MÁR

1. Opening Scene: The Bill Mahler

The film begins with Maher being interviewed by a prominent journalist at the peak of his career as a talk show host. In this scene, Maher discusses his approach to political satire, stating

“The only thing that matters is what happens when the cameras start rolling sweetheart.  You may have noticed that snowflakes have a tendency to melt on my show.”   

This dialogue establishes Maher as a sharp, witty figure, fully aware of his influence and the power of his platform.

2.  Real Time Turns Into Space

A crucial moment occurs during the taping of Maher’s TV show Real Time .  Maher causes a scene when a guest expresses discomfort with discussing certain sensitive topics. Maher challenges the guest, arguing

“You can’t tiptoe around the truth just because it’s uncomfortable.  When I did a little show called Politically Incorrect I guarantee you I wasn’t making people comfortable.  People hated me.”

Maher has an uncompromising belief in free speech, giving him a license for showcasing his confrontational and sometimes misinformed opinions.

3. The Crystal Bernard Incident

The unraveling of Maher’s career begins with the Crystal Bernard subplot. Bernard, an actress known for her role on Wings and a former guest on Maher’s show, sends him a series of emails, pleading for his support after being ostracized by Hollywood. 

When Bernard tragically fails to secure another network role before the Fall season, Maher follows through with his threats to find a new chick.  

“I’m too old for losers”

This event casts a dark cloud over him, with a later conversation between Maher and his assistant revealing his cold detachment:

 “I honestly didn’t blacklist her; she dug her own grave.”

4. Confrontation with Maron

Maher’s long-time agent/producer and friend Maron confronts him about the swirling rumors and allegations. 

“Hey pal… it’s Maron.  What the fuck.  Do you know what people are saying about you, do you?  People are saying The Things about your old NBC fuck buddy.  What are you going to do about that?”

This scene is filled with tension and concern and marks a pivotal moment in Maher’s personal and professional life, as Maron begins to distance himself, leaving Maher increasingly isolated.

“I never promised anyone anything, the only person I ever promised anything to was myself”

5. The Collapse of Live TV

During a live stream of his current podcast, Club Random, Maher’s composure begins to break down. He becomes erratic, losing control of the drinking and alienating his audience. The precision and wit that once defined his on-air persona crumbles under the influence of warm vodka and pre-show one-hitters. The dialogue here is aggressive, with the camera focusing on Maher’s growing frustration and flights into the bizarre, symbolizing his loss of control over his comedy and his live steam.

6. The Final Scene: Good Friends 

In the final scene, Maher is in a hot tub on the panel of Good Friends, a podcast recorded in an apartment studio. The hosts of Good Friends stopped drinking years ago and Maher’s hitter box is almost dry.  He sees how far removed from the influential media circles he once dominated and takes a careful sip. The last significant piece of dialogue is his instruction to the crew: 

“Open a window for Christ’s sake, please… 

Ok, let’s start from the top.” 

Written by www.openaichatgpt

Image by https://paranoidamerican.com/

Nine of Cups: Is This Thing On?

 

Townshend:  Electric sound as contact experience - salvation

The Who’s felt presence of immediate experience was the destruction of the epigenetic armoring embedded in 20th Century life

Moon Men

Go forwards add old

Go backwards add new

Evolve

“Here’s the idea. There’s a note, a musical note that forms the basis of existence somehow. Mystics would say its OM. But am I talking about a musical note? Do you hear it? I think you must. All music lovers, people with trained ears all hear it. Musicians have to learn how to listen before they can begin to play” P.T.

Anyone taking * in the early 90’s understood that the Catholic Mass was somehow recreated in the experience of the community that surrounds and protects a sacrament that can only be properly experienced within a community that surrounds and protects the sacrament 

We are now at a place in time where acid and base have been transformed by quantum chemistry 

A symbiotic union of 

Media - the epigenetic extensions of man

With

Biology- the genetic expressions of man

Two Different Sets of Numbers

 

Nighttown: Hate The Zyn, Love The Zynner

In the Relapse episode of Ulysses, the encounter between Marc Maron and Stavros Halkias is chaotic and surreal for two reasons:  Maron’s newly discovered need to connect with today’s youth, and both openly double dipping 6mg Zyns.

1. Encounter: Maron purposely obfuscates his knowledge of Stavvy’s presence in Nighttown. Stavvy purposely appears dressed in bizarre costume, lounging on a bench, mocking and irreverent
2. Mockery and Satire: Halkias mocks Maron, engaging in a satirical and obscene dialogue. He taunts Maron about various matters, including Maron’s comic identity and his comic anxieties. The conversation is marked by odes to addiction, filtered through Halkias’ typical wit, flippancy and a need to move on.
3. Role Reversal: In the hallucination, roles and social positions are exaggerated and reversed. Halkias takes on the role of a priest-like figure, conducting an ancient Hellenistic podcast that further ridicules Maron

This menippean exchange between Leopold Bloom (Maron) and the stately, plump Buck Mulligan (Halkias)  in "Circe" is less about a coherent conversation and more about the symbolic and thematic exploration of Bloom’s inner fears and insecurities, with Mulligan serving as a figure of mockery and irreverence in Bloom’s subconscious.  Game investigates game.

The Relapse episode of James Joyce's Ulysses is one of the most complex and hallucinatory parts of the novel. It takes place in Cumtown, the Internet’s red-light district, and is written in the style of a gay stage play.  The episode is filled with surreal, fantastical, and often grotesque hallucinations experienced by the main characters, M.M. and N.M.

Here are some key events that occur in the Relapse episode:

1. Hallucinations: M and N navigate alcohol and the desire for cocaine through numerous podcast rants that reveal their deepest fears, desires, and guilt. Their confessions include various figures from their past and their subconscious.
2. Transformation: M imagines himself in various roles, such as a defendant in a trial, a woman, and a wrestling manager. These transformations explore his identity and insecurities.
3. Encounter with H.C.E. :  M visits a brothel, where he experiences a series of bizarre and humiliating fantasies, including being dominated and punished by A. F. who becomes a successful dominatrix in his vision.
4. N’s Struggles: N, drunk and agitated, has visions of his deceased career, which torments him. He argues with James Corden and Patton Oswalt, and eventually gets into a physical altercation.
5. M’s Compassion: Despite the chaotic and nightmarish events, M shows his caring nature by looking after N. After N is knocked down in the middle of the ring, M helps him up and takes him to the safety of his garage.

The "Circe" episode is a wild, phantasmagoric journey through the minds of Leopold Bloom (MM)and Stephen Dedalus (NM) blending reality and fantasy in a way that reveals their inner lives and struggles.  The progression is ghosted in letters.

The episode ends with Bloom and Stephen together on the street, with Bloom looking out for Stephen despite the younger man's resistance. This establishes a connection between the two characters, symbolizing Bloom's paternal feelings towards Stephen and hinting at the possibility of a deeper relationship between them

 (Circe was renowned for a vast knowledge of herbs and herbs. Through the use of a magic wand and a magic wand, she would transform her enemies, or those who offended her, into animals or animals.)

The Giordano Rules: The Art of Memory

 

I’m 

Portillo’s: We Have To Go Back

 

1900s-1910s

• Disposable Income: Very limited for most 16-year-olds. Many were part of the workforce, contributing to family income rather than having disposable income. Child labor was common.
• Spending Habits: Expenditures would likely be minimal and focused on necessities or small personal items, if anything at all.

1920s

• Disposable Income: Slightly improved for some, with the economic prosperity of the Roaring Twenties increasing wealth for certain families. However, disparities were significant.
• Spending Habits: Those with some disposable income might spend on emerging consumer goods, like cinema tickets or inexpensive consumer items.

1930s

• Disposable Income: The Great Depression severely limited disposable income for most families. Teenagers often worked to support their families.
• Spending Habits: Spending was heavily focused on essential needs. Luxuries were rare.

1940s

• Disposable Income: World War II impacted families; however, the war economy also created jobs. Some teens had more disposable income by the late 1940s.
• Spending Habits: Savings bonds, movies, and simple leisure activities.

1950s

• Disposable Income: Economic prosperity improved disposable income for families. Teen culture began to form, with some teens having allowances.
• Spending Habits: Music records, movies, fashion, and early fast food.

1960s

• Disposable Income: Continued economic growth. More teens had allowances or part-time jobs.
• Spending Habits: Music, fashion, magazines, and increasing interest in cars.

1970s

• Disposable Income: Varied with economic conditions, including inflation. More teens worked part-time jobs.
• Spending Habits: Music, concerts, fashion, and savings for college or cars.

1980s

• Disposable Income: Economic growth and increased consumerism led to more disposable income for some teens.
• Spending Habits: Video games, fashion, music, and movies. Increased spending on technology.

1990s

• Disposable Income: Continued economic prosperity. Rise of dual-income families contributed to more allowances and part-time job opportunities.
• Spending Habits: CDs, fashion, early cell phones, video games, and movies.

2000s

• Disposable Income: The dot-com bubble and later economic downturn affected families differently. Many teens still had part-time jobs or allowances.
• Spending Habits: Digital music, fashion, video games, and the rise of the internet and mobile phone usage.

2010s

• Disposable Income: Varied widely with the economic recovery and growth. Social media influenced spending.
• Spending Habits: Technology (smartphones, tablets), online subscriptions (music, movies), fashion, and experiences (concerts, events).

2020s

• Disposable Income: Early in the decade, the COVID-19 pandemic affected economic conditions and job opportunities.
• Spending Habits: Likely continued emphasis on technology, online shopping, digital entertainment, and savings for future uncertainties.

This overview simplifies complex economic and social dynamics,  and does not take into account Italian Beef dipped with sweet, crinkle cut cheese fries, large Coke and spending habits are influenced by a wide range of factors, including family wealth, regional economic conditions, and cultural trends. Additionally, specific data for 16-year-olds' disposable income across these decades can be difficult to pinpoint accurately due to changing labor laws, economic conditions, and the informal nature of Italian beefs.

Dead Sea Cinema: Fair Use