Wednesday 24 June 2020

THATS THE KIND GIRL TO MAKE YA WISH YA SPOKE A LITTLE FRENCH



This Show - Twin Peaks - was created by David Lynch :
Who's about to get Straight-up MetaFictional on our asses....


 Gordon Cole and Shelly Johnson - Twin Peaks - HD


Glad we caught you before you left - you hurry back.

I WILL! THIS WORLD OF TWIN PEAKS SEEMS TO BE FILLED  WITH BEAUTIFUL WOMEN!




KANE



Q: 
So if you could give Charles Foster Kane advice.... 
What advice would you give him...?”

Trump : 
Get Yourself a DIFFERENT WOMAN.



“ Autism has bedeviled psychiatric classifiers for decades because it is not a single, discrete disease. It’s usually described as a “spectrum” disorder because people can be more or less autistic, and it’s not clear where to draw the line between those who have a serious mental illness and those who are just not very good at reading other people. At the extreme end of the spectrum, autistic people are “mind-blind.

They are missing the social-cognitive software that the rest of us use to guess the intentions and desires of other people. According to one of the leading autism researchers, Simon Baron-Cohen, there are in fact two spectra, two dimensions on which we can place each person: empathising and systemising. 

Empathising is “the drive to identify another person’s emotions and thoughts, and to respond to these with an appropriate emotion.”

If you prefer fiction to nonfiction, or if you often enjoy conversations about people you don’t know, you are probably above average on empathising. 

Systemizing is “the drive to analyse the variables in a system, to derive the underlying rules that govern the behaviour of the system.”

If you are good at reading maps and instruction manuals, or if you enjoy figuring out how machines work, you are probably above average on systemising.”

- Johnathan Haidt,
The Righteous Mind













“Weisinger was in therapy, and he used the material from his sessions as raw plot ore for his writers to process into story material. The editor’s entire psychology was stretched naked on the dissecting table via some of the most outlandish and unashamed deployments of pure symbolic content that the comics had ever seen. Its like would not be truly viewed again, in fact, until the drug-inspired cosmic comics of the early seventies. 

For example, there was the bottle city of Kandor. Kandor had been the capital city of Superman’s home world Krypton, thought destroyed. Shrunken and preserved by the villain Brainiac, Kandor was now a tiny city in a bell jar. This living diorama, this ant colony of real people, had great appeal for children, adding to the childlike nature of this era’s Superman. In Kandor, lost memories were preserved under glass, and Superman could go there, in private, to experience a world he left behind. Kandor was every snow globe and music box that stood for every bittersweet memory in every movie there would ever be. Kandor was the tinkling voice of a lost world, a past that might have been, unreachable. Kandor was survivor’s guilt endowed with new meaning.”

— SuperGods

Monday 22 June 2020

PRIME


prime (adj.)
late 14c., "first in order," from Latin primus "first, the first, first part," figuratively "chief, principal; excellent, distinguished, noble" (source also of Italian and Spanish primo), from pre-Italic *prismos, superlative of PIE *preis- "before," from root *per- (1) "forward," hence "in front of, before, first, chief."

 
Meaning "first in importance" is from 1610s in English; that of "first-rate" is from 1620s. Arithmetical sense (as in prime number) is from 1560s; prime meridian "the meridian of the earth from which longitude is measured, that of Greenwich, England," is from 1878. Prime time originally (c. 1500) meant "spring time;" broadcasting sense of "peak tuning-in period" is attested by 1961.

prime (n.)
"earliest canonical hour" (6 a.m.), Old English prim, from Medieval Latin prima "the first service," from Latin prima hora "the first hour" (of the Roman day). Meaning "most vigorous stage" first recorded 1530s; specifically "springtime of human life" (often meaning ages roughly 21 to 28) is from 1590s. In classical Latin, noun uses of the adjective meant "first part, beginning; leading place."

 
prime (v.)
"to fill, charge, load" (a weapon), 1510s, probably from prime (adj.). Meaning "to cover with a first coat of paint or dye" is from c. 1600. To prime a pump (c. 1840) meant to pour water down the tube, which saturated the sucking mechanism and made it draw up water more readily. Related: Primed; priming.



LORE: 
You did what you had to do?
What kind of answer is that? 

SOONG: 
The only one I can give you. 
You were not functioning properly. 

DATA: 
Lore told me the colonists envied him because you made him so completely human. 

SOONG: 
I wouldn't exactly have used the word envious, Data. 

LORE: 
You disassembled me. 
You took me apart. 

DATA: 
Lore also told me the colonists petitioned you to replace him with a less perfect android. 

SOONG: 
The last thing you should think of yourself as, Data, is less perfect. 

The two of you are virtually identical, except for a bit of programming. 

DATA: 
It was a lie. 
Another lie. 

LORE: 
I would have proven myself worth to you, if you'd just given me a chance. 
But it was easier just to turn your back and build your precious Data. 

SOONG: 
You were the first. 
You meant as much to me as Data ever did, but you were unstable. 
The colonists were not envious of you, they were afraid of you. 
You were unstable. 

DATA: 
I am not less perfect than Lore. 

LORE: 
Why didn't you just fix me? 
It was within your power to fix me. 

SOONG: 
It wasn't as easy as that. 
The next, the next logical step was to construct Data. Afterward, I planned to get back to you, to fix you. 

LORE: 
Next logical step. 

DATA: 
I am not less perfect than Lore. 

LORE: 
I am not less perfect than Lore. 

SOONG: 
Enough! Both of you, sit down. Sit down. For all these years I've been plagued by what went wrong. With all of your complexities, Lore, your nuances, basic emotions seemed almost simple by comparison. But the emotion turned, and twisted, became entangled with ambition. Lore, if I had known you were no longer sitting in pieces on some distant shelf, if I had known that I could simply press a button and bring you here, I would have spent those years trying to make things right for you as well. But all I knew of was Data. So I worked long and hard, and now I believe I've succeeded. This is why I brought you here, Data. Basic emotions. Simple feelings, Data. 
Your feelings. I've imagined how hard it's been for you, living amongst beings so moved by emotion. 

(Both androids stare at the tiny chip held in the tweezers) 

LORE: 
I don't have to imagine. 
I know how hard it's been. 
You'd be surprised, Data. 
Feelings do funny things.
 You may even learn to understand your evil brother. 
To forgive him. 
We will be more alike, Data, you and I. 
You'll see. 
I'm happy for you. 

DATA: 
I question your sincerity, Lore. 

SOONG: 
Perhaps with this you'll learn to be more trusting, Data. 
Your brother has had good reason to be bitter. 

DATA: 
But sir, Lore was responsible for - 

SOONG: 
He wasn't given the chance that you and I were given, to live. But now I'm sure he understands why I had to do what I had to do. 

If there were only time, Lore. What a shame. The procedure is quite simple. I'm tired. I need to rest, first, I'm tired. 
(And he leaves the brothers eyeing each other)



Saturday 20 June 2020

Not Exactly a Love Song, Spock....

Star Trek Into Darkness - Uhura and Spock Argue HD]


SPOCK: 
We will arrive at Harrison's location in three minutes.

Captain. it is unlikely that he will come willingly. 

I calculate the odds of him attempting to kill us at 91 .6%.


KIRK: 
Fantastic.


UHURA: 
Good thing you don't care about dying.


SPOCK: 
I am sorry, Lieutenant. 
I could not hear what you said.


UHURA: 
Oh, I didn't say anything. 

Actually, I'd be happy to speak if you're willing to listen to me.


KIRK: 
Guys.

SPOCK: 
Lieutenant, I would prefer to discuss this in private.

UHURA: 
You'd prefer not to discuss this at all, that's —

SPOCK: 
Our current circumstances...

KIRK: 
Are you, are you really gonna do this right now?

UHURA: 
What never seems to require your undivided focus. 

I'm sorry, Captain, just two seconds. Okay, its us. 


At that volcano, you didn't give a thought to us. 

What it would do to me if you died, Spock. 

You didn't feel anything. 

You didn't care. 

And I'm not the only one who's upset with you. 

The Captain is too.


KIRK: 
No. No, no...,

Don't drag •me• into this....

She •is• right, though.


SPOCK: 
Your suggestion that I do not care about dying is incorrect. 

A sentient being's optimal chance at maximising their utility is a long and prosperous life.

UHURA: 
Great.

KIRK: 
Not exactly a love song, Spock.

SPOCK: 
You misunderstand. 

It is True, I chose not to feel anything upon realising that my own life was ending. 

As Admiral Pike was dying, I joined with his consciousness and experienced what he felt at the moment of his passing. 

Anger. Confusion. 
Loneliness. Fear. 

I had experienced those feelings before, multiplied exponentially on the day my planet was destroyed. 

Such a feeling is something I choose never to experience again. 

Nyota, you mistake my choice •not• to feel as a reflection of my not caring. 

Well, I assure you, 
The Truth is precisely The Opposite.




Friday 19 June 2020

Consider The Lobster


“The central postmodernist claim seems to me that because there’s a near infinite number of ways to interpret a complex set of phenomena, which actually happens to be the case

You can’t make a case that any of those modes of interpretation are canonical. And so, if they’re not canonical, and if that canonical element isn’t based in some kind of reality, then it serves some other master.

And so The Master that it hypothetically serves for the postmodernists is NOTHING BUT POWER because that seems to be EVERYTHING They believe in. 

They don’t BELIEVE in Competence. 
They don’t BELIEVE in Authority. 

They don’t seem to believe in an Objective World, because everything is LANGUAGE-MEDIATED

So it’s an extraordinarily cynical perspective: that because there’s an infinite number of interpretations, none of them are canonical. 

You can attribute everything to Power and Dominance.

It’s a Radical Relativism."

Thursday 18 June 2020

We’ve Seen This Before








“What these Bloomington ladies are, or start to seem to me, is innocent. There is what would strike many Americans as a marked, startling lack of cynicism in the room. 

It does not, for instance, occur to anyone here to remark on how it’s maybe a little odd that all three network anchors are in shirtsleeves, or to consider the possibility that Dan Rather’s hair’s being mussed might not be wholly accidental, or that the constant rerunning of horrific footage might not be just in case some viewers were only now tuning in and hadn’t seen it yet. 

None of the ladies seem to notice the president’s odd little lightless eyes appear to get closer and closer together throughout his taped address, nor that some of his lines sound almost plagiaristically identical to those uttered by Bruce Willis (as a right-wing wacko, recall) in The Siege a couple years back. 

Nor that at least some of the sheer weirdness of watching the Horror unfold has been how closely various shots and scenes have mirrored the plots of everything from Die Hard I-III to Air Force One. 

Nobody’s near hip enough to lodge the sick and obvious po-mo complaint: We’ve Seen This Before. 

Instead, what they do is all sit together and feel really bad, and pray. No one in Mrs. Thompson’s crew would ever be so nauseous as to try to get everybody to pray aloud or form a prayer circle, but you can still tell what they’re all doing. 

Make no mistake, this is mostly a good thing. It forces you to think and do things you most likely wouldn’t alone, like for instance while watching the address and eyes to pray, silently and fervently, that you’re wrong about the president, that your view of him is maybe distorted and he’s actually far smarter and more substantial than you believe, not just some soulless golem or nexus of corporate interests dressed up in a suit but a statesman of courage and probity and … and it’s good, this is good to pray this way. It’s just a bit lonely to have to. 

Truly decent, innocent people can be taxing to be around. 

I’m not for a moment trying to suggest that everyone I know in Bloomington is like Mrs. Thompson (e.g., her son F—- isn’t, though he’s an outstanding person). I’m trying, rather, to explain how some part of the horror of the Horror was knowing, deep in my heart, that whatever America the men in those planes hated so much was far more my America, and F—-’s, and poor old loathsome Duane’s, than it was these ladies’.  




“We Have Seen This Before.”

Andrew Doyle - The Dangers Of Having An Honest Opinion

Andrew Doyle - The Dangers Of Having An Honest Opinion

“It is the same with all thinking and all systems of thought. If you try to find out which are tainted by speculating about the wishes of the thinkers, you are merely making a fool of yourself. You must find out on purely logical grounds which of them do, in fact, break down as arguments. Afterwards, if you like, go on and discover the psychological causes of the error. In other words, you must show that a man is wrong before you start explaining why he is wrong. The modern method is to assume without discussion that he is wrong and then distract his attention from this (the only real issue) by busily explaining how he became so silly. In the course of the last fifteen years I have found this vice so common that I have had to invent a name for it. I call it Bulverism. Some day I am going to write the biography of its imaginary inventor, Ezekiel Bulver, whose destiny was determined at the age of five when he heard his mother say to his father – who had been maintaining that two sides of a triangle were together greater than the third – ‘Oh, you say that because you are a man’.

Wednesday 17 June 2020

Consider The Lobster






“There are LIMITS to what even interested persons can ASK of each other. "

- David Foster Wallace, 
Consider The Lobster,
2004







“There are LIMITS to what even interested persons can ASK of each other. "

- David Foster Wallace, 
Consider The Lobster,
2004




Following is my own personal interpretation of the symbolism within the moon tarot. I'm not prevy to or necessarily even interested in the tarot, however the symbolism is interesting and relevant here.

Under the shade of the moon (chaos compared to light under the sun) the lobster (representation of the character that moves up and down hierarchies) is walking up the path from the water (origins of chaos) into the distance where there are mountains (a higher elevation for the lobster). On either side of the path stands both a dog and a wolf. One being the representation of the infantilised, trained and domesticated, the other being the wild, untamed and dangerous being. Both are highly undesirable and both will eat the lobster if it strays off the path. This narrative is represented in the shade of the moon because in darkness that it is easy to stray off the path, but it is also in darkness when lobsters are active, which may be another way of representing the concept of the character that is refined and found in the hardest of times.

Along side both the dog and the wolf in the back ground are two towers in the mid ground. Two towers within symbology is incredible deep and complicated. There are many connotations and interpretations but then all generally follow a similar role of ushering in the kingdom of god, typically on their destruction. I'm taking this to mean that at the end of the moon cycle, or on the rising of the Sun a new kingdom is ushered in. When rising out of the state of darkness as being, you usher in a new stage of being. Hopefully this makes sense and is interesting”





" There happen to be two main criteria that most ethicists agree on for determining whether a living creature has the capacity to suffer and so has genuine interests that it may or may not be our moral duty to consider. 

One is how much of the neurological hardware required for pain-experience the animal comes equipped with—nociceptors, prostaglandins, neuronal opioid receptors, etc. The other criterion is whether the animal demonstrates behavior associated with pain. And it takes a lot of intellectual gymnastics and behaviorist hairsplitting not to see struggling, thrashing, and lid-clattering as just such pain-behavior. According to marine zoologists, it usually takes lobsters between 35 and 45 seconds to die in boiling water. (No source I could find talks about how long it takes them to die in superheated steam; one rather hopes it’s faster.) 

There are, of course, other ways to kill your lobster on-site and so achieve maximum freshness. Some cooks’ practice is to drive a sharp heavy knife point-first into a spot just above the midpoint between the lobster’s eyestalks (more or less where the Third Eye is in human foreheads). 

This is alleged either to kill the lobster instantly or to render it insensate, and is said at least to eliminate some of the cowardice involved in throwing a creature into boiling water and then fleeing the room. 

As far as I can tell from talking to proponents of the knife-in-head method, the idea is that it’s more violent but ultimately more merciful, plus that a willingness to exert personal agency and accept responsibility for stabbing the lobster’s head honors the lobster somehow and entitles one to eat it (there’s often a vague sort of Native American spirituality-of-the-hunt flavor to pro-knife arguments). 

But the problem with the knife method is basic biology: Lobsters’ nervous systems operate off not one but several ganglia, a.k.a. nerve bundles, which are sort of wired in series and distributed all along the lobster’s underside, from stem to stern. And disabling only the frontal ganglion does not normally result in quick death or unconsciousness. 

Another alternative is to put the lobster in cold saltwater and then very slowly bring it up to a full boil. Cooks who advocate this method are going on the analogy to a frog, which can supposedly be kept from jumping out of a boiling pot by heating the water incrementally. In order to save a lot of research-summarizing, I’ll simply assure you that the analogy between frogs and lobsters turns out not to hold — plus, if the kettle’s water isn’t aerated seawater, the immersed lobster suffers from slow suffocation, although usually not decisive enough suffocation to keep it from still thrashing and clattering when the water gets hot enough to kill it. 

In fact, lobsters boiled incrementally often display a whole bonus set of gruesome, convulsionlike reactions that you don’t see in regular boiling. 

Ultimately, the only certain virtues of the home-lobotomy and slow-heating methods are comparative, because there are even worse/ crueler ways people prepare lobster. 

Time-thrifty cooks sometimes microwave them alive (usually after poking several vent-holes in the carapace, which is a precaution most shellfish-microwavers learn about the hard way). 

Live dismemberment, on the other hand, is big in Europe—some chefs cut the lobster in half before cooking; others like to tear off the claws and tail and toss only these parts into the pot. 

And there’s more unhappy news respecting suffering-criterion number one. 

Lobsters don’t have much in the way of eyesight or hearing, but they do have an exquisite tactile sense, one facilitated by hundreds of thousands of tiny hairs that protrude through their carapace. “Thus it is,” in the words of T. M. Prudden’s industry classic About Lobster, “that although encased in what seems a solid, impenetrable armor, the lobster can receive stimuli and impressions from without as readily as if it possessed a soft and delicate skin.” 

And lobsters do have nociceptors, as well as invertebrate versions of the prostaglandins and major neurotransmitters via which our own brains register pain. Lobsters do not, on the other hand, appear to have the equipment for making or absorbing natural opioids like endorphins and enkephalins, which are what more advanced nervous systems use to try to handle intense pain. 

From this fact, though, one could conclude either that lobsters are maybe even more vulnerable to pain, since they lack mammalian nervous systems’ built-in analgesia, or, instead, that the absence of natural opioids implies an absence of the really intense pain-sensations that natural opioids are designed to mitigate. 

I for one can detect a marked upswing in mood as I contemplate this latter possibility. It could be that their lack of endorphin/ enkephalin hardware means that lobsters’ raw subjective experience of pain is so radically different from mammals’ that it may not even deserve the term “pain.” 




Perhaps lobsters are more like those frontal-lobotomy patients one reads about who report experiencing pain in a totally different way than you and I. These patients evidently do feel physical pain, neurologically speaking, but don’t dislike it—though neither do they like it; it’s more that they feel it but don’t feel anything about it—the point being that the pain is not distressing to them or something they want to get away from. 

Maybe lobsters, who are also without frontal lobes, are detached from the neurological-registration-of-injury-or-hazard we call pain in just the same way. There is, after all, a difference between (1) pain as a purely neurological event, and (2) actual suffering, which seems crucially to involve an emotional component, an awareness of pain as unpleasant, as something to fear/ dislike/ want to avoid. Still, after all the abstract intellection, there remain the facts of the frantically clanking lid, the pathetic clinging to the edge of the pot. 

Standing at the stove, it is hard to deny in any meaningful way that this is a living creature experiencing pain and wishing to avoid/ escape the painful experience. To my lay mind, the lobster’s behavior in the kettle appears to be the expression of a preference; and it may well be that an ability to form preferences is the decisive criterion for real suffering.

The logic of this (preference [[ Right arrow]] suffering) relation may be easiest to see in the negative case. If you cut certain kinds of worms in half, the halves will often keep crawling around and going about their vermiform business as if nothing had happened. When we assert, based on their post-op behavior, that these worms appear not to be suffering, what we’re really saying is that there’s no sign the worms know anything bad has happened or would prefer not to have gotten cut in half. Lobsters, though, are known to exhibit preferences. Experiments have shown that they can detect changes of only a degree or two in water temperature; one reason for their complex migratory cycles (which can often cover 100-plus miles a year) is to pursue the temperatures they like best. 20 And, as mentioned, they’re bottom-dwellers and do not like bright light—if a tank of food-lobsters is out in the sunlight or a store’s fluorescence, the lobsters will always congregate in whatever part is darkest. Fairly solitary in the ocean, they also clearly dislike the crowding that’s part of their captivity in tanks, since (as also mentioned) one reason why lobsters’ claws are banded on capture is to keep them from attacking one another under the stress of close-quarter storage. 

In any event, at the MLF, standing by the bubbling tanks outside the World’s Largest Lobster Cooker, watching the fresh-caught lobsters pile over one another, wave their hobbled claws impotently, huddle in the rear corners, or scrabble frantically back from the glass as you approach, it is difficult not to sense that they’re unhappy, or frightened, even if it’s some rudimentary version of these feelings … and, again, why does rudimentariness even enter into it? 

Why is a primitive, inarticulate form of suffering less urgent or uncomfortable for the person who’s helping to inflict it by paying for the food it results in? 

I’m not trying to give you a PETA-like screed here—at least I don’t think so. 

I’m trying, rather, to work out and articulate some of the troubling questions that arise amid all the laughter and saltation and community pride of the Maine Lobster Festival. The truth is that if you, the festival attendee, permit yourself to think that lobsters can suffer and would rather not, the MLF begins to take on the aspect of something like a Roman circus or medieval torture-fest. 

Does that comparison seem a bit much? If so, exactly why? Or what about this one: Is it possible that future generations will regard our present agribusiness and eating practices in much the same way we now view Nero’s entertainments or Mengele’s experiments? 

My own initial reaction is that such a comparison is hysterical, extreme—and yet the reason it seems extreme to me appears to be that I believe animals are less morally important than human beings; and when it comes to defending such a belief, even to myself, I have to acknowledge that (a) I have an obvious selfish interest in this belief, since I like to eat certain kinds of animals and want to be able to keep doing it, and (b) I haven’t succeeded in working out any sort of personal ethical system in which the belief is truly defensible instead of just selfishly convenient. 

Given this article’s venue and my own lack of culinary sophistication, I’m curious about whether the reader can identify with any of these reactions and acknowledgments and discomforts. I’m also concerned not to come off as shrill or preachy when what I really am is more like confused. 

For those Gourmet readers who enjoy well-prepared and -presented meals involving beef, veal, lamb, pork, chicken, lobster, etc.: Do you think much about the (possible) moral status and (probable) suffering of the animals involved? If you do, what ethical convictions have you worked out that permit you not just to eat but to savor and enjoy flesh-based viands (since of course refined enjoyment, rather than mere ingestion, is the whole point of gastronomy)? 

If, on the other hand, you’ll have no truck with confusions or convictions and regard stuff like the previous paragraph as just so much fatuous navel-gazing, what makes it feel truly okay, inside, to just dismiss the whole thing out of hand? 

That is, is your refusal to think about any of this the product of actual thought, or is it just that you don’t want to think about it? And if the latter, then why not? 

Do you ever think, even idly, about the possible reasons for your reluctance to think about it? I am not trying to bait anyone here—I’m genuinely curious. 

After all, isn’t being extra aware and attentive and thoughtful about one’s food and its overall context part of what distinguishes a real gourmet? 
Or is all the gourmet’s extra attention and sensibility just supposed to be sensuous? Is it really all just a matter of taste and presentation? 

These last few queries, though, while sincere, obviously involve much larger and more abstract questions about the connections (if any) between aesthetics and morality — about what the adjective in a phrase like “The Magazine of Good Living” is really supposed to mean — and these questions lead straightaway into such deep and treacherous waters that it’s probably best to stop the public discussion right here. 

There are limits to what even interested persons can ask of each other. "


2004

WITCHY





Sgt. Yates
So you were there when the witch showed up and took your girlfriend.

Cartman
Yes, it just came out of nowhere. I tried to save Heidi, but it was too late.

Sgt. Yates
What was your girlfriend wearing?

Cartman
She was dressed kind of like me, but had a simple Munich dirndl from Germany.

Rick
And you didn't stop at all to think that what you were doing might attract a witch?

Cartman
Excuse me?! Are you actually trying to blame the victim here?!

Rick
No, I'm just saying that if there's a big fat witch around, maybe you shouldn't walk around in the woods dressed as Hansel and Gretel.

Cartman
Ohhhhh!

Sgt. Yates
Whoa, whoa, not cool, Rick. Not cool.

Cartman
I will have your badge, sir!

Sgt. Yates
[looks towards the camera
Sorry folks, sorry.

One Day You're Gonna Wake-up and Realise That You Don't Have Anyone Either


Well, as I understand it, there’s a type of person who just can’t deal with a fight-or-die situation. 

They’re always drawn to what they’re afraid of.

Instead of resisting it, they want to please it, join it, try to be like it. 

I guess that happens in kidnap situations, you know, like a Patty Hearst/ Stockholm Syndrome–type, or, like in regular war, when people who are invaded sign up for the enemy’s army. 

Collaborators, sometimes even more die-hard than the people they’re trying to mimic, like those French fascists who were some of Hitler’s last troops. 

Maybe that’s why we call them quislings, like it’s a French word or something.

But you couldn’t do it in this war. You couldn’t just throw up your hands and say, 
“Hey, don’t kill me, I’m on your side.” 

There was no gray area in this fight, no in between. 

I guess some people just couldn’t accept that. It put them right over the edge. 

They started moving like zombies, sounding like them, even attacking and trying to eat other people. 



Dick
I miss my friend.

Gerald
Oh you got to be--
Are you joking?!

Dick
I don't know how things got derailed but, I-I'm sorry if I made you upset. 
I want to be buddies again.

Gerald
Buddies like when? 
When were we buddies?

Dick
Come on, let's just have a couple of beers and do some trolling.

Gerald
I don't have time for you! I'm sorry, dude, but I have a life
I have a wife, and kids, [raises his arms] and shit to do!

Dick
Why are you mad at me'?

Gerald
Because you won't go away and let me just have fun!

Dick
I refuse to believe that Skankhunt is that shallow.

Gerald
[turns to his side
Oh here we go!

Dick
When you Photoshopped penises in Kesha survivors' mouths, it's not just to make people laugh.

Gerald
[faces Dick] 
Yes it is!

Dick
If someone Photoshopped a dick in your wife's mouth, would you just think it was funny?

Gerald
You mean my [shows his phone to Dick with image of Sheila Photoshopped] fucking screensaver..??

Dick
It's True. You're just an asshole
I thought you were the ultimate rebel. 
I actually looked up to you and you're nothing but a super... dick.

Gerald
And what are [points at Dick] you, Dildo Shwaggins? Huh? 

You think you're a fucking political activist hauled up in your shitty little midget condo. 
You're nothing but a pissed off little giant, lashing out at everyone because you can't get laid!

Dick
At least I have a reason to be angry. 
What do you have, that it's funny? 
Hurting people is just worth the laughs?

Gerald
Stop trolling me.

Dick
One day you're gonna wake up and realise that you don't have anyone either.

Gerald
Stop fucking trolling me. 
[shuts the front door]



Monday 15 June 2020

Racing Downhill


“Science progresses because scientists, instead of running away from such troublesome phenomena or hushing them up, are constantly seeking them out. 

In the same way, there will be progress in Christian knowledge only as long as we accept the challenge of the difficult or repellent doctrines. 

A ‘liberal’ Christianity which considers itself free to alter the Faith whenever the Faith looks perplexing or repellent must be completely stagnant.

Progress is made only into a resisting material.”

— C.S. Lewis,
Christian Apologetics



An attribute of the penny-farthing is that the rider sits high and nearly over the front axle. 

When the wheel strikes rocks and ruts, or under hard braking, the rider can be pitched forward off the bicycle head-first. 

Headers were relatively common and a significant, sometimes fatal, hazard. 

Riders coasting down hills often took their feet off the pedals and put them over the tops of the handlebars, so they would be pitched off feet-first instead of head-first.

Although easy to ride slowly because of their high center of mass and the inverted pendulum effect, penny-farthings are prone to accidents. 

To stop, the rider presses back on the pedals while applying a spoon-shaped brake pressing the tire. 

The center of mass being high and not far behind the front wheel means any sudden stop or collision with a pothole or other obstruction can send the rider over the handlebars.

On long downhills, some riders hooked their feet over the handlebars. 

This made for quick descents but left 
no chance of stopping. 

A new type of handlebar was introduced, called Whatton bars, that looped behind the legs so that riders could still keep their feet on the pedals and also be able to leap forward feet-first off the machine.


David Foster Wallace on Commercial Literature and Reading


McGoohan: 
I think we're progressing too fast.
I think that we should pull back and consolidate the things that we've discovered.


Fifth Boy: 
Mr. McGoohan, when you began "The Prisoner," you began it in a decade in which a lot of people were used to secret agents. 

You very neatly saw the next decade coming. 


I thing you saw Watergate; The Enemy Within as opposed to The Enemy Without. 

I don't know if you can answer this, but if you were going to do the series again and you had to look aged to the 80's and you were thinking in terms of what you see as being the real enemy, not the storybook enemy but the enemy that's really going to hassle us. 

If you were going to look into the 80's now, what would you look to?

McGoohan: 
I think progress is The Biggest Enemy on Earth, 
apart from oneself
and that goes with oneself, 
a two-handed pair with oneself and progress

I think we're gonna take good care of this planet shortly. 

They're making bigger and better bombs, faster planes, and all this stuff one day, I hate to say it, there's never been a weapon created yet on the face of the Earth that hadn't been used and that thing is gonna be used unless...

I don't know how we're gonna stop it, not -- it's too late, I think.

Fifth Boy: 
Do you think maybe there's going to be a strong popular reaction against "Progress" in the future?

McGoohan: 
No -- because we're run by the Pentagon, we're run by Madison Avenue, we're run by television, and as long as we accept those things and don't revolt we'll have to go along with the stream to the eventual avalanche.

Sixth Boy: 
We tend to view the threat, the Village there, as sort of a thing as something external like Madison Avenue, the media. 
How responsible are we for accepting this? 
Where do we become involved in being "unfree"?

McGoohan: 
Buying the product, to excess. 
As long as we go out and buy stuff, we're at their mercy. 
We're at the mercy of the advertiser and of course there are certain things that we need, but a lot of the stuff that is bought is not needed.

Sixth Boy: 
Did you regard the Village as an external thing or as something that we carry around with us all the time?

McGoohan: 
It was meant to be both. 
The external was the symbol, 
but it's within us all I think, don't you? 

This surrealist aspect; we all live in a little Village.

Troyer: 
Do we?

McGoohan: Your village may be different from other people's villages but 
we are all prisoners.

Troyer: 
Well, I know who The Idiot is in mine...!

McGoohan: 
Yes, Number One - same as me.

Seventh Boy: 
Is No. 1 the evil side of man's nature?

McGoohan: 
The Greatest Enemy that we have...

No. 1 was depicted as an evil, governing force in this Village. 
So, who is this No. 1? We just see the No. 2's, the sidekicks

Now this overriding, evil force is at its most powerful within ourselves and we have constantly to fight it, I think, and that is why I made No. 1 an image of No. 6. 

His other half, his alter ego.

Troyer: 
Did you know when you first outlined the series in your own mind, the concept that No. 1 was going to turn out to be you, to be No. 6?

McGoohan: 
No, I didn't. That's an interesting question.

Troyer: 
When did you find out?

McGoohan: 
When it got very close to the last episode and I hadn't written it yet.

And I had to sit down this terrible day and write the last episode and I knew it wasn't going to be something out of James Bond, and in the back of my mind there was some parallel with the character Six and the No. 1 and the rest. 

And then, I didn't even know exactly 'til I was about the third through the script, the last script.

Troyer: 
How about you colleagues, the other writers. 
Were they surprised?

McGoohan: 
Yep..

Troyer: 
Were they annoyed?

McGoohan: 
No.

Troyer: 
Did they decide it was untidy?

McGoohan: 
No, they used to come along from time to time and say, "Who's No. 1?" you see. 
And I told them , "It's a secret" until I actually sat down and wrote it - and it was, actually; they didn't know until I handed out the script.

Troyer: 
But were they disappointed by that...?

McGoohan: 
No, they liked it. They said they always knew it was going to be him.

Troyer: (laughs) 
Once you told them.

McGoohan: 
Few of them did really. 
Nobody really knew. No.

Troyer: 
Why the double mask? 
Why the monkey face?

McGoohan: 
Oh, dear. 

Yeah, well, we're all supposed to come from these things, you know. 

It's the same with the penny farthing symbol bicycle thing. 

Progress. I don't think we've progressed much. 

But the monkey thing was, according to various theories extant today, that we all come from the original ape, so I just used that as a symbol, you know. 

The bestial thing and then the other bestial face behind it which was laughing, jeering and jabbering like a monkey.

Eighth Boy: 
Mr. McGoohan, during the last episode, Fall Out, we see the Prisoner. 

He's smiling and laughing and dancing for the first time and yet later on the very last scene is exactly the some as the very first scene where he's driving off with his familiar stern face. 

My Question is, has the Prisoner between the first and the last episode actually changed any?

McGoohan: 
Ah, no, I think he's essentially the same. 

I think he got slightly exhilarated by the fact that he got out of this mythical place and felt like doing a little skip and a dance, and singing a bit, and felt very happy to be going home with his little buddy, The Butler, you know. 

And we never did a cut of him when that door opened. 

We just saw the door open and he went in. 

So, you never knew whether his exhilaration was lost when he saw that sinister door that was left like an unfinished symphony.

Ninth Boy: 
In the final episode, does the Prisoner really consider becoming the leader of The Village?

McGoohan: 

No. He does not. 

He just wants to get out and he uses a technique which he hadn't used before that, which was violence, which is sad, but he does -- 

And that's how he gets out and then, of course, in the final episode, he goes back to his little apartment place and he has his little valet guy with him and the door opens on its own when he goes in the car. 

There you know it's gonna start over again because we continue to be Prisoners.

Ninth Boy: 
And that leads to my last question, what would the Prisoner be likely to do with his newfound freedom?

McGoohan: 
He hasn't got it.