Long ago in 1997 or so, I circulated this proposal for a 60 minute TV drama set in Silicon Valley. It was meant to be "LA Law" with programmers instead of lawyers.
Frequently Asked Questions about Ultra Micro Beta Electro Tech (UMBET)
Q: | What is Ultra Micro Beta Electro Tech? |
A: | A computer consulting group in Silicon Valley with a five year mission to explore the computer industry, the casual rush of coffee bars, the echo-free infinity of cyberspace, the sweaty grit of mountain biking, the monotony of most software development, the cool imperative at the heart of t-shirt design, the surge of omnipotence from computer hacking, the endless importance of money, the cerebral frisson of on-line sex, and the fatigue of late night programming sessions that stretch straight on to morning. That is, the emerging cyborg world created as machines and humans blend. |
Q: | So it's a gadget show, right? |
A: | No. The show is about the team of programmers who find themselves sacrificing their youth to stake a claim in computer land and get rich. They work long hours with their eyes glued to monitors; they avoid long term relationships; they type so long their wrists ache from carpal tunnel syndrome; they stretch their hacking sessions into the night with too much caffeine and chocolate. It's about reaching. |
Q: | Gadgets have nothing to do with it? |
A: | This isn't TRON. The show is set in meatspace not cyberspace. It's about young programmers struggling to form a company, work together, pursue life, liberty and happiness by doing what they happen to do well: program computers. |
Q: | There are no gadgets? |
A: | Gadgets do play a role. Technology is rapidly changing many of the parameters of everyday life. E-mail makes epistolary romance a common way that people court each other. Electronics makes it possible for people to spy on each other with frightening ease. Software makes collaborative work possible at a distance. Computers make it easy to copy someone else's work and threaten the institution of copyright. Gadgets serve as the launching point for these debates. |
Q: | So it's a political show? |
A: | Life in cyberspace is different. People will continue to laugh, hate, love etc., but the speed and detachment of life on-line changes the texture. Some of show's plot will be driven by questions about how we remake our new electronic world and find a way to civilize the new realm. |
Q: | How do you ``civilize a realm''? |
A: | Some of the plots will revolve around how to find a way to make the technology compassionate to the needs of people. For instance, should email addresses be unlisted? How do we balance the need to protect someone's privacy while making it easy for each of us to reach out to someone? The consulting company will always aim to revitalize software by making it human. |
Q: | This sounds like a frontier settlement? |
A: | Yes! It's a reworking of the settlement of the American West. The group is on a wagon train looking for gold. Along the way they must make new rules and set the boundaries of their new civilization. |
Q: | So it's texture will be somewhat rough? |
A: | The texture will be the only part that isn't frontier. It will be pure Medici. The computer programmers all make enough money to dabble in fine arts, cooking and automobiles. There will be Porsches, restaurants that manufacture bizarre combinations of disparate cusines, ubiquitous music, photography galleries and endless supplies of good wine from the nearby vineyards. Of course, there will also be endless debates about good t-shirt design, the merits of caffeinated sodas, and the relative strengths of Godzilla and Mothra. There will be plenty of toys too. Electronic gadgets, McDonald's Happy Meal gimmees, old toys like the slinky, recumbent bicycles, laser sights on pool cues, disk brakes as big as lobsters, etc... |
Q: | Tell me about the people? |
A: | The leaders of Umbet are Richard Sexton and Arthur McClean. Both worked for Apple computer eight years ago before striking out to start up two companies. Both companies failed. In the second case, the venture capitalists absorbed the company, threw out the two of the of them and blended it with a third company. The result is thriving, but Sexton and McClean got little for their work. Watching others get rich with the foundation they laid makes them even more driven to turn UMBET into a raging success. |
Q: | Are they nerds? |
A: | Not exactly. Sexton got married in his early twenties and has three children. He's essentially a family man who's throttled back his quirky urges to create weird computer games and replaced them with a solid appreciation for the bottom line. His family's needs forces him to drive the consulting group to undertake solid work that may not stroke the imagination. He's a new man in a grey flannel suit even though he never wears one. From time to time, however, his love of doing something way cool emerges.
McClean, on the other hand, has no family and continues to ride his mountain bike throughout the valley. He's in great shape because he doesn't believe in owning a car. He often works for 48 hours straight and then sleeps for twelve before mountain biking through the hills for another eight. He's all boy and manages to know the latest video games, the best snowboarding technology and the best routes up El Capitan. |
Q: | So Sexton's the stability and McClean's the brilliant one? |
A: | Not exactly. Sexton is driven to rebuild a strong company which he controls. He is pushed as much by pride and the need for ownership as the hope for doing way cool computer science. McClean is really very stable, it's just that he has a different set of priorities. He wants to explore the physical limits of his body and his mind as much as make any commercial success. In fact, someone might argue that McClean's balance is more stable than Sexton's drive. But venture capitalists would see things differently. |
Q: | There must be venture capitalists, right? This is silicon valley. |
A: | Yes. The two of them are caught in an endless struggle with McCord Field, a charming middle-aged man who orchestrated the buyout of their last company. McClean considers the man a simple thief who took their work and made a fortune off of it. Sexton is more circumspect, perhaps because he aspires one day to move men and capital in the same way to his own advantage. |
Q: | Field must have serious control over them? |
A: | Well, he made alot of money off of their work last time. He's certainly willing to try again. He's hoping to use his fat checkbook to keep them intrigued and doing his bidding. |
Q: | There must be more to UMBET? |
A: | Well, there is Alexandra Tamborlaine, a girl who's dated Sexton long ago and McClean more recently. She's a tom boy grrl who can play Quake with the best but still manages to inject a wisp of femininity from time to time. She's managed to work her way into managing programmers by being vaguely sensitive to the weird personalities who spin great code. |
Q: | Does she run the place? |
A: | To a large extent, yes. She's mainly responsible for pulling together the work of the different programmers and turning it into a coherent piece of software that can be sold or distributed. This is largely managerial work that can only be done with some deft manipulation of psyches. She relies heavily on her feminine nature to keep projects moving along because the men will respond to proding from her. |
Q: | Who else? |
A: | There's also Gene Albertson who got rich when his last start up was sold off to Microsoft two years ago. He made a million dollars and quickly bought a very expensive house, slick art and a Porsche. His next startup failed, however, and he found himself land poor. He had a choice between selling his beautiful house or getting another job. So he's at UMBET. |
Q: | Is he a bon vivant? Has the fall in income shattered his lifestyle? |
A: | Oddly, no. Yes, it's a big house with a Porsche in front, but he's still a computer hacker in heart and dress. His house has a 100megabit ethernet stretching to all of the rooms so he can always read his email, browse the web or hack some code. |
Q: | In the bathrooms too? |
A: | Yes, but as he says, ``Not in the shower.'' |
Q: | Is the rest of the house so rococo in implementation? |
A: | Actually, the rest of the house is rather barren. While the technical infrastructure is extreme, the other details are plain and almost ugly. The couches are cheap and picked up from several different garage sales. There is a big wide-screen tv plopped in the middle of the huge living room. The walls are bare. It's pretty sad. |
Q: | Who else? |
A: | Garrison Gray is a reformed hacker. . The prosecutors suspected that he had used the information to eavesdrop on phone numbers for the governor, escort agencies and business offices, but they couldn't prove it. So he spent two years in prison for ``stealing'' some technical manuals from a Pac Bell network. Grey claims he was merely liberating the details from monopoly that should be considered publicly owned. Now, he constantly preaches about being reformed, but it's never clear whether he's merely saying, ``Yes, massa'' to the world. |
Q: | There must be more? |
A: | There are about ten younger programmers fresh out of college. They do the brunt of the work and occasionally contribute to the resolution of the plot. A graphics design studio often collaborates with the group to handle the look of the product. For some games, the artists even drive the construction of the product because the look is so integral to the success of the product. There are also roommates of the characters. McClean continues to live in a house and shares the rent with three other programmers from different companies. There are mountain biking teams, ultimate Frisbee competitions, and friends from college. |
Q: | Give me some more examples. |
A: | Consider Tamara Regents, a girl who raises dobermans and races cars on the weekends. She thrives on teasing and male attention. She dates McClean, but the relationship is mainly off and the oscillation is driven by both character's self absorption and ability to become distracted by other hobbies, indulgences, follies, and people. |
Q: | She's McClean's cookie? |
A: | It's not so clear. While someone might classify them as made-for-each-other, if only because they both sport similar levels of extreme self-absorbtion, this isn't really a stable plan for a relationship. In fact, they've evolved into a higher form where they always seem to know what each other is doing despite the fact that they never communicate too much. When McClean goes AWOL, people often call her because she seems to know where to find him. |
Q: | Are they in love? |
A: | Not exactly. They're more extensions of each other. |
Q: | Does she work at UMBET? |
A: | No. She's frequently around and fairly technically savvy, but she has no real position and is more interested in tuning her cars and breeding her dogs. In fact, it's not clear where her money comes from. |
Q: | Is there more? |
A: | Sure. There are many industries that emerged to support technology and some are growing even more important. Francesca Sorley is a lesbian who works with the cooperative graphics studio. Her animated creations have taken important roles in several best-selling computer games. If you ask her, she'll say her work, ``regenderizes the sexual matrix of cyberspace introducing discontinuity and quadri-polar extremes to a realm populated by a purely masculine aesthetic." The rest of the world seems to agree that adolescent males buy the games because the women have well-proportioned chests. |
Q: | Does she live in some broken-down, post-industrial loft or something? |
A: | No. She's certainly not post-apocalyptic. In fact, she's built a beautiful home on Skyline drive in the woods and her life is almost earth-motherish. The house has redwood paneling everywhere and it is almost as if she lives in a carved out tree. The places is always scented with the latest Redwood and Seaweed pot pouri. The look, however, is very clean and almost oriental in simplicity. Tie-dye and beads are nowhere to be found. |
Q: | Is the lesbian thing controversial? |
A: | Well, in a way. She's been seeing more and more of a man, but she's afraid to come out as a heterosexual.Her pure artwork actually is recognized for its political content and sexual grandstanding. While her graphics art work in the gaming world could probably survive the revelation that she's gone straight, her stature in the San Fransisco lesbian art community would suffer greatly. It's a step she's just not willing to take. |
Q: | What about computer people? Are there any on the perphery? |
A: | Consider Kevin Jepson, a long-time friend of Grey and a master hacker. Jepson was never caught doing anything, but it is clear that he has both the ability and the temperament to poke around where he's not welcome. He's always fairly circumspect about talking about the clients who pay him to program, but he manages to pay the rent. No one is sure where the money comes from and people presume it comes from the times he disappears for several weeks in a row. He doesn't work for UMBET, but he socializes with them. He lives in the house with McClean. |
Q: | What about the arc of the show? |
A: | Each show will come with two main plots and one epistolary one. The major plots will be acted out and tuned to reflect each other. Ideally, one will revolve around some technical or ethical challenge emerging from life on line while the other may be more personal, emotional and spiritual.
The epistolary line will be told through email read with voice overs. It will leaven the mix and help build extended segueways that fill longer gaps in time. Often, the transition between days or weeks will be filled with these voice overs. The line should be sound driven and as writerly as possible. The letters should snap with the quick, sloppy, quirky, uncapitalized diction of on-line text. The Web is one of the most textual mediums around and this should be the vein for bottling that verve and distributing it to the viewers. |
Q: | So we're going to be stuck with people reading email? |
A: | Well, it mainly be used in the transistions between time and location. If we skip ahead two days, we might fill the gap with several email messages. A jump of a few minutes gets none. |
Q: | Do the letters support the main plot line or an entirely separate one? |
A: | Actually both. They can be used to advance a plot without going to the time and trouble of establishing a scene and filling it with the characters. A short note can say, ``I spoke with McSorley and he's cancelling our contract. We're screwed big time." This is a good way to move through lots of plot twists without acting them out. |
Q: | But there are also separate epistolary lines? |
A: | Well, the device is also ideal for relating stories that might normally be revealed over coffee or lunch. There might be one exchange of letters that describes a trip or a relationship in the sort of shorthand that people use with friends.
It's also an excellent device for letting characters talk about their life in silicon valley without introducing new scenes. Someone might be quite quiet around the office, but write long letters to friends at home slicing apart the different characters. They're quite free with their speech because they think it won't be read by anyone around the office. It's an ideal way to give a voice to lower-ranking people without coming up with a social situation that allows them to speak. |
Q: | There are other opportunities? |
A: | Yes, the words carried in the email could also act as a greek chorus at times. A character could write to another friend criticizing the decisions, adding foreshadowing or emphasizing some plot point. At other times, the letters could add insight much like the narrator in ``Our Town." |
Q: | What about the company itself? Does it contribute to the arc? |
A: | The company will become involved with short term consulting projects and this makes it easy to introduce new, temporary challenges and explore functional issues. This provides an easy vehicle for people to walk through the door, toss ideas around and then disappear.
Ideally, the firm will also begin to take longer term equity stakes in its own development. It should be important to introduce the risk taking, stake taking nature of the valley and emphasize the lotto-like nature of stock options. This is the other major job of the firm: inject enough nervous capitalistic greed to sustain growth in the plot. |
Q: | What are the long term arcs? |
A: | In the beginning, the there is the need to build the firm and establish long-term contracts. At first, they only get short-term work with no equity. There is the constant drive for more satisfying work that will also make them rich. Later, they will be able to devote 10\% of their day to a collaborative work product that may make them rich.
None of the equity dreams will become real. There will be no great wealth at the beginning or the middle. There will be modest successes. The rent will be paid. They'll get bonuses from time to time that will buy a new car or a fast boat, but there will be no home runs. Only singles and doubles. |
Q: | What about personal arcs? |
A: | There will be big questions about McClean's ability to focus on the company. Yes, his bursts of creativity are wonderful, but what happens when he disappears to mountain bike in Big Basin for two days?
There will be deeper questions about Tamara Regents and her relationship with him. Can it be sustained at such a distance? What is the bond that makes these two so close? How can they love each other so deeply and yet live such detached lives? They seem to meet infrequently and yet both know everything about each other. Uncovering the depths of this relationship will be a mystery to unravel. Garrison Gray will provide another source of mystery because he will be consciously generating noise about himself on the net. That is, he'll be weaving a contradictory and improbable mythology for his past by inventing strange posts and leaving trails throughout the Net. Pulling out the real facts of his incarceration and his failed marriage from the phony stories like the one of his ascent up Mt. Killimanjaro will be a major goal. From time to time, the most outrageous stories will seem to prove true while the more mundane ones will fail. Gene Albertson will be something of a foil. He is, at least on paper, rich. But the wealth is now wildly overleveraged and tied up in land. He needs to work to pay for the gasoline for his Porsche. His main job is to provide an direct illustration of the tantalizing grapes that drive the people while reminding everyone how fleeting the rewards can be. This will be exposed in bits and pieces. He may sell one of his Porsches (sigh!) through an epistolary plot line. Or perhaps he will find himself dealing with a girlfriend who doesn't understand that he can't afford to take them to Paris to celebrate their 4 month anniversary even though he has a house that might be worth $2 million. Tambourlaine will be something of a fish out of water. She'll be aggressive and female. So although the world is largely male, she may not get as many dates as the statistics would indicate. On the surface, this doesn't phase her. She'll be able to tease some guys and seduce the thrill seekers who want to see her tattoos, but it won't yield either a steady boyfriend nor a great love. This will prove daunting to her because she will crave the die-for-you romantic bliss that motivated Michael Furey in The Dead, but never realize that these bonds can't be acquired with a ``Go For It'' attitude. |
Q: | Is there a short way to summarize these arcs? |
A: | Yes. Remember when you first went to a museum, aquarium or store that you loved. At first, it seems boundless as you glide through the levels, moving up the escalator. Eventually, you get to the top level and you realize that this is the boundary. That's all there is. Oh, there are corners that haven't been explored and things you've missed, but the limits have been circumscribed. The show should capture this slow swoon of expectation, but punctuate it, at times, with surprises and discoveries of gifts and gems that were missed the first time around. |
Q: | How will political topics integrate with the show? |
A: | They won't be political in the CNN sense. There won't be talking heads or controversy, but they will be political in the sense that they involve people and how people interact when computers enter the picture. They'll be concerned with emerging forms of etiquette for the cyborg world. |
Q: | Give me an example? |
A: | Two people in the office begin dating and one is faced with the question of whether to read the email of the other. Is this a violation of trust or a way to defend against the cheating and lying that occur so often in romantic venues? In this case, the plot may twist when a third begins reading the email to protect and serve their friend. |
Q: | Go on. |
A: | A member of the staff is criticizing the company's work from behind a veil of anonymity. The notes poke fun at some of the limitations to the current software and ride the companies reputation. It's impossible to track the notes, but it seems clear that they come from someone with inside sources. They never track down the culprit. They merely release a new version of the software that solves most of the complaints. The question remains who did it. |
Q: | Will there be more traditional politics? |
A: | The greatest debates today are about the limits of government in cyberspace. In theory, everything on the Web is just information spit out by people. That is, speech and speech is protected by the first amendment. But, that is never so easy. What about sexual content? What about libelous content? What about malicious rumors? What about people masquerading as others? |
Q: | What about love? |
A: | There will be some characters who have successful long term relationships and marriages, but the action will concentrate upon the young and the restless.
For instance, Tamara Regents enjoys to toy with the boys. She's usually McClean's, but they're constantly on hiatus. In one scene, she fiddles with the feelings of a contract programmer they brought on board. He's not as sophisticated and the entire show consists of one long tease until he manages to connect at a quick level. Then she cuts him off. He's left with nothing because he doesn't want to alienate McClean. There will be relationships that stick. Regents and McClean will come into alignment, from time to time. He knows, instinctively, that she only responds to muted interest and uses it to snag her. For instance, there will be one liaison that begins with her interrupting one of his meetings. He ignores her for three minutes while the other person finishes the presentation, brushes her off and then asks her to meet him later for dinner. There will also be fulfilling relationships of our dreams. Two programmers may meet and write poems to each other. Their email will all be in verse. This may evolve over several shows before settling into a predictable bliss that can keep the show from sinking from too much of the nastiness of life. |
Q: | What about gimmicks? Every show has to have a few gimmicks. |
A: | The biggest one will be that one complete plot will be told through email correspondence. It won't be a major chunk of time, but it will be one plot line. It might be the evolution of a relationship between two characters. For instance, the poems exchanged by new lovers may make up one cycle. Another one may revolve around the story of a long lost friend. The goal will be to inject some writerly vignettes into the action. On screen, there will be pictures of outdoor scenery, the letter writers, the letter readers, and also, occasionally, a bit of visual advancement of the other plots. |
Q: | Tell me about the pilot? |
A: | It must establish the company's roots, establish some of the characters and lay a foundation for the future.
There will be two acted plots and one epistolary one. The main acted plot line will revolve around the beginning of Ultra Micro Beta Electro Tech, as McClean and Sexton come together again. Sexton manages to wrangle a contract out of a major insurance company to build a website that will make it easy for people to buy auto and homeowners insurance on-line. The work isn't glamorous, but it is steady and serious. He must talk McClean into coming on board and working again instead of bumming around the Sierras. They talk about what went wrong with the last start up. They wonder if they can truly work together again. In the end, he agrees to join if he can name the company. Sexton insists on something "normal that won't scare away investors". McClean offers the hyper normal name. In the second plot, Alexandra Tamborlaine will try to understand just who Garrison Grey is. They're both newly hired to work on the project and Tamborlaine checks out everyone by searching through the web. The problem is that she finds more and more data about him that is blatantly contradictory. One database says he was in prison for the last two years. Another listed him as a rock music promoter who created several all female, folk rock extravaganzas to save the redwoods in Northern California. Yet another suggests that he was doing standup routines in St. Louis as the manager of a comedy club. Nothing seems to fit because there is no physical way he could do all of these things. Grey dodges all of her questions and suggests that he only tells the truth after making love-- a policy that he admits is sometimes not conducive to a long term relationship. Tamborlaine is silenced for a second before asking, "What about throw away sex?" After that, he says, "I only lie." The third plot emerges as letters fly back and forth between Francesca Sorley and Kevin Tarkerson, a new contract programmer. Both went to undergraduate school together and Sorley tells Tarkerson about a mutual friend and master programmer named Aaron Nash. who lived down the hall. She had heard that he had bought an expensive motorcycle and crashed. Nash survived, but supposedly spent two months in the hospital. The girl on the back of the bike supposedly died. Tarkerson disputes the rumor. Nash couldn't get a date in college. How could he get a girl on the back of his bike? Plus, he's extremely cautious. He would never go fast. The exchange continue, but neither can locate Nash. In the end, all they have is a rumor. |
Q: | So nothing is resolved in two of them? |
A: | No. That's the wrong attitude. Yes, we don't really know what is true and false about Grey and we don't know what ever happened to Nash, but that's not the point. We've successfully knit the texture of who they are. |
Q: | Give me another plot line. |
A: | Consider this one called ``Forbidden Words.'' The firm gets a small contract to build some website filtering software that must screen out four letter words to protect kids from foul language on the Net. They battle for hours building such a list, trying to enumerate them all. At times, it degenerates into a competition to see who can come up with the weirdest words. Grey, of course, bluffs with half of the words and cites strange ones only found in the OED for the other half. Ideally, the words themselves will not be used by choice. Instead, they'll be talked around elliptical. (``I guess it makes sense that the Vatican needed a Latin word for `that, if only to spell out the penance.'', ``Are you sure that's a dirty word in the south?'', etc.)
The problem metastasizes when someone looks up ``breast cancer'' and finds no information because the search software was screening it out. This produces some angst as everyone begins to dream up more ways that the software will hurt the lives of children who do things like look for first aid for a finger prick. In the end, the firm ships the software with an overly complete list despite a bit of hand wringing. The bottom line is that they are contractually bound to do a complete job despite some qualms about first amendment stuff. The parents, it's argued, can always disable the features at select moments if the information doesn't appear. |
Q: | That's the technical line. Can you pair it with a romantic line? |
A: | Yes. McClean reaches a logical end of a project at the beginning of the show. Regents walks by and he proposes a few days rock climbing in Yosemite. She says, ``Love to, but I'm racing my car tomorrow night. Come support me.'' He refuses and says he must climb. ``But Otto, what about our relationship?'' To which he says, ``Wherever you go, there you are.''
Several days later, she pops into his office in the middle of a meeting. He keeps her cooling for more than a bit. (Interleave the plot here with the other line.) Then when she's run the line out as far as possible, he finally asks her for drinks. That evening, he kids her about using the word ``relationship'', a word that is code for ``You did something wrong...'' Words are more than meanings, they argue. Words carry a structure for how to behave and act. Words filter our feelings and filter our actions. Using words can be terribly limiting they argue. They banter a bit before coming up with their own list of forbidden words. Some, they even talk around because they're too difficult to say even after several scotches. Others, are inside jokes like the name of the restaurant where Regents threw up on the waiter, the word ``infrastructure'', the word ``ginger snaps'' (in reply, ``yes. definitely.''), the phrase ``Content-based Web Service'', etc. Nuzzle, nuzzle, smooch, smooch. The next day, they're back to ignoring each other again. They don't talk to each other in the halls and seem more interested in making weekend plans than seeing each other. Yet, this line ends with someone asking for McClean and Regents saying, ``He's off at Yosemite again. He wants to beat his time up the Western Route [Insert authentic name] up El Capitan.'' She knows everything, but seems unconnected to him. |
Q: | And the epistolary line? |
A: | A discussion between Grey and some outside friend about a girl. The friend probes and the conversation descends into verbally awkward, daytime, office space locutions, i.e. spasty noonerisms. She has no sense of humor, but tries to pretend to have one. (Feignful Puck) The goal is to pack in as many code words as possible while still feigning propriety. |
Q: | Another one? |
A: | Sure. The question is about reading email and the show opens with Grey betting Jepson that he can get Tamborlaine to wash his car by the end of the week. They're returning from the foothills and its covered in mud. When they pull into the firm parking lot, Tamborlain scrawls ``Cleanse me'' in the mud.
The firm soon finds that one client is asking them to insert a function that allows a boss to read everyone's email. The function makes it easy for the boss of a bank to enforce its policy about personal email. Everyone quickly argues that it could only be used for bad things and the invasion of privacy. Sexton agrees, but also points out that the bank boss claims he wants to stop clerks abusing the privacy of customers by emailing out data of famous people to their friends. In the end, they are able to dodge the client because they get more money from the insurance firm to add boating insurance to the website keeping them in business for a bit longer. |
Q: | But what about the mud on the car? |
A: | This links with the epistolary plot. Throughout the show, Grey is exchanging email with Vivian Darkbloom, a girl his cousin is trying to set him up with for a blind date. He asks her out and she asks whether it will be a typical cliched first date. First, he proposes climbing Coit Tower with special his and hers telescopes (forming the lobes of a heart in cross section) to look at whales. That's it, she asks? Well, the telescopes also come with a special built in attachment for making fresh, whole wheat, macrobiotic pasta that is extruded through a special nozzle designed to make one continuous strand that will join them in liplock, just like "Lady and the Tramp." She's allergic. Oh, no problem because he's already genetically engineered the wheat to include rice DNA and allow her to enjoy the dish.
At this point, the visual shows Tamborlaine sudsing up his car while Grey goes to check his email. The last messages between the woman and Grey scroll across the voice over. In these, they agree to meet and when she asks how she'll recognize him, he tells her about the muddy car with the phrase ``cleanse me'' written on it. |
Q: | Again, nothing seems to be resolved. |
A: | There are no endings in Silicon Valley, only beginnings. Firms disappear without a trace, replaced by new ones that are born with great fanfare. All value be it economic or emotional is focused in the future. |