The Hollywood operating system, or Hollywood OS, refers to any fictional computer operating system clichéd in films and television.
The name itself is a misnomer, as the term actually references computer hardware, operating systems, internetworking and various applications ancillary to computers.
These Hollywood computer systems usually share common functions with real operating systems, but tend to be able to perform these functions at faster speeds with a more aesthetic graphical user interface (GUI), and are exceptionally more functional than today's software.
Functionality
For instance, a Hollywood OS may be able to download extremely large files in mere seconds, display error messages in large, flashing red text, interface with any computer, whether terrestrial or alien (as in ), and allow any user to intrude into extremely secure government computers with ease. They also tend to have sound effects unnecessarily accompanying every event, no matter how trivial.
Plot device behavior
* Some versions do not make use of a computer mouse, with virtually everything being done by keyboard or alternative input device.
* These systems will often either shut down, substantially slow down, and/or stop performing necessary functions as a plot device.
* The system can also do tasks that are virtually impossible (at least without the aid of advanced artificial intelligence), such as the ability to zoom in on any detail of a photograph to an excessive resolution (as in CSI: Crime Scene Investigation and Las Vegas).
The interface often utilizes flying or scrolling numbers or other characters when a character accesses a large quantity of information (see The Matrix and Hackers). The interface may also contain parts of different real life operating systems on one system.
For example, in Office Space the predominant GUI which is shown looks like Apple's System 7; however, when the main character goes to shut down his computer, a command prompt is clearly visible which is not a part of the Mac OS but instead more commonly associated with Microsoft's MS-DOS and Windows operating systems.
Text displayed on the screen is often unusually big. In many films they project the image from the screen onto the face of the actor (as in Jurassic Park), this is impossible in reality because the image would have no way to be focussed and normal computer monitors are simply not bright enough.
Reasons for inaccuracies
Like many aspects of film and television, computer operating systems often need to be enhanced or exaggerated in order to fit in with the plot or be effective as a key device in the telling of the story. For these reasons, the portrayal of computers is often seen as inaccurate by computer experts, but a factor not noticed or ignored by the majority of film goers.
Many films, for example, portray bank funds being transferred by computer. A common device is to enhance the dramatic effect by showing a screen counting up (or down) the value of a particular transaction, as it happens in real time as if the value is being transferred one dollar at a time. In reality, this would never happen.
*Visibility: Televisions have lower resolution than computer monitors, so a computer screen showing realistic sized fonts would be difficult to read on a cinema or television screen.
*Entertainment: The output from computers is often quite uninteresting, whereas movies are for entertainment purposes. For example, a program to compare fingerprints might not have a graphical interface at all, but only output the number of features which match on two fingerprints. To make this process interesting, two different color fingerprints can be rotated and scaled to match and then superimposed on one another.
*Time savings: Waiting for programs to run and downloads to occur takes time, which is quite limited in movies. They could show the time changing on a clock to indicate that time has passed, but even that would take some time. Instead, they just speed most operations up dramatically.
*Explanation: In many cases, depictions of computing activity is more blatant and "in your face" than the real life equivalent. For instance, a big popup appears stating "Destroying All Data" alongside a visualization of the data being destroyed, leaving no doubt in the viewer's mind as to what action is taking place. The real-world equivalent might be a simple command-line exchange, not easily comprehensible for most viewers.
*Actors: Many actors would be unable to type commands or other text accurately while giving their performance to the camera. In most cases the actual computer will display the text that the script calls for no matter what keys the actor presses. This accounts for the notable fact that most computer users depicted in film and TV seem to be able to type surprisingly quickly and accurately.
*Video synchronization: Real computer screens typically refresh at between 60 to 80 frames per second. Television cameras scan the scene at 50 or 60 frames per second and movie cameras only take a picture 24 times per second. It is likely that such rates would cause annoying flickering in the final production -- so the images shown by computers are often added in post-production. Furthermore, the bright lighting used on the set of a movie or TV production may 'wash out' the relatively dim image on the computer screen. Such a 'wash out' might make it impossible for the actor to use a real computer in any meaningful manner.
The name itself is a misnomer, as the term actually references computer hardware, operating systems, internetworking and various applications ancillary to computers.
These Hollywood computer systems usually share common functions with real operating systems, but tend to be able to perform these functions at faster speeds with a more aesthetic graphical user interface (GUI), and are exceptionally more functional than today's software.
Functionality
For instance, a Hollywood OS may be able to download extremely large files in mere seconds, display error messages in large, flashing red text, interface with any computer, whether terrestrial or alien (as in ), and allow any user to intrude into extremely secure government computers with ease. They also tend to have sound effects unnecessarily accompanying every event, no matter how trivial.
Plot device behavior
* Some versions do not make use of a computer mouse, with virtually everything being done by keyboard or alternative input device.
* These systems will often either shut down, substantially slow down, and/or stop performing necessary functions as a plot device.
* The system can also do tasks that are virtually impossible (at least without the aid of advanced artificial intelligence), such as the ability to zoom in on any detail of a photograph to an excessive resolution (as in CSI: Crime Scene Investigation and Las Vegas).
The interface often utilizes flying or scrolling numbers or other characters when a character accesses a large quantity of information (see The Matrix and Hackers). The interface may also contain parts of different real life operating systems on one system.
For example, in Office Space the predominant GUI which is shown looks like Apple's System 7; however, when the main character goes to shut down his computer, a command prompt is clearly visible which is not a part of the Mac OS but instead more commonly associated with Microsoft's MS-DOS and Windows operating systems.
Text displayed on the screen is often unusually big. In many films they project the image from the screen onto the face of the actor (as in Jurassic Park), this is impossible in reality because the image would have no way to be focussed and normal computer monitors are simply not bright enough.
Reasons for inaccuracies
Like many aspects of film and television, computer operating systems often need to be enhanced or exaggerated in order to fit in with the plot or be effective as a key device in the telling of the story. For these reasons, the portrayal of computers is often seen as inaccurate by computer experts, but a factor not noticed or ignored by the majority of film goers.
Many films, for example, portray bank funds being transferred by computer. A common device is to enhance the dramatic effect by showing a screen counting up (or down) the value of a particular transaction, as it happens in real time as if the value is being transferred one dollar at a time. In reality, this would never happen.
*Visibility: Televisions have lower resolution than computer monitors, so a computer screen showing realistic sized fonts would be difficult to read on a cinema or television screen.
*Entertainment: The output from computers is often quite uninteresting, whereas movies are for entertainment purposes. For example, a program to compare fingerprints might not have a graphical interface at all, but only output the number of features which match on two fingerprints. To make this process interesting, two different color fingerprints can be rotated and scaled to match and then superimposed on one another.
*Time savings: Waiting for programs to run and downloads to occur takes time, which is quite limited in movies. They could show the time changing on a clock to indicate that time has passed, but even that would take some time. Instead, they just speed most operations up dramatically.
*Explanation: In many cases, depictions of computing activity is more blatant and "in your face" than the real life equivalent. For instance, a big popup appears stating "Destroying All Data" alongside a visualization of the data being destroyed, leaving no doubt in the viewer's mind as to what action is taking place. The real-world equivalent might be a simple command-line exchange, not easily comprehensible for most viewers.
*Actors: Many actors would be unable to type commands or other text accurately while giving their performance to the camera. In most cases the actual computer will display the text that the script calls for no matter what keys the actor presses. This accounts for the notable fact that most computer users depicted in film and TV seem to be able to type surprisingly quickly and accurately.
*Video synchronization: Real computer screens typically refresh at between 60 to 80 frames per second. Television cameras scan the scene at 50 or 60 frames per second and movie cameras only take a picture 24 times per second. It is likely that such rates would cause annoying flickering in the final production -- so the images shown by computers are often added in post-production. Furthermore, the bright lighting used on the set of a movie or TV production may 'wash out' the relatively dim image on the computer screen. Such a 'wash out' might make it impossible for the actor to use a real computer in any meaningful manner.
The Space Cowboy (Chayne Hultgren) is a street performer from Byron Bay, Australia.
He started exhibiting his unusual skills at his local markets at the age of eight. Now at 29 years of age he has amazed audiences in 27 countries around the world to audiences ranging from 100 to 20,000 delighted onlookers at a time in packed theatres, circus big tops and stadiums. He has shown his diversity and skill by performing at the Edinburgh Festival eleven years in a row, exhibited four different sellout shows in the Sydney Opera House, toured with famous rock bands, freaked out motorcycle dare-devils in massive arena stunt shows, and displayed his extravagant abilities in front of the royal throne of Italy.
He started exhibiting his unusual skills at his local markets at the age of eight. Now at 29 years of age he has amazed audiences in 27 countries around the world to audiences ranging from 100 to 20,000 delighted onlookers at a time in packed theatres, circus big tops and stadiums. He has shown his diversity and skill by performing at the Edinburgh Festival eleven years in a row, exhibited four different sellout shows in the Sydney Opera House, toured with famous rock bands, freaked out motorcycle dare-devils in massive arena stunt shows, and displayed his extravagant abilities in front of the royal throne of Italy.
Jason Stackhouse is the older brother of Sookie Stackhouse, the main character of Charlaine Harris' Southern Vampire Mysteries.
Jason Stackhouse is a man in his late twenties, tall, blond, and popular with the ladies. His best friend is Hoyt Fortenberry, and he is seen in Merlotte's regularly with Hoyt, getting a drink.
Jason In The Series
In Dead Until Dark, Jason is portrayed as Sookie's lovable-yet-troublesom older brother. He doesn't have a steady girlfriend, instead sleeping around with many women Sookie knows. When one of those women is found murdered, Jason comes under suspicion, eventually being arrested. The true identity of the killer is revealed, and Jason is released from jail.
In Living Dead in Dallas, Jason fills his role of older brother with a certain aplomb. He talks to Sookie when her relationship with Bill becomes strained.
Jason is not a major part of the third book in the series, Club Dead.
In Dead To The World, Jason is both a minor character and the center of a major plot of the book. In the book, Jason is abducted by a relative of his girlfriend, Crystal Norris. Much of the novel is Bon Temps' search for Jason. It is revealed that Crystal's relative (and suitor) kidnapped Jason so that he could repeatedly bite him, thus turning him into a type of werepanther. Because Jason was bitten, and not born, into the state of were, he does not fully turn into a panther at the full moon.
In Dead As A Doornail, Jason once again comes under scrutiny for crimes he didn't commit, though this time it's from the werepanther community in nearby town Hot Shot. A sniper has killed many Weres and shifters locally, and many believe Jason to be the killer because of possible anger at the shifters for his two-naturedness. This proves to be false (he loves the monthly transformation).
Definitely Dead is a serious book for Jason--his fiancèe Crystal Norris miscarries their child.
All Together Dead is possibly a pivotal point for Jason. He marries Crystal Norris and enters the Hot Shot community. He agrees to adhere to the code of the shifters, and if he doesn't and is unable to pay the consequences, his sister Sookie agrees to stand in for him, a choice that may have far-reaching consequences. Crystal is pregnant again.
Jason In "True Blood"
Jason Stackhouse will be portrayed by Ryan Kwanten in at least two episodes of Alan Ball's upcoming series based on the Southern Vampire Mysteries, "True Blood".
Jason Stackhouse is a man in his late twenties, tall, blond, and popular with the ladies. His best friend is Hoyt Fortenberry, and he is seen in Merlotte's regularly with Hoyt, getting a drink.
Jason In The Series
In Dead Until Dark, Jason is portrayed as Sookie's lovable-yet-troublesom older brother. He doesn't have a steady girlfriend, instead sleeping around with many women Sookie knows. When one of those women is found murdered, Jason comes under suspicion, eventually being arrested. The true identity of the killer is revealed, and Jason is released from jail.
In Living Dead in Dallas, Jason fills his role of older brother with a certain aplomb. He talks to Sookie when her relationship with Bill becomes strained.
Jason is not a major part of the third book in the series, Club Dead.
In Dead To The World, Jason is both a minor character and the center of a major plot of the book. In the book, Jason is abducted by a relative of his girlfriend, Crystal Norris. Much of the novel is Bon Temps' search for Jason. It is revealed that Crystal's relative (and suitor) kidnapped Jason so that he could repeatedly bite him, thus turning him into a type of werepanther. Because Jason was bitten, and not born, into the state of were, he does not fully turn into a panther at the full moon.
In Dead As A Doornail, Jason once again comes under scrutiny for crimes he didn't commit, though this time it's from the werepanther community in nearby town Hot Shot. A sniper has killed many Weres and shifters locally, and many believe Jason to be the killer because of possible anger at the shifters for his two-naturedness. This proves to be false (he loves the monthly transformation).
Definitely Dead is a serious book for Jason--his fiancèe Crystal Norris miscarries their child.
All Together Dead is possibly a pivotal point for Jason. He marries Crystal Norris and enters the Hot Shot community. He agrees to adhere to the code of the shifters, and if he doesn't and is unable to pay the consequences, his sister Sookie agrees to stand in for him, a choice that may have far-reaching consequences. Crystal is pregnant again.
Jason In "True Blood"
Jason Stackhouse will be portrayed by Ryan Kwanten in at least two episodes of Alan Ball's upcoming series based on the Southern Vampire Mysteries, "True Blood".
Personal Taxonomy (c. July, 2005) is a concept for organization of private information or an application of ontology. Personal Taxonomy as a subject is in the midst of shaping the information of individuals, before they attain the state colloquially known as "the technological singularity preceding the development of the transhuman self."
Personal Taxonomy Application of Information Defined
To breakdown individual pieces of information structure using causality, dates and events for filing of historical artifacts associated with the self. Then crossing over to sweep data related to the self from multiple axes of measurement. The thorough combination of elemental axial views may be used to develop the taxonomic boundaries. Extents of range though are also limited by the individual application of tools available or skills embodied via the actualization learned then translated.
Date Based Information
Currently coding and ranking is the main emphasis with year precedent ahead of month and day.
Discovery
Epiphany and self actualization still is best with date and rank, but removed to its own notebook of sorts. Blogging may in the future have added meta data to unveil these events affecting a psyche with subsequent conveyance to others.
Event Based Information
Upon date and rank completion, identification by type of event with divisions between self actualization for autobiography cites to relationships or social occasions.
Geography
Geographic location combined with date, mode, rank and
Personal Taxonomy Application of Information Defined
To breakdown individual pieces of information structure using causality, dates and events for filing of historical artifacts associated with the self. Then crossing over to sweep data related to the self from multiple axes of measurement. The thorough combination of elemental axial views may be used to develop the taxonomic boundaries. Extents of range though are also limited by the individual application of tools available or skills embodied via the actualization learned then translated.
Date Based Information
Currently coding and ranking is the main emphasis with year precedent ahead of month and day.
Discovery
Epiphany and self actualization still is best with date and rank, but removed to its own notebook of sorts. Blogging may in the future have added meta data to unveil these events affecting a psyche with subsequent conveyance to others.
Event Based Information
Upon date and rank completion, identification by type of event with divisions between self actualization for autobiography cites to relationships or social occasions.
Geography
Geographic location combined with date, mode, rank and