Whenever I hear a high pitch sound, I feel as though I am waking up a little, as if responding to the alarm clock of reality’s dream. It reminds me of the moments when I wake up and I realize that everything I had just done was not done at all and I was in bed the entire time. These reality alarm clocks remind me each day that so much of what I experience is caught in a haze of uncertainty. Every time I hear the sound, I feel as though I am gradually exposing myself to the truth, gradually bringing myself out of this coma, but I soon drift back into it.
I won’t go so far as to call it a nightmare. In some cases it’s more like a fantasy, but that fantasy overwhelms me with a dissatisfaction that feels like an overdose. I am a child who has every toy he ever wanted. I am by no means rich, but I prosper. However, I continue to yearn. There is some destiny out there for me to fulfill in order to earn the awakening I have sought since it first beckoned to me. I continue to ask myself if this liberation is my only incentive for fulfilling my destiny or if I’m driven by an instinctive goodness inside of me.
If you are reading this, I’m sure you are prepared to act as an alarm clock for today’s delusion.
Without spoiling anything, I’m going to say that the fourth season finale of Dexter, while traumatizing, was one of the best hours of television I have ever experienced. Where every other show I’ve seen has degraded in some way after its first season, Dexter continues to thrive with unmatched strength and a heart stopping intensity that has yet to weaken.
Video only slightly related. I wouldn’t dare post a clip from the finale. Go watch it!
John Lithgow is amazing, and the chemistry between him and Michael C. Hall is what made season four of Dexter the new standard by which television will be judged.
As a Michael Jackson fan, there are two dance moves I’ve always wanted to be able to perform. One is the Moonwalk, which I have been practicing. The other is the anti-gravity lean made famous by the video for Smooth Criminal. Much to my disappointment, I discovered it was physically impossible. The video used wires while stage performances used a stage peg mechanic patented by Michael Jackson himself.
At about 3:53 you can see the backup dancer on the right almost tripping on the peg after completing the lean. He recovers from it pretty well.