIEZEL WAS STRUCK BY LIGHTNING WHILE PORTRAYING JESUS IN THE PASSION OF THE CHRIST. True. Caviezel suffered a large number of calamities during the filming, but this one seemed like a bit of an omen. 53.​TRUE OR FALSE: BRYAN ADAMS’ FAMOUS SONG “SUMMER OF ‘69” IS NAMED AFTER THE SEX POSITION, NOT THE YEAR. True. In fact, Adams was just 9 years old during the summer of 1969. 54.​TRUE OR FALSE: THE ROLLING STONES PERFORMED IN BACK TO THE FUTURE 3. False. But ZZ Top did! 55.​TRUE OR FALSE: THE WORD “FUCK” WAS ONCE SAID OVER 1,000 TIMES IN ONE MOVIE. False. But Swearnet: The Movie came close with the word appearing 935 times—a record amount! 56.​TRUE OR FALSE: BATTLEFIELD EARTH WAS WRITTEN BY THE FOUNDER OF SCIENTOLOGY. True. L. Ron Hubbard was a well-known science fiction writer in addition to being the founder of Scientology.

Part Two: When St. Kari of the Blade Met Darth Vader, Star Wars Dark Lord of the Sith  (Earlier, the Emperor commanded Lord Vader to make contact . . . “I have felt a non-tremor in the Nether-Force” “I have not, my master.” “Yes, well, that is why I’m ‘the Emp’ and you are not . . . Um, we have a new enemy, the non-entity known as Blade Kári. She’s running around all over the place gunning for that brat kid of yours.” “Hmm. Interesting,” tight-lipped Darth. “Anyway, I–hey, how can all this mish-mash be?” “Search your feelings, Lord Vader” the Emperor solemnized. “If you feel nothing as usual, you know it to be true or false. By now your guess is as good as mine with this Force stuff.” “Damn!–If you say so,” Vader said smacking his hand. “If she could be turned she would make a powerful ally.” “Yesss . . . can it be done? Bring the Valkyrie creature to me. See to it personally, Lord Vader. The more she is loose the more of a train wreck waiting to happen she becomes to us. Besides, it will break up the monotony until Bingo Wednesday night.” “Okay. She will join us or die–again and again and again–until we all get it right. “Now, what about my son?” grumbed Vader deeply. “Why fish for guppies when you can land a Megalodon? Go on. Get out of here. You Annoy me.” “Yes, my Mahhster . . . ”). back to the action . . . “—Oh yeah? Who is he, this Vader person? Someone I should meet?” Kari percolated. Luke mulled. “No. He is evil and very powerful. A ȿith lord.” “A Scythian, eh? Humm.—for a minute there, you had me worried. “Look—there he is!” Luke shouted scrunching down and pulling the girl besides him. Vader stwalked down the landing craft’s platform decked in his usual evil attire looking at the pile of messy clones. “He doesn’t look so tough’st to me. Pretty trippy wardrobe though. Maybe that is why he is evil. Clothes do that, costuming up n’ all. I think I’ll go down and see him.” Kari launched off to meet him. Luke trying to pull her back, she running up to the battle line strewn with dead clones. “Hey Darth’st.” “Did you do all this? Hmmph. The Force is with you, young Blade Kári, but you are not a Valkyrie yet.” “Sez ‘st who? You’st? Do not be so blamed melodramatic. This ’tain’t no movie ʎ’know’st, well leastways, not yet. I shall have you know I am a charter member of your friendly neighborhood Valkyrie club and my dues are so in.” Vader ignited his red lightsaber (he was not one for small talk). “Where can I get one of those, she asked Vader, pointing to his glowing blade of laser evil. Do they come in assorted colors? I want one!” she yelled back at Luke. Vader struck savagely at the girl, she mildly pirouetting on her heels to evade the cut then giggling, diminutively popped him squarely in his breather-chest contraption bugging him. Again, he struck, the blade harmlessly passing through her. “Impressive, most impressive. And you say you can’t get a date?” “Best take it easy Sith-meister. You’re riling me.” Luke’s eyes bulged. He could not believe it, remembering his own stupid head words to Yoda, his spry little green master. Vader paused, breathing heavily as was typical of him like he was a 20-pack a day smoker. “Your destiny lies with me, young Kári. Look here, if you really want one of these red glow in the Nether dark cutters, come with me.” “Honestly?” Luke nodded his head back and forth as if agreeing with himself. Where had he heard that before . . . ? The kid was going to be nothing but trouble from here on out he foresaw. end stay tuned for part iii  

41. Among the Rewards of My Sloth . . . . . . is that the tree in our backyard that we had cut down because it was mostly dead and waiting to pierce the asphalt-shingled roof and, more urgently maybe, the neighbor’s (and always, yes, mourn a tree by my hand felled, for it is a home, dead or not) is still, about three and a half months later, sprawled in many parts of the backyard. Probably about one hundred little and not so little logs chucked in a pile out near the black walnut tree, very much alive. And a brush pile about the size of a Cadillac Escalade leaning up against the building you’d be very generous to call a garage, twisting slowly apart on its cracked foundation. Sometimes the brush pile and logs would make me feel like a piece of shit, perhaps especially when Stephanie looked wistfully out into that yard, remembering, I imagine, when she could visualize a garden there. Not to mention my mother, who, when I first got this house in Bloomington, Indiana, in a kind of terror I have to think is informed by some unspoken knowledge (black husband, brown kids in the early seventies kind of knowledge), pleaded with my brother and uncle to convince me to mow my grass lest the neighbors burn my house down. (Of which, let it be known, there was no danger in my case. Despite the Confederate flags in the windows three doors down. You should see his yard. By the way, if you haven’t seen the movie A Man Named Pearl, you should.) Anyway, I’d think, very much pervious to all of the above despite my affect to the contrary, we’ll get a splitting maul and wood chipper and turn a lot of that wood into good mulch, which turns into good soil, trying to make myself feel better about myself. But today, going out back to grab some wood for the stove, past my mess, there was a racket blasting from that thicket like the most rambunctious playground you’ve ever heard, and getting closer, looking inside, I saw maybe one hundred birds hopping around in this enormous temporary nest, sharing a song I never would’ve heard and been struck dumb with glee by had I had my shit more together.

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The infantilization of young adult men, in particular, is so well-known that it has become the stuff of memes, skits, sitcoms, and movies. It is a theological choice by pastors to preach endlessly about the dangers of work, career, and professional ambitions when video game obsessions are a deeper cultural reality.