The film remains enigmatic to many viewers and even some of its makers. In a 2011 interview, Justin Timberlake himself confessed, “To me, Southland Tales is performance art. I still don’t know what that movie is about [laughs].” Similarly, castmember Wallace Shawn told film critic Nathan Rabin he did not understand the film after initially reading the screenplay, but signed on as he was impressed by director Richard Kelly and flattered that the part was written specifically for him; ultimately, he said that he still found the film mostly incomprehensible after three viewings, but “liked it very much”.

As the film progresses, the guests go through an emotional and physical transformation slowly transfiguring from land mammals into sea mammals, as they fall in love.

Stephanie Petite - A sister figure with a self-explanatory surname created to correct the stockier proportions of Victoria.

David - The male equivalent for Stephanie Petite. However, David has been discontinued from further development and user vendoring due to the corrections made in Michael 4.

Fevvers brusquely chose a fat choc with a lump of crystalized ginger pressed on top of it and popped it into the pale pink mouth that opened like a sea-anemone to engulf it.

Hubbard was a habitual user of drugs, under the influence of which most of the Scientology catechism had been written. In that light, I thought, books like The History of Man made more sense. And he had a habit of using affirmations which he repeated every day. One of which was: “All men shall be my slaves! All women shall succumb to my charms! All mankind shall grovel at my feet and not know why!”

That music video reminded me of this classic

Targeting The Stoned Cyberpunk

Marketing Report

From a report, prepared earlier this year [1994] by the Interval Research Corporation, about marketing possibilities at the fourth annual Lollapalooza, the “alternative rock” and cultural festival that tours the United States each summer. The report was intended to help organize and market the festival’s Electric Carnival, an exhibit designed to allow festivalgoers to experiment with video and computer technology, including digitally altering their own voices and images. The exhibit was financed, at a re ported $2 million, by Interval founder Paul Allen, a computer entrepeneur. An excerpt from the report appeared in the third issue of Might, a San Francisco magazine.

Who are the 15,000 to 30,000 people per concert who are the audience for the Electric Carnival?

They include “zippies,” “cyberpunks,” “head-bangers,” “wannabees,” the younger “Rave” audience (mostly youth from eleven to seventeen) and older “weekend warriors.” The large majority are sixteen to twenty-four.

What do we know about the majority group (sixteen to twenty-four), and what does it imply for a successful exihibt?

1. Their common preoccupation is the question of personal identity. They are largely self-absorbed and extremely focused on personal appearance. But they are vaguely aware that identity is primarily a construct of culture and family conditioning, variables over which they have little control. This leaves them feeling personally anxious and socially powerless (the Slacker angst). They are likely to be interested in exhibits that allow them to control the various elements of personal identity.
2. They feel marginal to mainstream society (although they are overwhelmingly white and close enough to the middle class to afford the $30 festival-admission fee). Thus the Electric Carnival needs to look and feel very different from school- or office-based experiences. The tent and all the elements in it should reflect a countercultural aesthetic.
3. Shocking parents, family, friends and community is often part of this group’s self-definition process. They will want a record of the most socially unacceptable image of themselves to freak out their parents. We need to provide at least one printout of their self-creation. Ideally, this would be tied to completion and return of a survey after leaving the tent.
4. They don’t want to fail, especially in public. Thus we need to set them up for success. Exhibits must be designed and tested to limit the frustration factor.
5. The majority of them will be drunk, stoned, tripping, or otherwise chemically altered. They are likely to have: short attention spans, poor hand-eye coordination, impaired judgement, uninhibited impulses, an altered sense of time. 
6. Depending on the drug, they may be more aggressive (alcohol), more passive (marijuana), more impatient (speed), or more paranoid than under usual circumstances. Thus:

• they need the Electric Carnival to keep track of time for them
• they need brief, self-contained experiences
• interface images need to be larger and clearer than normal
• they need clear signs
• they need help understanding and making choices - facilitators
• they need a constructive outlet for expression of emotion, espeically rage and grief
• we need to avoid heavy-handedness in controlling crowd. [Sic.] Humor? Costumes?

The Romans were very careful not to give out false omens drawn from the sacred chickens after the fatal adventure of the person who took it into his head to do so under L. Papirius Cursor, consul, in the Roman year 482.

The archaeopteryxes’ dark empire is growing, and they have turned even the strongest species of birds, such as the crows, into slaves.

Is there anything more admirable than plant structure?

The interesting judicial principle was thus established that, for the Anglo-Saxon commonwealth, to vomit is, if not positively healthier, at least less baneful than to engage in sexual intercourse.