Hbo Quotes

Announcing your plans is a good way to hear god laugh

It was the beginning of a Jane Austen novel, if Mr. Darcy was a grieving son/HBO enthusiast from Perth and Elizabeth an entry-level cremationist.

The next person who kicks or hits him gets banned from all betting. You will be blackballed for the rest of your shriveled lives. Now back off.’ Amazingly, they all back off. Everyone else might reject the locust victims, but I guess the twins don’t discriminate in their betting pools. Dee looks just as surprised as I am. He glances over at his brother. ‘Dude, we’re the new HBO.’ He flashes a grin.

Here in France, you must practice the art of accomplishing much while appearing to accomplish little. (in the John Adams miniseries on HBO)

So confusing. It was some kind of magic, I knew that for sure, but I didn't understand the subtleties of it all. You'd have thought all those years of HBO and shit would have prepared me better.

at least this way we're safe in a room with a door that locks. And the sign says they have HBO." That stands for Horrible Bloody Ohmygod." Eve said. "which is the way they kill you. When you think you're safe.

We are on dangerous ground right now, because of our secrets and our lies. They’re practically what defines us. When the truth offends, we lie and lie until we can no longer remember it is even there. But it is still there. Every lie we tell incurs a debt to the truth. Sooner or later that debt is paid.

Spare no details-this shit is better than HBO.

I am willing to admit that Gerard Butler has single-handedly murdered the romantic comedy.” Gigi snickered. “Gerard Butler took the romantic comedy to an orgy, accidentally strangled it during an air game, panicked, and dumped its body in the woods.” I stared at her, gobsmacked. “That may be the funniest thing I've ever heard –” I spluttered. “How the hell do you even know what an air game is?” Gigi preened. “Just because you put the parental locks on HBO doesn’t mean I can’t get around them.

I hate it when young attractive women tell me I remind them of their father.

No rambling about how I believe the Brentwood Boys book series should be made into a made-for-TV drama, preferably streamed on HBO or Netflix for max nudity purposes.

I had entered Kidneyland. I was officially a patient now. Somehow, I had managed to walk through the door: WELCOME TO THE WORLD OF SICKNESS. We have air-conditioning and HBO.

Twin Peaks was my religion. Well, Twin Peaks and Christianity. But at present, Twin Peaks was winning. I loved God, but at the moment I was more obsessed with Bob and Dale Cooper and Audrey Horne.

Still, despite controlling both houses of Congress during the second Reagan administration, they let a brain-dead right-wing president get away with carrying out an HBO miniseries’s worth of Iran-Contra crimes, which was pathetic. And here’s a dose of irony to sweeten the pill: Reagan selling arms to Iran in order to fund rape squads in Central America really did make Watergate look like a “third-rate burglary.” So if libs want to keep holding up Watergate as a historic triumph for the forces of good, they’ll have to admit that letting Reagan off the hook represents a far greater historic triumph for the forces of evil.

I've entered the looney bin," I told another unwitting customer, this one female. "It's always like that around here," the customer replied. "That's why I come, it's like walking into a sitcom that could only air on HBO.

Café Flore is packed, shimmering, every table filled. Bentley notices this with a grim satisfaction but Bentley feels lost. He’s still haunted by the movie Grease and obsessed with legs that he always felt were too skinny though no one else did and it never hampered his modeling career and he’s still not over a boy he met at a Styx concert in 1979 in a stadium somewhere in the Midwest, outside a town he has not been back to since he left it at eighteen, and that boy’s name was Cal, who pretended to be straight even though he initially fell for Bentley’s looks but Cal knew Bentley was emotionally crippled and the fact that Bentley didn’t believe in heaven didn’t make him more endearing so Cal drifted off and inevitably became head of programming at HBO for a year or two. Bentley sits down, already miked, and lights a cigarette. Next to them Japanese tourists study maps, occasionally snap photos. This is the establishing shot.

You cannot choose whether the pain is coming. As is said in Game of Thrones, a hit book series and later, an HBO adaption, “Winter is coming.” Once you accept that pain is inevitable and leads to growth, you’ll be better prepared to endure winter.

To be a scientist is to be naive. We are so focused on our search for truth, we fail to consider how few actually want us to find it. But it is always there, whether we see it or not, whether we choose to or not. The truth doesn’t care about our needs or wants. It doesn’t care about our governments, our ideologies, our religions. It will lie in wait for all time. And this, at last, is the gift of Chernobyl. Where I once would fear the cost of truth, now I only ask: What is the cost of lies?

What the above examples reveal is not a man prone to the faux pas, but a gentleman—strictly defined, by Hitchens, as “someone who is never rude except on purpose.” A spectacular instance of his gentlemanliness occurred during an appearance on HBO’s Real Time with Bill Maher. Unlike most guests, Hitchens did not try to flatter or pacify the audience. Instead, after being booed and jeered for pointing out the horrors of a nuclear Iran, he raised his middle finger and pointed it at them, while intoning, “Fuck you! Fuck you!” What this little episode demonstrated was not only his indifference to crowd opinion—impressive in itself—but also his binary nature: He has a large mind and a big mouth—neither of which ever seems to be closed. Whereas

The four volumes known as the “Neapolitan quartet” (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child) were published by Europa Editions in English between 2012 and 2015. My Brilliant Friend, the HBO series directed by Saverio Costanzo, premiered in 2018.

Politically Incorrect was the name of the show Bill Maher hosted in the 1990s. It's also an apt description of the man himself. Now host of -- HBO's hit show Real Time, I find Maher to be one of the sharpest observers of American politics and life in general out there. It doesn't mean I always agree with him. I always find him funny, though.

A cell phone rang from the end table to my right and Kristen bolted up straight. She put her beer on the coffee table and dove across my lap for her phone, sprawling over me. My eyes flew wide. I’d never been that close to her before. I’d only ever touched her hand. If I pushed her down across my knees, I could spank her ass. She grabbed her phone and whirled off my lap. “It’s Sloan. I’ve been waiting for this call all day.” She put a finger to her lips for me to be quiet, hit the Talk button, and put her on speaker. “Hey, Sloan, what’s up?” “Did you send me a potato?” Kristen covered her mouth with her hand and I had to stifle a snort. “Why? Did you get an anonymous potato in the mail?” “Something is seriously wrong with you,” Sloan said. “Congratulations, he put a ring on it. PotatoParcel.com.” She seemed to be reading a message. “You found a company that mails potatoes with messages on them? Where do you find this stuff?” Kristen’s eyes danced. “I don’t know what you’re talking about. Do you have the other thing though?” “Yeeeess. The note says to call you before I open it. Why am I afraid?” Kristen giggled. “Open it now. Is Brandon with you?” “Yes, he’s with me. He’s shaking his head.” I could picture his face, that easy smile on his lips. “Okay, I’m opening it. It looks like a paper towel tube. There’s tape on the—AHHHHHH! Are you kidding me, Kristen?! What the hell!” Kristen rolled forward, putting her forehead to my shoulder in laughter. “I’m covered in glitter! You sent me a glitter bomb? Brandon has it all over him! It’s all over the sofa!” Now I was dying. I covered my mouth, trying to keep quiet, and I leaned into Kristen, who was howling, our bodies shaking with laughter. I must not have been quiet enough though. “Wait, who’s with you?” Sloan asked. Kristen wiped at her eyes. “Josh is here.” “Didn’t he have a date tonight? Brandon told me he had a date.” “He did, but he came back over after.” “He came back over?” Her voice changed instantly. “And what are you two doing? Remember what we talked about, Kristen…” Her tone was taunting. Kristen glanced at me. Sloan didn’t seem to realize she was on speaker. Kristen hit the Talk button and pressed the phone to her ear. “I’ll call you tomorrow. I love you!” She hung up on her and set her phone down on the coffee table, still tittering. “And what did you two talk about?” I asked, arching an eyebrow. I liked that she’d talked about me. Liked it a lot. “Just sexually objectifying you. The usual,” she said, shrugging. “Nothing a hot fireman like you can’t handle.” A hot fireman like you.I did my best to hide my smirk. “So do you do this to Sloan a lot?” I asked. “All the time. I love messing with her. She’s so easily worked up.” She reached for her beer. I chuckled. “How do you sleep at night knowing she’ll be finding glitter in her couch for the next month?” She took a swig of her beer. “With the fan on medium.” My laugh came so hard Stuntman Mike looked up and cocked his head at me. She changed the channel and stopped on HBO. Some show. There was a scene with rose petals down a hallway into a bedroom full of candles. She shook her head at the TV. “See, I just don’t get why that’s romantic. You want flower petals stuck to your ass? And who’s gonna clean all that shit up? Me? Like, thanks for the flower sex, let’s spend the next half an hour sweeping?” “Those candles are a huge fire hazard.” I tipped my beer toward the screen. “Right? And try getting wax out of the carpet. Good luck with that.” I looked at the side of her face. “So what do you think is romantic?” “Common sense,” she answered without thinking about it. “My wedding wouldn’t be romantic. It would be entertaining. You know what I want at my wedding?” she said, looking at me. “I want the priest from The Princess Bride. The mawage guy.

Yeah, well, if you want to be my sugar daddy,” she said, “you’re going to have to get me clothes, books, my own personal TV—” “So you can break it just like the last one?” I asked incredulously. “If I wish to, yes. And I want it to have HBO, because that channel’s got all the good shows. And I want movies, and make-up, and shoes, and bags, and—” “Woman, you are giving me a headache,” I said. “My name is not ‘woman.

Not only these were new kinds of stories, they were being told with a new kind of formal structure. [...] The result was a storytelling architecture you could picture as a colonnade - each episode a brick with its own solid, satisfying shape, but also part of a season-long arc that, in turn, would stand linked to other seasons to form a coherent, freestanding work of art. [...] The new structure allowed huge creative freedom: to develop characters over long stretches of time, to tell stories over the course of fifty hours or more, the equivalent of countless movies.

Milch had a bigger cast, a bigger set (on the Melody Ranch studio, where Gene Autry had filmed very different Westerns decades earlier), and more creative freedom than he’d ever had before. There were no advertisers to answer to, and HBO was far more hands-off than the executives at NBC or ABC had been. And as a result, there was even less pretense of planning than there had been on NYPD Blue, and more improvisation. There were scripts for the first four episodes of Season 1, and after that, most of the series was written on the fly, with the cast and crew often not learning what they would be doing until the day before (if that). As Jody Worth recalls, the Deadwood writers would gather each morning for a long conversation: “We would talk about where we were going in the episode, and a lot of talk that had nothing to do with anything, a lot of Professor Milch talk, all over the map talk, which I enjoyed.” Out of those daily conversations came the decisions on what scenes to write that day, to be filmed the day after. There was no system to it, no order, and the actors would be given scenes completely out of context from the rest of the episode.

Death is the enemy. The first enemy. And the last... The enemy always wins. But we still need to fight him. That’s all I know. You and I won’t find much joy while we’re here, but we can keep others alive. We can defend those who can’t defend themselves. I am the shield that guards the realms of men. Maybe we don’t need to understand any more than that. Maybe that’s enough.

I would dance all day in my basement listening to Off the Wall. You young people really don’t understand how magical Michael Jackson was. No one thought he was strange. No one was laughing. We were all sitting in front of our TVs watching the “Thriller” video every hour on the hour. We were all staring, openmouthed, as he moonwalked for the first time on the Motown twenty-fifth anniversary show. When he floated backward like a funky astronaut, I screamed out loud. There was no rewinding or rewatching. No next-day memes or trends on Twitter or Facebook posts. We would call each other on our dial phones and stretch the cord down the hall, lying on our stomachs and discussing Michael Jackson’s moves, George Michael’s facial hair, and that scene in Purple Rain when Prince fingers Apollonia from behind. Moments came and went, and if you missed them, you were shit out of luck. That’s why my parents went to a M*A*S*H party and watched the last episode in real time. There was no next-day M*A*S*H cast Google hangout. That’s why my family all squeezed onto one couch and watched the USA hockey team win the gold against evil Russia! We all wept as my mother pointed out every team member from Boston. (Everyone from Boston likes to point out everyone from Boston. Same with Canadians.) We all chanted “USA!” and screamed “YES!” when Al Michaels asked us if we believed in miracles. Things happened in real time and you watched them together. There was no rewind. HBO arrived in our house that same year. We had

Steve Powell explained to me, “People used to expect no more of a farm than to produce enough to feed themselves; today, they want more out of life than just getting fed; they want to earn enough to send their kids to college.” When John Cook was growing up on a farm with his parents, “At dinnertime, my mother was satisfied to go to the orchard and gather asparagus, and as a boy I was satisfied for fun to go hunting and fishing. Now, kids expect fast food and HBO; if their parents don’t provide that, they feel deprived compared to their peers. In my day a young adult expected to be poor for the next 20 years, and only thereafter, if you were lucky, might you hope to end up more comfortably. Now, young adults expect to be comfortable early; a kid’s first questions about a job are ‘What are the pay, the hours, and the vacations?’’’ Every Montana farmer whom I know, and who loves being a farmer, is either very concerned whether any of his/her children will want to carry on the family farm, or already knows that none of them will.

That girl is me. Me and Peter, in the hot tub on the ski trip. Oh my God. I scream. Margot comes racing in, wearing one of those Korean beauty masks on her face with slits for eyes, nose, and mouth. “What? What?” I try to cover the computer screen with my hand, but she pushes it out of the way, and then she lets out a scream too. Her mask falls off. “Oh my God! Is that you?” Oh my God oh my God oh my God. “Don’t let Kitty see!” I shout. Kitty’s wide-eyed. “Lara Jean, I thought you were a goody-goody.” “I am!” I scream. Margot gulps. “That…that looks like…” “I know. Don’t say it.” “Don’t worry, Lara Jean,” Kitty soothes. “I’ve seen worse on regular TV, not even HBO.” “Kitty, go to your room!” Margot yells. Kitty whimpers and clings closer to me. I can’t believe what I am seeing. The caption reads Goody two shoes Lara Jean having full-on sex with Kavinsky in the hot tub. Do condoms work underwater? Guess we’ll find out soon enough. ;) The comments are a lot of wide-eyed emojis and lols. Someone named Veronica Chen wrote, What a slut! Is she Asian?? I don’t even know who Veronica Chen is! “Who could have done this to me?” I wail, pressing my hands to my cheeks. “I can’t feel my face. Is my face still my face?” “Who the hell is Anonybitch?” Margot demands. “No one knows,” I say, and the roaring in my ears is so loud I can hardly hear my own voice. “People just re-gram her. Or him. Am I talking really loud right now?” I’m in shock. Now I can’t feel my hands or feet. I’m gonna faint. Is this happening? Is this my life?

I have been envious of male characteristics, if not the men themselves. I'm jealous of the ease with which they seem to inhabit their professional pursuits: the lack of apologizing, of bending over backward to make sure the people around them are comfortable with what they're trying to do. The fact that they are so often free of the people-pleasing instincts. I have watched men order at dinner, ask for shitty wine and extra bread with confidence I could never muster, and thought, what a treat that must be. But I also considered being female such a unique gift, such a sacred joy, in ways that run so deep I can't articulate them. It's a special kind of privilege to be born into the body you wanted, to embrace the essence of your gender even as you recognize what you are up against. Even as you seek to redefine it.

In fact, the same basic ingredients can easily be found in numerous start-up clusters in the United States and around the world: Austin, Boston, New York, Seattle, Shanghai, Bangalore, Istanbul, Stockholm, Tel Aviv, and Dubai. To discover the secret to Silicon Valley’s success, you need to look beyond the standard origin story. When people think of Silicon Valley, the first things that spring to mind—after the HBO television show, of course—are the names of famous start-ups and their equally glamorized founders: Apple, Google, Facebook; Jobs/ Wozniak, Page/ Brin, Zuckerberg. The success narrative of these hallowed names has become so universally familiar that people from countries around the world can tell it just as well as Sand Hill Road venture capitalists. It goes something like this: A brilliant entrepreneur discovers an incredible opportunity. After dropping out of college, he or she gathers a small team who are happy to work for equity, sets up shop in a humble garage, plays foosball, raises money from sage venture capitalists, and proceeds to change the world—after which, of course, the founders and early employees live happily ever after, using the wealth they’ve amassed to fund both a new generation of entrepreneurs and a set of eponymous buildings for Stanford University’s Computer Science Department. It’s an exciting and inspiring story. We get the appeal. There’s only one problem. It’s incomplete and deceptive in several important ways. First, while “Silicon Valley” and “start-ups” are used almost synonymously these days, only a tiny fraction of the world’s start-ups actually originate in Silicon Valley, and this fraction has been getting smaller as start-up knowledge spreads around the globe. Thanks to the Internet, entrepreneurs everywhere have access to the same information. Moreover, as other markets have matured, smart founders from around the globe are electing to build companies in start-up hubs in their home countries rather than immigrating to Silicon Valley.

Leonardo and Mozart no longer constitute a shared frame of reference, unless you mean Leonardo DiCaprio. Now it’s HBO and NPR and REM.

To this day, references are made to the Trench Coat Mafia; I even heard the term used on the HBO show Six Feet Under not too long ago.

Los Greyjoy ocupan Foso Cailin, y jamás ha habido ejército capaz de tomar esa fortaleza por el sur.

to [David] Simon and his partner, Ed Burns, The Wire was explicitly a piece of social activism. Among its targets, large and small, were the War on Drugs, the educational policy No Child Left Behind, and the outsize influence of money in America's political sytem, of statistics in its police departments, and of Pulitzer Prizes at its newspapers. The big fish, though, was nothing less than a capitalist system that Burns and Simon had begun to see as fundamentally doome. (If Simon was a dyed-in-the-wool lefly, Burns practically qualified as Zapatista; by ex-cop standards, he might as well have been Trotsky himself.) In chronicling the modern American city, Simon said, they had one mantra, adapted from, of all sources, sports radio personality Jim Rome: "Have a fucking take. Try not to suck." Neither Burns nor Simon would ever seem entirely comfortable acknowledging the degree that The Wire succeeded on another level: as beautifully constructed, suspenseful, heartfelt, reasonant entertainment. [...] "It's our job to be entertaining. I understand I must make you care about my characters. That's the fundamental engine of drama," Simon said dismissively. "It's the engine. But it's not the purpose". Told that The Wire had trascended the factual bounds that, for all its good intentions, had shackled The Corner, he seemed to deliberately misunderstand the compliment: "I have too much regard for that which is true to ever call it journalism." The questioner, of course, had meant the opposite: that The Wire was too good to call mere journalism. As late as 2012, he would complain in a New York Times interview that fans were still talking about their favorite characters rather than concentrating on the show's political message.

When I ask people who work in television why there aren’t more women directing, some privately say they can’t find them. It’s so annoying. I’d like to call on the heads of these companies — Amazon, Netflix, HBO, AMC, etc. — to make it a company mandate to have an equal number of women directing. If you can’t find a woman you like to direct, then damn it, develop the female directors yourselves. The women who can direct are out there. Just call me, I’ll send them over.” Barbara Schock, Filmmaker and chair of the graduate film program, Tisch School of the Arts, N.Y.U.

Klain had suffered a heartbreaking defeat. But it had led to his being played by Kevin Spacey in the HBO movie Recount, which made him semi-hemi-demi-famous. Klain delivered a frank

The last time I fell this hard for such a complex and dour individual was Frances McDormand's performance in the title role of HBO's "Olive Kitteridge" last fall; "Wolf

He was probably a Mormon or something. And not like the cute ones on HBO.

Quit being a pussy and start being an asshole!

The Expert,” an HBO World Premiere.

I was only attracted to him for, like, several minutes when I first met him, but I'm attracted to everyone when I first meet them. And then it wore off. It always wears off.

I had just sold the rights to this book to HBO, and King had read about the transaction. He looked at me from the adjacent urinal, and broke a tense silence. “I read in the newspapers,” King roared, “that I’m now feeding your whole motherfucking family.

How are we supposed to live every day if we know we're going to die?' He looked at me, clearly pained by the dawning of my genetically predestined morbidity. He had been the same way as a kid. A day never went by where he didn't think about this eventual demise. He sighed, leaned back in his chair, unable to conjure a comforting answer. 'You just do'.

On a recent HBO special, Roseanne Arnold, who, incidentally, collects Barbies, excoriated what she considered to be Barbie's middle-class-ness. Why didn't Mattel make, say, "trailer-park Barbie"? But to many upper-middle-class women, all post-1977 Barbies are Trailer Park Barbie. Ironically, given the knee-jerk antagonism to Barbie's body, it is one of her few attributes that doesn't scream "prole." Her thinness—indicative of an expensive gym membership and possibly a personal trainer—definitely codes her as middle- or upper-middle-class. In Distinction, French sociologist Pierre Bourdieu notes that "working class women . . . are less aware of the 'market' value of beauty and less inclined to invest . . . sacrifices and money in cultivating their bodies." Likewise, Barbie's swanlike neck elevates her status. A stumpy neck is a lower-class attribute, Fussell says.

In December 2008 [Manny Pacquiao] defied the odds and pummeled the celebrated American boxer Oscar De Le Hoya into submission and permanent retirement. An on-air exchange by the stunned HBO announcing team: "Pacquiao is the most exciting little fighter in the world." "Little?! He looks big tonight!" "/Big/ little fighter in the world.

Trovava soddisfazione negli hamburger, nelle confezioni di birra da sei, e nell'Hbo, con le sue serie televisive ben recitate, che erano quasi, ma non del tutto, pornografiche. Non puoi guardare del porno senza sentirti in colpa, ma Hbo era al limite, e dopo ti sentivi arrapato e sofisticato ma senza sensi di colpa. (Il braccio)

President Barack Obama would hit up HBO chief Richard Plepler for advance copies of Thrones episodes, even top secret season finales. And he got them.

Game of Thrones™ The Original Series based on A Song of Ice and Fire books by George R.R. Martin © 2011 Home Box Office, Inc. All Rights Reserved. HBO and related service marks are the property of Home Box Office, Inc. George R.R. Martin asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library

Netflix is creating content. A lot of content. In 2017, they spent $6.2 billion on original movies and TV shows, outspending major studios such as CBS ($4 billion) or HBO ($2.5 billion), and just shy of the $8–10 billion-a-year range of heavyweight contenders like TimeWarner and Fox.

Ha ha ha ha ha ha ha!” — Tales From The Crypt, HBO, 1999–1996

Love grows from forgiveness. From destruction comes renovation. The evidence of God exists in our connections to one another. I know this much is true.

Part of the reason we’re all so hooked on distractions is that everybody else is, too. It’s the fear of missing out—FOMO—and we’ve all got it. How will we make small talk if we haven’t seen the latest HBO series, or read the latest Trump tweets, or studied the cool features of the brand-new iPhone? Everybody else is doing it, and we don’t want to get left behind.

Maddie: Favorite channel? Chase: Is that a real question? Is there a right answer other than HBO? Maddie: Best way to start the day? Chase: You sitting on my face. Maddie: Thank you. Chase: For the riveting visual? Maddie: For reminding me why we broke up. Chase: Any-fucking-time. Maddie: I shouldn’t have gone to bed with a smile on my face, yet I did.

Life is also a lot like baseball. It’s timeless, boring, and if you’re not paying attention, you could get hit in the face with a ball.

...David Mich is the Hollywood genius who produced and wrote much of the HBO series Deadwood. Mr. Milch's story was an interesting one to me, at least as it emerged from maybe half a dozen profiles written about him back when Deadwood was in its heyday, and it goes like this: Mr. Milch had pined to do a western ever since he was an important writer on an Emmy-winning network cop series and could just as easily have been a novelist, if I remember the story correctly, and after years of research and reading everything available on the old west decided to focus his talents on the town of Deadwood in the 1870s. But hold your horses, Tex. As Mr. Milch explained it, he didn't read everything after all, he read everything except the novel Deadwood, and was not only able on his own to come up with the same setting and feel and characters that populated the novel, but somehow intuited a footnote-in-history sort of character named Charlie Utter into pretty much the same human being who is the central character of the novel. Except Mr. Milch gave him an English accent, and if that's not Hollywood genius I don't know what is. ... --Acknowledgments

But how hip were David Chase and HBO for hiring someone with emphysema? Just hiring someone older was unusual. My brother Billy was in TV the whole first half of his life (he’s got a great book about it, Get in the Car, Jane!), and he was a big fan of older actors, but the networks always gave him a hard time about hiring them.

More than one person who worked at Purdue during this era likened the experience to the acidly humorous HBO show Succession, in which a trio of overindulged adult children vie, haplessly, to seize control of a conglomerate

The Cupertino firm is investing $6 billion in original, vertical content on Apple TV+, seizing the luxury positioning from HBO.

We do not sow. We are Ironborn. We’re not subjects. We’re not slaves. We do not plow the field or toil in the mine. We take what is ours.”—Balon Greyjoy First settling on the Iron Islands in the days of the First Men, the proud denizens of this rocky archipelago refer to themselves as “Ironborn.” Isolated from the peoples and cultures of the mainland, the Ironborn ruled as kings for centuries, worshipping their own unique deity, the Drowned God, and cultivating a lifestyle that celebrates pillaging. Their infamous fleet of longships was unmatched and feared throughout the world, and at the height of their power, the Ironborn controlled most of the western coast and the entirety of what are now the Riverlands.

Theon …did you hate us the whole time?”—Bran Stark Heir to Balon Greyjoy of the Iron Islands, Theon grew up as Ned Stark’s ward and hostage, forced to live at Winterfell after his father’s rebellion was crushed by Ned Stark many years before. Believing he can trust him, Robb Stark sends Theon back to his family to enlist their aid in the war. But Theon’s father has a different plan—the Greyjoys will go to war against the North. Torn between his own blood and the family that raised him, Theon chooses blood and betrays the Starks, eventually attacking Winterfell.

The Eyrie. They say it’s impregnable.”—Tyrion Lannister “Give me ten good men and some climbing spikes—I’ll impregnate the bitch.”—Bronn

The leading house of the North, House Stark traces its descent from the First Men in the Age of Heroes. The Family’s founder, Brandon the Builder, was among those who established the Night’s Watch in the aftermath of the Long Night, According to legend, Brandon enlisted the aid of giants and the powerful magic of the Children of the Forest to raise the Wall. He went on to build the ancestral seat of Winterfell and was crowned the first king in the North.

I’m a northman. I belong here with you, not down south in that rat’s nest they call a capital.”—Ned Stark

DAVID BENIOFF: You don’t enter into any adaptation process lightly. In the case of Game of Thrones, we’ve dedicated six years of our lives to the show. We did it for a simple reason that will be familiar to George’s readers: We fell in love with the books. We fell in love with the world he created, with the sprawl of Westeros and Essos. We fell in love with the characters, hundreds of them, the good as well as the bad, with the Starks and the Lannisters and the Targaryens and the Greyjoys. We fell in love with the brutality of the narrative: No one is ever safe. Good does not triumph over evil. Awful people have sympathetic traits and lovable people have loathsome traits.

Oh, my sweet summer child, what do you know about fear? Fear is for the winter, when the snows fall a hundred feet deep. Fear is for the Long Night … when the White Walkers move through the woods.”—Old Nan

Night gathers, and now my watch begins.  It shall not end until my death. I shall take no wife, hold no lands, father no children.  I shall wear no crowns and win no glory.  I shall live and die at my post.  I am the sword in the darkness. I am the watcher on the walls.  I am the shield that guards the realms of men. I pledge my life and honor to the Night’s Watch, for this night and all the nights to come.”—The Night’s Watch oath

In HBO’s award-winning 2014 crime drama True Detective, Marty Hart, played by Woody Harrelson, tells his partner, “You attach an assumption to a piece of evidence, you start to bend the narrative to support it, prejudice yourself.

On August 3, 2020, a day before the United States surpassed 150,000 deaths from COVID, Donald’s interview with Axios reporter Jonathan Swan aired on HBO. “It is what it is,” he said after Swan pointed out that a thousand Americans were dying every day. That was a popular expression in my family, and hearing it sent a chill down my spine. Whenever my grandfather, my aunt, or one of my uncles had said it, it was always with a cruel indifference to somebody else in despair.

the 2019 HBO series, Chernobyl, based on real-life events during the final days of the Soviet Union, the Communist chairman Charkov confronts truth-teller scientist Valery Alekseyevich Legasov. As a result of his investigation of a preventable accident at the Chernobyl Nuclear Power Plant, Legasov is dying slowly of radiation poisoning.

Not long after that, HBO optioned my article for a potential film or television adaptation, and Netflix optioned Pressler’s article for the same.

The Hall of Fame concert was shown on HBO over Thanksgiving, and the next day Dylan called. “How come I wasn’t there? Those were my people. I should have been there.

Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show.

Israel became a content powerhouse, often without anyone around the world knowing that their favorite TV show actually came from that controversial tiny sliver of land somewhere in the Middle East. A new industry was born. I don’t have enough space to credit each and every creator, writer, producer, network, and actor who’s been a part of this revolution, but I’ll mention just a few shows you may know and love. There are the shows adapted from Hebrew to English, such as the hit HBO show Euphoria; the reality TV music competition The Four: Battle for Stardom; and the comedy Beauty and the Baker. And the shows streaming in their original Hebrew, such as Shtisel, Srugim, Teheran, and

HBO working on the documentary about my experiences, One Survivor Remembers, went to Germany to film at locations where I had

Their owners returned to Philadelphia each fall, leaving the resort a ghost town. Samuel Richards realized that mass-oriented facilities had to be developed before Atlantic City could become a major resort and a permanent community. From Richards’ perspective, more working-class visitors from Philadelphia were needed to spur growth. These visitors would only come if railroad fares cost less. For several years Samuel Richards tried, without success, to sell his ideas to the other shareholders of the Camden-Atlantic Railroad. He believed that greater profits could be made by reducing fares, which would increase the volume of patrons. A majority of the board of directors disagreed. Finally in 1875, Richards lost patience with his fellow directors. Together with three allies, Richards resigned from the board of directors of the Camden-Atlantic Railroad and formed a second railway company of his own. Richards’ railroad was to be an efficient and cheaper narrow gauge line. The roadbed for the narrow gauge was easier to build than that of the first railroad. It had a 3½-foot gauge instead of the standard 4 feet 8½ inches, so labor and material would cost less. The prospect of a second railroad into Atlantic City divided the town. Jonathan Pitney had died six years earlier, but his dream of an exclusive watering hole persisted. Many didn’t want to see the type of development that Samuel Richards was encouraging, nor did they want to rub elbows with the working class of Philadelphia. A heated debate raged for months. Most of the residents were content with their island remaining a sleepy little beach village and wanted nothing to do with Philadelphia’s blue-collar tourists. But their opinions were irrelevant to Samuel Richards. As he had done 24 years earlier, Richards went to the state legislature and obtained another railroad charter. The Philadelphia-Atlantic City Railway Company was chartered in March 1876. The directors of the Camden-Atlantic were bitter at the loss of their monopoly and put every possible obstacle in Richards’ path. When he began construction in April 1877—simultaneously from both ends—the Camden-Atlantic directors refused to allow the construction machinery to be transported over its tracks or its cars to be used for shipment of supplies. The Baldwin Locomotive Works was forced to send its construction engine by water, around Cape May and up the seacoast; railroad ties were brought in by ships from Baltimore. Richards permitted nothing to stand in his way. He was determined to have his train running that summer. Construction was at a fever pitch, with crews of laborers working double shifts seven days a week. Fifty-four miles of railroad were completed in just 90 days. With the exception of rail lines built during a war, there had never been a railroad constructed at such speed. The first train of the Philadelphia-Atlantic City Railway Company arrived in the resort on July 7, 1877. Prior to Richards’ railroad,

Project Serpo is an alleged top-secret exchange program between the US and an alien planet by that name. Details have appeared in UFO conspiracy stories, including one incident in 1983 in which a man identifying himself as Air Force Sergeant Richard C. Doty contacted Linda Moulton Howe, offering Air Force records of the exchange for an HBO documentary,

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There is no more hazardous task in Hollywood than trying to make a popular or critically acclaimed book into a television series or feature film. Hollywood Boulevard is lined with the skulls and bleached bones of all those who have tried and failed … and for every known failure, there are a hundred you have never heard of, because the adaptations were abandoned somewhere along the way, often after years of development and dozens of scripts.

You’re mad,” I told them. “It’s too big. It’s too complicated. It’s too expensive.

When House Reyne of Castamere, a sworn vassal of the Lannisters, dared to rise up against Tytos, it was his eldest son, Tywin, who crushed the rebellion. Tywin led his troops in a merciless assault of Castamere and eradicated House Reyne. His victory was immortalized in the ballad “The Rains of Castamere,” which has become an anthem of House Lannister.

PETER DINKLAGE (Tyrion Lannister): The Lannisters are all very good at what they do, but it seems that all the cards were dealt to the wrong people. Cersei wants the power but is a woman in a male-dominated world. Jaime is the golden child who wants to avoid all things politic. Tyrion is the brilliant politician who isn’t taken seriously. Cersei and Tyrion have a lot in common, which is why their relationship is so damaged. They see each other very clearly for who they really are. Being born into such wealth and privilege has afforded them all great opportunities—Tyrion, as he has said, “may have been left in the woods to die” if born under different circumstances—but it has clearly affected them at the family dinner table.

GEORGE R. R. MARTIN: It’s funny when you get this huge reaction to Ned’s death. Ned was always marked for death, so the kids could come into their own. As long as Daddy is around, the kids are going to live in Daddy’s shadow, but once you remove him, then you have a lot more tension. But I didn’t want to remove him too soon, so I kept him around a long time so you get really invested in him. So when he’s lost, it’s a tremendous blow.

I just want to stand on top of the Wall and piss off the edge of the world.” { Tyrion Lannister }

Companies don’t even need to merge in order to pay workers less than they’d have to pay in a truly free labor market. I’d assumed only high-end employees were ever required to sign noncompete contracts—an HBO executive prohibited from going to work at Netflix, a coder at Lyft who can’t take a job coding for Uber. But no: shockingly, noncompetes have come to be used just as much to prevent a $10-an-hour fry cook at Los Pollos Hermanos from quitting to work for $10.75 at Popeyes. Of all American workers making less than $40,000 a year, one in eight are bound by noncompete agreements. As another way to reduce workers’ leverage, three-quarters of fast-food franchise chains have contractually prohibited their restaurant operators from hiring workers away from fellow franchisees.

The Derek and Simon (2007) short films for HBO were about two friends who cockblock each other, reliably. A cast of young amazings including Zach Galifianakis, Jake Johnson, Ashley Johnson, and Eric Edelstein joined us. It

Hay que confundir siempre a los enemigos. Si nunca están seguros de quién es uno ni de qué quiere, no tienen manera de saber qué será lo próximo que haga. A veces, la mejor manera de desconcertarlos es hacer movimientos que no tienen sentido, o que incluso parece que van contra los intereses de uno.

The ice-cream truck played the theme from The Godfather. There was a saying: “It’s not HBO, it’s our neighborhood.

Internet media networks are proving that the money no longer has to come from cable subscribers. Netflix didn’t originate House of Cards. Independent studio Media Rights Capital took bids from a handful of networks, including HBO, Showtime, and AMC (where you can see Mad Men). Netflix outbid them all.

la chaîne câblée américaine Home Box Office (HBO) a conservé — à quelques détails près — son sadisme et son habitude de rompre le contrat tacite passé avec le public.

waste of paper so heinous that as “editor” she should have been convicted of arboricide.

To The Lost.

There was a long while, after my marriage flamed out, I resigned myself to the fact that I was never going to have any kids. It’s not an easy thing to come to terms with, believe me. Having kids always seemed to me to be the most elemental thing to do. But there’s certain people maybe shouldn’t have kids, even if they want to. I’m probably one of them.

Lyla McCubbin.

Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show. Lanier, Jaron. Ten Arguments for Deleting Your Social Media Accounts Right Now (Posición en Kindle1406-1407). Henry Holt and Co.. Edición de Kindle.

It might sound undesirable to someday have to pay for things that are currently free, but remember, you’d also be able to make money from those things. And paying for stuff sometimes really does make the world better for everyone. Techies who advocated a free/open future used to argue that paying for movies or TV was a terrible thing, and that the culture of the future would be made of volunteerism, with the digital distribution funded by advertising, of course. This was practically a religious belief in Silicon Valley when the big BUMMER companies were founded. It was sacrilege to challenge it. But then companies like Netflix and HBO convinced people to pay a monthly fee, and the result is what is often called “peak TV.” Why couldn’t there also be an era of paid “peak social media” and “peak search”? Watch the end credits on a movie on Netflix or HBO. It’s good discipline for lengthening your attention span! Look at all those names scrolling by. All those people who aren’t stars made their rent by working to bring you that show. BUMMER only supports stars.

DOUG ELLIN, Writer and Director: When we went to sell Entourage to HBO, the character of Ari didn’t really exist. There was an agent, but at that point it was based on some version of Jeff Jacobs, my agent at the time. I first met Jeff when he was a counselor at the camp I went to when I was twelve, and he was what I knew best of as an agent. At the pitch meeting, it was me, Jeff, Steven Levinson, and Ari, who was there because he represented Mark Wahlberg. I had never even heard of Ari before this, but as soon as the meeting started, Ari said three or four things that just blew me away. The guy was unlike anyone I had ever met, and I remember I looked at Jeff right there and said, “This character is changing to Ari.

Pero oye, ¿y si el que se esconde es un hombre honrado? ¿O una pobre mujer con un niño de pecho? —Un hombre honrado saldría y daría la cara. Los únicos que se esconden son los criminales.

HBO, didn't you watch this series before agreeing to air it? I mean, you had two years! I want to find the writers, grab a bell, ring it at them repeatedly while chanting 'shame' over and over again. Perhaps then they'll get the message.

Joe Berlinger and Bruce Sinofsky produced three films for HBO, Paradise Lost: The Child Murders at Robin Hood Hills, Paradise Lost 2: Revelations, and Paradise Lost 3: Purgatory.