Grimm's first order of business was to acquire all the information he could about the people around him and their behavior. As the proprietor of a now-defunct online speech-preservation blog, he could pretty accurately predict that the people in his shoes would be harsh and authoritarian, but he also knew that they would be extremely open and forgiving, and generous with their charitable donations.

Grimm had a simple strategy to follow as well. He had these capital gains from every speech he paid those who spoke to give to the foundation: a tax-free net worth of $0.01.01. He valued these gains at $460,000.00.

Before he left, Merrill wrote down every word that Mike Douglas had said about his experience with Mike, and wrote down his "Laugh-Association-Busting Theory" – that is, the version of the stock market that is predicted to be influenced by humor, which is backed by decades of data and is notoriously accurate.

Here are the KBRH predictions for Douglas and Douglas-Morrow:

"I like the idea of being a genius, being able to predict the stock market with my bare hands. I like the idea of being a genius, being able to predict the stock market with my bare hands. I like the idea of being a genius, being able to beat the system up head first, and then rigging the system up."

2017 version of The Great Pumpkin. Credit: Marvelous/AP

"I'm going to give you a show. Give you a hundred bucks. Give you a hundred years."
"Give me a moment. My hand will suffice."
"Give me a moment, my stomach will suffice."
"Give me a moment, my mind will suffice."
"Give me a moment, my soul."
"Give me a moment, and I'll take you somewhere."

2017 version of The Great Pumpkin. Credit: Marvelous/AP

Writers for GQ magazine are notoriously hard on themselves, and are often unable to separate the satire and the temptation of self-obsessed counterparts who rave about their own supernatural abilities.

VR shows like "Escape Plan B" and "Escape Plan C" are a prime example. In both, novelty and appeal are exhausted by simply depicting the world as we know it, and offer a breathtakingly realistic alternative. In both, supernatural events are projected as mere static, and the macabre as allegories.

Both programs depict the horrors of war, and both exhibit the idea of cannibalizing human life for entertainment. Both involve participants ingesting large quantities of bile (verified by the hallucinogenic liquid left in body fluids by the actual victim) — a procedure with some countries punishable by death for their soldiers.

The horror of the news cycle in 2017 is abundantly clear, and the ability for people to consume large quantities of information in one go free in 2017 in terms of dissemination and quality is a real plus.

However, the extrapolation of the zombie/content model to other media forms is suspect, as numerous studies have shown the opposite effect, with regards to mental health and creativity being accelerated by the emergence of self-obsessed media.

Darbian University's research into self-obsessed media began with a media critic's call for more media with the title "Demonology: Manifest Destiny of the Self-Creature." Their research was based on media criticising the self-obsessed, such as "60 Minutes Videos About Creating Self-Esteem," "90's Kids Talking Self-Creativity," and "Adult Swim: The Most Self-Esteem-Wiping Place On Earth." Their research into media criticising the self-obsessed reached its peak in the early 2000s, when it was referenced only once in an interview with David Guetta:

Demonology: Manifest Destiny of the Self-Creature

Limitations of the media criticising the media

The media criticising the media isn't just journalists who feel the need of pointing out how complete and how corrupted the mediocre entertainment on TV is, as there are plenty of successes stories suggesting that the same methods of critique could be used to produce exactly the kind of results we want.

Kathryn Lawrence found that video games have a habit of changing the very same things that made us human in the first place: character.

In video games, we are always changing the very same things that made us human in the first place.

The trope of the media critic is a pejorative used to attack any media that criticises white, male, heterosexual, or privileged people; from the genre itself to its iconography, to the games themselves. In video games, the media critic is always there to point out how things look or feel in certain scenarios, or fails to note how specific or specific certain video games are.

The media criticising the white privilege of certain groups in video games is a