Low Budget Quotes

I knew it, I just knew it! The person who had the job of writing my life's dialogue used to work on a very low budget soap opera.

It was one of those moments that would have had dramatic music if my life were a movie, but instead I got a radio jingle for some kind of submarine sandwich place blaring over the store's ambient stereo. The movie ofmy life must be really low-budget.

Christy said. "It's just weird, your seeing him like that. What are you going to do?" "Nothing. What can I do?" "Maybe he'll call you to see if you're okay," Katie said. "No," Christy said, "in the movies he would have told his friend to stop the car, and he would have run back to you with an umbrella and walked you the rest of the way hoe, and you would have made him a pot of tea." Sierra laughed. "I am drinking tea right now," she said. "Maybe my life is a low budget 'B' movie, and all I get is the tea. No hero. No umbrella." "Yeah, well then my life is a class 'Z' movie," Katie said. "No tea. No hero. No umbrella. No plot--" "Yours is more of a mystery," Christy interrupted cheerfully. "The ending will surprise all of us.

I had bought a plastic bottle of petrol to run his small generator and I could hear the delighted screams of his children gathered around a television inside, watching a low-budget Nigerian-made film about adult women falling in love with a magical eight-year-old boy.

So they trust in the deity of the Old Testament, an incontinent dotard who soiled Himself and the universe with his corruption, a low-budget divinity passing itself off as the genuine article. (Ask the Gnostics.) They trust in Jesus Christ, a historical cipher stitched together like Frankenstein's monster out of parts robbed from the graves of messiahs dead and buried - a savior on a stick. They trust in the virgin-pimping Allah and his Drum Major Mohammed, a prophet-come-lately who pioneered a new genus of humbuggery for an emerging market of believers that was not being adequately served by existing religious products. They trust in anything that authenticates their importance as persons, tribes, societies, and particularly as a species that will endure in this world and perhaps in an afterworld that may be uncertain in its reality and unclear in its layout, but which states their craving for values "not of this earth" - that depressing, meaningless place their consciousness must sidestep every day.

I took in a deep breath, and smoke twisted around my head as I let it slip through my teeth. “Do you know what my favorite show was when I was a little kid?” The look again. “I would have no idea.” “Doctor Who. British sci-fi show.” “I am familiar with it. Christopher Eccleston, David Tennant, and Matt—“ “No,” I said. “The new show’s great, but I grew up on the old one. The low-budget, rubber monster show with Tom Baker and Peter Davison. I watched it on PBS all the time as a kid.” I looked out at the dark ruins of Hollywood, at the stumbling shadows dotting the streets as far as you could see. The only other living person within half a mile was standing behind me, her eyes boring into my head. “The Doctor didn’t have super-powers or weapons or anything like that. He was just a really smart guy who always tried to do the right thing. To help people, no matter what. That struck me when I was a kid. The idea that no matter how cold and callous and heartless the world seemed, there was somebody out there who just wanted to make life better. Not better for worlds or countries in some vague way. Just better for people trying to live their lives, even if they didn’t know about him.” I turned back to her and tapped my chest. “That’s what this suit’s always been about. Not scaring people like you or Gorgon do. Not some sort of pseudo-sexual roleplay or repressed emotions. I wear this thing, all these bright colors, because I want people to know someone’s trying to make their lives better. I want to give them hope.

Nor have I any idea why Said should consider Orwell’s life a ‘comfortable’ one. Having taken a bullet through the throat, and while suffering from a demoralising and ultimately lethal case of TB, he lived on an astonishingly low budget and tried whenever possible to grow his own food and even to make his own furniture. Indeed, if there was anything affected about him, it might be his indifference to bourgeois life, his almost ostentatious austerity.

If poor doomed Olly’s a Radio 4 play, what am I?”” “You, Hugo,” she kisses my earlobe, “are a sordid, low-budget French film. The sort you’d stumble across on TV at night. You know you’ll regret it in the morning, but you keep watching anyway.

I claim that this bookless library is a dream, a hallucination of on-line addicts; network neophytes, and library-automation insiders...Instead, I suspect computers will deviously chew away at libraries from the inside. They'll eat up book budgets and require librarians that are more comfortable with computers than with children and scholars. Libraries will become adept at supplying the public with fast, low-quality information. The result won't be a library without books--it'll be a library without value.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

The last time such a loss occurred was during the 1930s, and what makes it such a concern this time is that the dismal job creation statistic has been accompanied by huge and rising budget deficits, large and persistent trade deficits, enormous indebtedness, a low saving rate, a worsening state of indispensable modern infrastructure, poor achievements in education for the masses, worrisome public health (marked by a historically unprecedented incidence of obesity)—and a grossly dysfunctional government to run it all. When seen from this perspective, the state of US manufacturing is a clear cause for concern.

if we could tax Americans' cognitive dissonance we could balance the budget. The American people want all kinds of incompatible things, they're human beings, and they want high services, low taxes, and an omnipresent, omniprominent welfare state.

Father", that sounds too dominant, too stern or Mufasa-like – he’s a coward, a low-budget, hand-fucking coward.

The almost-35-year-old Terry Schmidt had very nearly nothing left anymore of the delusion that he differed from the great herd of the common run of men, not even in his despair at not making a difference or in the great hunger to have an impact that in his late twenties he'd clung to as evidence that even though he was emerging as sort of a failure the grand ambitions against which he judged himself a failure were somehow exceptional and superior to the common run's - not anymore, since now even the phrase Make A Difference had become a platitude so familiar that it was used as the mnemonic tag in low-budget Ad Council PSAs for Big Brothers/Big Sisters and the United Way, which used Make a Difference in a Child's Life and Making a Difference in Your Community respectively, with B.B./B.S. even acquiring the telephonic equivalent of DIF-FER-ENCE to serve as their Volunteer Hotline number in the metro area.

Students from poor families who attended low-poverty schools significantly outperformed those who attended high-poverty schools with “state-of-the-art educational interventions.” Even when we expand the budgets of poor schools beyond those of rich ones, it does not make those schools anything close to equal.

Many people in this world are always looking to science to save them from something. But just as many, or more, prefer old and reputable belief systems and their sectarian offshoots for salvation. So they trust in the deity of the Old Testament, an incontinent dotard who soiled Himself and the universe with His corruption, a low-budget divinity passing itself off as the genuine article. (Ask the Gnostics.) They trust in Jesus Christ, a historical cipher stitched together like Frankenstein’s monster out of parts robbed from the graves of messiahs dead and buried—a savior on a stick. They trust in the virgin-pimping Allah and his Drum Major Mohammed, a prophet-come-lately who pioneered a new genus of humbuggery for an emerging market of believers that was not being adequately served by existing religious products. They trust in anything that authenticates their importance as persons, tribes, societies, and particularly as a species that will endure in this world and perhaps in an afterworld that may be uncertain in its reality and unclear in its layout, but which sates their craving for values not of this earth—that depressing, meaningless place their consciousness must sidestep every day.

In the major motion picture of my life—a low-budget slapstick tragicomedy

This is the way the world ends, not with a bang, and not with a whimper, but with the bleak gusto of a low-budget horror movie.

Since the President’s 2016 election, the economy has added over 6.7 million jobs—more than the combined populations of Wyoming, Vermont, Alaska, North Dakota, South Dakota, Delaware, Rhode Island, and Montana in 2018. Additionally, this total is 4.8 million more jobs than the Congressional Budget Office projected would have been created in its final forecast before the 2016 election. . . . Most notably, the unemployment rate for African Americans reached a new low of 5.4 percent, falling 2.6 percentage points since President Trump’s election.”12 For anyone with a brain, that is a big deal.

Maybe it's that she's starting to feel like an extra in an extremely low-budget Love Actually, surrounded by people loving and being loved in all their messy, unpredictable ways, and she doesn't trust or understand it.

My guess is that the indignities imposed on so many low-wage workers—the drug tests, the constant surveillance, being “reamed out” by managers—are part of what keeps wages low. If you’re made to feel unworthy enough, you may come to think that what you’re paid is what you are actually worth. It is hard to imagine any other function for workplace authoritarianism. Managers may truly believe that, without their unremitting efforts, all work would quickly grind to a halt. That is not my impression. While I encountered some cynics and plenty of people who had learned to budget their energy, I never met an actual slacker or, for that matter, a drug addict or thief. On the contrary, I was amazed and sometimes saddened by the pride people took in jobs that rewarded them so meagerly, either in wages or in recognition. Often, in fact, these people experienced management as an obstacle to getting the job done as it should be done.

If poor doomed Olly’s a Radio 4 play, what am I?” “You, Hugo,” she kisses my earlobe, “are a sordid, low-budget French film. The sort you’d stumble across on TV at night. You know you’ll regret it in the morning, but you keep watching anyway.

If I had only known kittens can climb drapes, perch on top of a traverse rod, and then screech like some femme fatale in a low budget horror flick to be rescued. That a kitten sounds like a herd of buffalo running on hardwood floors in the middle of the night. If I had only known a kitten’s claws can sink through a sheet into your balls while you’re jerking off. An old adage says, “Live and learn,” and I amassed an encyclopedic amount out cat wisdom in less than twenty-four hours.

In all, 62 percent of the budget cuts would come from low-income programs. Yet at the same time, the Republican budget would provide a substantial tax cut to the rich—who are already taking home an almost unprecedented share of the nation’s total income.

But what about those of us who could not remember that day? I've seen the footage, watched the big, clumsy planes crash into the towers like some sort of low-budget action film. Which is worse? To know that things used to be different, or to never have known a more innocent day at all?

Europe must stop pretending that the stabilization of the Muslim world is somebody else’s problem. More than “soft power” is required to restore order to the countries from which so many immigrants are coming. EU member states must be willing to engage in leadership and, if necessary, to intervene militarily to restore order in international conflict areas rather than continuing to depend on the United States to deal with each crisis. As it stands, European defense budgets are unjustifiably low considering the rapidly escalating violence of the regions to the south and east of the Mediterranean.

In 1962, President John F. Kennedy said, “Our true choice is not between tax reduction on the one hand and avoidance of large federal deficits on the other; it is increasingly clear that no matter what party is in power, as long as our national security needs keep rising, an economy hampered by restrictive tax rates will never produce enough revenues to balance the budget—just as it will never produce enough jobs or enough profits. In short, the paradoxical truth is that the tax rates are too high today and tax revenues are too low and the soundest way to raise revenues in the long run is to cut rates now.

Indeed, North America Indian policy in the last half of the nineteenth century had many of the qualities of a bad movie. It was a low-budget affair with a simplistic plot: politicians, soldiers, clerics, social scientists, and people of unexamined goodwill dash about North America, saving themselves from Indians by saving Indians from themselves

The people in makeup would buff away the shine on the face of anyone in front of the camera, and the sound blokes would clip a microphone onto the lapel of a jacket so it looked like something other than an insect about to crawl onto the presenter’s chin, but Steven Spielberg this group was not. This was a low-budget operation, thank you very much.

Unglückswurm Olly ist also ein Hörspiel auf Radio 4. Und was bin ich?" - "Du, Hugo", sie küsste mich aufs Ohrläppchen, "bist ein schmutziger französischer Low-Budget-Film., Einer, auf den man nachts zufällig im Fernsehen stößt. Du weißt, dass du es morgen früh bereust, aber du schaust ihn dir trotzdem an." Unten im Hof pfeift jemand ein vergessenes Lied.

Well, once again we are invaded. And, humiliatingly, by a lifeform which is absurd. My colleague Tim Powers once said that Martians could invade us simply by putting on funny hats, and we'd never notice. It's a sort of low-budget invasion. I guess we're at the point where we can be amused by the idea of Earth being invaded. (And this is when they really zap you.

If you’re on a budget, check out thrift stores or garage sales. Look for signs of quality, like copper bottoms, cast iron, or stainless steel. Someone with limited money would do far better buying used than buying cheap stuff from Walmart. If you are determined to buy new, check out places like T.J.Maxx, the HomeGoods store, Ross—anywhere that’s likely to have top-quality items for low prices.

Elizabeth didn’t know what was more shocking: the little man’s language or the intensity with which Calvin reacted to that language. Within moments of hearing the words “you fucking machine” and “sons of bitches,” Calvin’s face took on a crazed look usually not seen outside of low-budget zombie films. He pulled harder and faster, his exhales so loud, he sounded like a runaway train, and yet the little man was not satisfied; he kept yelling at Calvin, demanding more and getting more as he counted down the strokes like an angry stopwatch: Twenty! Fifteen! Ten! Five! And then the count evaporated and all that was left were two simple words that Elizabeth couldn’t agree with more. “Way enough,” the coxswain said. Upon which Calvin slumped heavily forward as if he’d been shot in the back.

People tend to make fun of low-budget movies, often because they lack the smooth sophistication of slick Hollywood fare. But what the average viewer fails to recognize is that low-budget movies, with almost nothing to lose, are far more likely to push the creative envelope. Granted, most of them fall flat on their face because of poor writing, choppy editing, and bad acting, but you have to love them for trying.

While we often recognize the need to learn how to face hunger and need, we aren't always aware that we need similar help to face wealth and abundance. It's not easy to face affluence every day without committing idolatry or succumbing to ingratitude. In fact, church history is filled with stories of sincere believers facing lowness, hunger, need, suffering, persecution, hardship, and death with Christ-honoring joy and faithfulness. But the stories of Christian fidelity in the midst of overwhelming abundance, provision, plenty, and wealth are fewer and farther between. This is why Jesus says that it is hard for the rich to enter the kingdom of heaven (Matt. 19:23). One of the chief challenges for Christians in the West is to learn to face our unprecedented abundance with the strength supplied by Christ and not by the wealth.

PLAINVILLE WAS A QUAINT picturesque town. Northern California’s version of Andy Griffith’s Mayberry. Bucolic enough to provide cinematic contrast for any low-budget stalk-and-slash film. Juxtaposition played just as important a role in still photography as it did in cinematography. Maybe that’s why Natalie Jones had picked Plainville for her final descent into darkness. The climactic scene in a comedic tragedy. Cast of one. Audience of one. Curtain closed.

Greece’s economic problems weren’t new. For decades, the country had been plagued by low productivity, a bloated and inefficient public sector, massive tax avoidance, and unsustainable pension obligations. Despite that, throughout the 2000s, international capital markets had been happy to finance Greece’s steadily escalating deficits, much the same way that they’d been happy to finance a heap of subprime mortgages across the United States. In the wake of the Wall Street crisis, the mood grew less generous. When a new Greek government announced that its latest budget deficit far exceeded previous estimates, European bank stocks plunged and international lenders balked at lending Greece more money. The country suddenly teetered on the brink of default.

The heart of the issue is not simply that a group that gets a large portion of its budget from the Walton family fortune is unlikely to be highly critical of Walmart. The 1990s was the key decade when the contours of the climate battle were being drawn—when a collective strategy for rising to the challenge was developed and when the first wave of supposed solutions was presented to the public. It was also the period when Big Green became most enthusiastically pro-corporate, most committed to a low-friction model of social change in which everything had to be ‘win- win.’ And in the same period many of the corporate partners of groups like the EDF and the Nature Conservancy—Walmart, FedEx, GM—were pushing hard for the global deregulatory framework that has done so much to send emissions soaring. This alignment of economic interests—combined with the ever powerful desire to be seen as ‘serious’ in circles where seriousness is equated with toeing the pro-market line —fundamentally shaped how these green groups conceived of the climate challenge from the start. Global warming was not defined as a crisis being fueled by overconsumption, or by high emissions industrial agriculture, or by car culture, or by a trade system that insists that vast geographical distances do not matter—root causes that would have demanded changes in how we live, work, eat, and shop. Instead, climate change was presented as a narrow technical problem with no end of profitable solutions within the market system, many of which were available for sale at Walmart.

Officer Downing pulls into the driveway next to Mom's car. Of course she's home. I don't know why I even wasted hope that she wouldn't be. Maybe because I'm eighteen, which means they don't bother calling your parents to the scene. But even if I'm not a victim of the law, I'm a victim of the small-town grapevine. A victim of flashing blue lights, whispered scorn, and heads shaking in disapproval. And, boy, do I feel like a victim, because not only is she home, she's standing on the front porch, arms crossed. Waiting. Officer Downing opens the back door to the low-budget cop car that smells like vinyl, BO, and humiliation. I step out. He hands me my backpack, which Rachel was so kind to bring out when we dropped Rayna off at Galen's house. She was also kind enough not to kill me for showing up at her house with a cop.

An attack on the rich is not a disruption of peace but a step towards it. The rich oppress the poor daily by exploiting their misery and poverty. The poor are kept poor and beaten down continually by the greed of the rich and the systems of capitalist exploitation. Poverty is violence against the poor. Tax cuts for the rich, leading to budget cuts in social spending, are an act of class warfare. It is a mistake to call for “peace” when there is no peace for the poor, homeless, or disadvantaged under capitalism. One might argue that even Christ was crucified in the name of “peace” by the Roman Empire.20 But Pax Romana—or today’s Pax Americana—is never true peace. It is peace by oppression. The rich must be brought low, the powerful must be humbled, the lowly must be exalted, and good news must be proclaimed to the poor.

Brad Bird remembers a meeting during the making of The Incredibles, soon after he joined the studio, when Steve hurt his feelings by saying that some of the Incredibles artwork looked "kind of Saturday morning"––a reference to the low-budget cartoons that Hanna-Barbera and others produced. "In my world, that's kind of like saying, 'Your mama sleeps around,'" Brad recalls. "I was seething. When the meeting ended, I went over to Andrew and said, 'Man, Steve just said something that really pissed me off.' And Andrew, without even asking what it was, said, 'Only one thing?'" Brad came to understand that Steve was speaking not as a critic but as the ultimate advocate. Too often, animated superheroes had been made on the cheap and looked that way, too––on that Steve and Brad could agree. The Incredibles, he was implying, had to reach higher.

In her book The Government-Citizen Disconnect, the political scientist Suzanne Mettler reports that 96 percent of American adults have relied on a major government program at some point in their lives. Rich, middle-class, and poor families depend on different kinds of programs, but the average rich and middle-class family draws on the same number of government benefits as the average poor family. Student loans look like they were issued from a bank, but the only reason banks hand out money to eighteen-year-olds with no jobs, no credit, and no collateral is because the federal government guarantees the loans and pays half their interest. Financial advisers at Edward Jones or Prudential can help you sign up for 529 college savings plans, but those plans' generous tax benefits will cost the federal government an estimated $28.5 billion between 2017 and 2026. For most Americans under the age of sixty-five, health insurance appears to come from their jobs, but supporting this arrangement is one of the single largest tax breaks issued by the federal government, one that exempts the cost of employer-sponsored health insurance from taxable incomes. In 2022, this benefit is estimated to have cost the government $316 billion for those under sixty-five. By 2032, its price tag is projected to exceed $6oo billion. Almost half of all Americans receive government-subsidized health benefits through their employers, and over a third are enrolled in government-subsidized retirement benefits. These participation rates, driven primarily by rich and middle-class Americans, far exceed those of even the largest programs directed at low income families, such as food stamps (14 percent of Americans) and the Earned Income Tax Credit (19 percent). Altogether, the United States spent $1.8 trillion on tax breaks in 2021. That amount exceeded total spending on law enforcement, education, housing, healthcare, diplomacy, and everything else that makes up our discretionary budget. Roughly half the benefits of the thirteen largest individual tax breaks accrue to the richest families, those with incomes that put them in the top 20 percent. The top I percent of income earners take home more than all middle-class families and double that of families in the bottom 20 percent. I can't tell you how many times someone has informed me that we should reduce military spending and redirect the savings to the poor. When this suggestion is made in a public venue, it always garners applause. I've met far fewer people who have suggested we boost aid to the poor by reducing tax breaks that mostly benefit the upper class, even though we spend over twice as much on them as on the military and national defense.

I’ll say it: I am lucky enough to not have to work, in the sense that Jesse and I could change how we organize our life to live on one income. I work because I like to. I love my kids! They are amazing. But I wouldn’t be happy staying home with them. I’ve figured out that my happiness-maximizing allocation is something like eight hours of work and three hours of kids a day. It isn’t that I like my job more than my kids overall—if I had to pick, the kids would win every time. But the “marginal value” of time with my kids declines fast. In part, this is because kids are exhausting. The first hour with them is amazing, the second less good, and by hour four I’m ready for a glass of wine or, even better, some time with my research. My job doesn’t have this feature. Yes, the eighth hour is less fun than the seventh, but the highs are not as high and the lows are not as low. The physical and emotional challenges of work pale in comparison to the physical and emotional challenges of being an on-scene parent. The eighth hour at my job is better than the fifth hour with the kids on a typical day. And that is why I have a job. Because I like it. It should be okay to say this. Just like it should be okay to say that you stay home with your kids because that is what you want to do. I’m well aware that many people don’t want to be an economist for eight hours a day. We shouldn’t have to say we’re staying home for children’s optimal development, or at least, that shouldn’t be the only factor in the decision. “This is the lifestyle I prefer” or “This is what works for my family” are both okay reasons to make choices! So before you even get into reading what the evidence says is “best” for your child or thinking about the family budget, you—and your partner, or any other caregiving adults in the house—should think about what you would really like to do.

1935 tax bill, then popularly called the “Soak the Rich Tax,” the top marginal income tax rate for individuals rose to 75 percent (versus as low as 25 percent in 1930). By 1941, the top personal tax rate was 81 percent, and the top corporate tax rate was 31 percent, having started at 12 percent in 1930. Roosevelt also imposed a number of other taxes. Despite all of these taxes and the pickup in the economy that helped raise tax revenue, budget deficits increased from around 1 percent of GDP to about 4 percent of GDP because the spending increases were so large.5 From 1933 until the end of 1936 the stock market returned over 200 percent, and the economy grew at a blistering average real rate of about 9 percent. In 1936, the Federal Reserve tightened money and credit to fight inflation and slow an overheating economy, which caused the fragile US economy to fall back into recession and the other major economies to weaken with it, further raising tensions within and between countries.

I was asked with somewhat puzzling frequency about my own politics, what they “were,” or “where they came from,” as if they were eccentric, opaque, somehow unreadable. They are not. They are the logical product of a childhood largely spent among conservative California Republicans (this was before the meaning of “conservative” changed) in a postwar boom economy. The people with whom I grew up were interested in low taxes, a balanced budget, and a limited government. They believed above all that a limited government had no business tinkering with the private or cultural life of its citizens. In 1964, in accord with these interests and beliefs, I voted, ardently, for Barry Goldwater. Had Goldwater remained the same age and continued running, I would have voted for him in every election thereafter. Instead, shocked and to a curious extent personally offended by the enthusiasm with which California Republicans who had jettisoned an authentic conservative (Goldwater) were rushing to embrace Ronald Reagan, I registered as a Democrat, the first member of my family (and perhaps in my generation still the only member) to do so. That this did not involve taking a markedly different view on any issue was a novel discovery, and one that led me to view “America’s two-party system” with—and this was my real introduction to American politics—a somewhat doubtful eye.

It is a painful irony that silent movies were driven out of existence just as they were reaching a kind of glorious summit of creativity and imagination, so that some of the best silent movies were also some of the last ones. Of no film was that more true than Wings, which opened on August 12 at the Criterion Theatre in New York, with a dedication to Charles Lindbergh. The film was the conception of John Monk Saunders, a bright young man from Minnesota who was also a Rhodes scholar, a gifted writer, a handsome philanderer, and a drinker, not necessarily in that order. In the early 1920s, Saunders met and became friends with the film producer Jesse Lasky and Lasky’s wife, Bessie. Saunders was an uncommonly charming fellow, and he persuaded Lasky to buy a half-finished novel he had written about aerial combat in the First World War. Fired with excitement, Lasky gave Saunders a record $39,000 for the idea and put him to work on a script. Had Lasky known that Saunders was sleeping with his wife, he might not have been quite so generous. Lasky’s choice for director was unexpected but inspired. William Wellman was thirty years old and had no experience of making big movies—and at $2 million Wings was the biggest movie Paramount had ever undertaken. At a time when top-rank directors like Ernst Lubitsch were paid $175,000 a picture, Wellman was given a salary of $250 a week. But he had one advantage over every other director in Hollywood: he was a World War I flying ace and intimately understood the beauty and enchantment of flight as well as the fearful mayhem of aerial combat. No other filmmaker has ever used technical proficiency to better advantage. Wellman had had a busy life already. Born into a well-to-do family in Brookline, Massachusetts, he had been a high school dropout, a professional ice hockey player, a volunteer in the French Foreign Legion, and a member of the celebrated Lafayette Escadrille flying squad. Both France and the United States had decorated him for gallantry. After the war he became friends with Douglas Fairbanks, who got him a job at the Goldwyn studios as an actor. Wellman hated acting and switched to directing. He became what was known as a contract director, churning out low-budget westerns and other B movies. Always temperamental, he was frequently fired from jobs, once for slapping an actress. He was a startling choice to be put in charge of such a challenging epic. To the astonishment of everyone, he now made one of the most intelligent, moving, and thrilling pictures ever made. Nothing was faked. Whatever the pilot saw in real life the audiences saw on the screen. When clouds or exploding dirigibles were seen outside airplane windows they were real objects filmed in real time. Wellman mounted cameras inside the cockpits looking out, so that the audiences had the sensation of sitting at the pilots’ shoulders, and outside the cockpit looking in, allowing close-up views of the pilots’ reactions. Richard Arlen and Buddy Rogers, the two male stars of the picture, had to be their own cameramen, activating cameras with a remote-control button.

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

It was 1996, and the word “appropriation” never occurred to either of them. They were drawn to these references because they loved them, and they found them inspiring. They weren’t trying to steal from another culture, though that is probably what they did. Consider Mazer in a 2017 interview with Kotaku, celebrating the twentieth-anniversary Nintendo Switch port of the original Ichigo: kotaku: It is said that the original Ichigo is one of the most graphically beautiful low-budget games ever made, but its critics also accuse it of appropriation. How do you respond to that? mazer: I do not respond to that. kotaku: Okay…But would you make the same game if you were making it now? mazer: No, because I am a different person than I was then. kotaku: In terms of its obvious Japanese references, I mean. Ichigo looks like a character Yoshitomo Nara could have painted. The world design looks like Hokusai, except for the Undead level, which looks like Murakami. The soundtrack sounds like Toshiro Mayuzumi… mazer: I won’t apologize for the game Sadie and I made. [Long pause.] We had many references—Dickens, Shakespeare, Homer, the Bible, Philip Glass, Chuck Close, Escher. [Another long pause.] And what is the alternative to appropriation? kotaku: I don’t know. mazer: The alternative to appropriation is a world in which artists only reference their own cultures. kotaku: That’s an oversimplification of the issue. mazer: The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess?

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She would be asked to climb a low wooden platform in the hall and hold an expression for a class. Students would shuffle their gaze quickly, back and forth from her to their easels to get the details. She felt hugely self conscious to begin with, with two dozen eager eyes gazing at her, taking in her every detail, warts and all, her cheeks flushed and her folded leg trembling involuntarily. She would make an extra effort to cover her front teeth by pulling the lower lip over them. This and her self consciousness would tire her. But a few sessions down and she became used to the attention. And then, also she had also never known such leisure. This sitting idle had its benefits. She realised she would find solution to many a pending question. She would make little budgeting of her savings in her head. Her mind would move from matters of the canteen to Pali’s problem. At times she would so overcome with wretchedness that she would have to deliberately snap out of her thoughts and begin to inaudibly recite the mool mantar. However, all in all, she began to look forward to this. Like zero hour. At the end of what was a fortnight or twenty days of sitting, she was overwhelmed, looking at a studio full of her portraits.

Another Terry film was Paid to Dance (1937), an exposé of a dance-hall racket of the type beloved by low-budget scenarists. The feminine lead was Jacqueline Wells, later Julie Bishop; third in the credits was Rita Hayworth, as yet just a starlet, but getting plenty of screen time with her steady appearances in Columbia pictures. Miss Hayworth, nee Cansino, had become an adequate actress along the way. Her Latin good looks enabled her to play villainesses if need be, or the ingénue.

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The concept of the end of policing and prisons was not new in 2020. There have been leftists advocating for police and prison abolition for as long as I’ve been politically conscious. Activists demanding the abolition of police had a large corpus of theoretical writing to draw from. But there was usually a key difference between the older school of police and prison abolition and the demands of the most impassioned days of 2020: the former almost always imagined that a world without formal policing would emerge only after other society-altering changes had taken place. Typically, this was defined as the fall of capitalism and the establishment of some sort of socialist system, a system without poverty and deprivation. In other words, the radicals I knew might imagine the end of the police, but they imagined that end would come after the revolution. To debate the concept in 2020 was to skip a lot of steps. This was a general issue in the first year after Floyd’s murder, a sense that people wanted to dodge the hard work that would have been necessary before society-altering changes could take place. In part because of the extremely low odds of success for a police abolition movement, many who supported defunding the police insisted that the intent had never been to abolish the police at all. In this telling, “defund the police” means reducing the budgets of police departments, drawing down their resources, and redirecting some of those funds to other uses,

The result was the common agricultural policy, with prices of the main products supported at levels decided by the Council of Ministers, through variable levies on imports from outside the Community and purchase of surplus production into storage at the support level. Farmers’ incomes were bolstered by high prices paid by the consumer, together with subsidies from the Community’s taxpayers to finance the surpluses that resulted from the high prices. While this was tenable in the EEC’s early years, once the UK became a member new tensions arose. The British model of free trade had meant that prices had been much lower, so membership of the CAP meant a triple blow of: higher prices for food; high levels of British contributions to the budget because of import levies on foodstuffs; and low receipts from the budget because of the small size of its agricultural sector.

I blame the toxic USA management culture for the Boeing 737 Max accidents.

Like many things in the USA, the electrical utility system was built on a low budget.

Like many things in the USA, the Boeing 737 Max was built on a low budget.

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and with a more than adequate cast, with the ubiquitous Lloyd Nolan, Carole Landis, Cornel Wilde (not yet of star status), James Gleason, Ralph Byrd, Martin Kosleck (not a Nazi villain for a welcome change), Elisha Cook Jr. and Harold Huber. It faced the situation squarely, as did most of the Pacific-localed films of that bleak time, and did not sugar-coat its patriotic message. It told of a band of guerrillas waging a hit-and-run offensive against the enemy, gradually decimated until only three are left by the unrelenting conclusion. Herbert I. Leeds kept the heroics believable with his direction. Chetniks—the Fighting Guerrillas (1943) paid tribute

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How much money you made or lost on your last investments can transform how risky you think the next one is. The same bet can feel either dangerous or safe, depending on whether you are on a hot streak or in a slump. That’s how your investing brain is designed. Animals that are running low on food, water, or warmth have what ecologists call a “negative energy budget.” Creatures that are hungry, thirsty, or cold can rarely afford to take the chance that small but steady gains will be enough to keep them alive. In effect, they need to try striking it rich. So animals in a state of deprivation tend to prefer more variable rewards: While that raises the risk of getting nothing, it’s also the only feasible way to get the big boost they need to restore their depleted energy.

How Should I Structure My Pricing? Pricing is the biggest lever in SaaS, and almost no one gets it right out of the gate. Fortunately, you don’t need a PhD to structure your pricing well. Like most things in SaaS, finding the right pricing structure is one part theory, one part experimentation, and one part founder intuition. I wish I could tell you a single “correct” structure, but it varies based on your customer base, the value provided, and the competitive landscape. Most founders price their product too low or create confusing tiers that don’t align with the value a customer receives from the product. On the low end, if you have a product aimed at consumers, you can get away with charging $10 to $15 a month. The problem is at that price point, you’re going to be dealing with high churn, and you won’t have much budget to acquire customers. That can be brutal, but if you have a no-touch sign-up process with a product that sells itself, you can get away with it. Castos’s podcasting software and Snappa’s quick graphic design software are good examples of products that do well with a low average revenue per account (ARPA). You’ll have more breathing room (and less churn) if you aim for an ARPA of $50 a month or more. In niche markets—or where a demo is required or sales cycles are longer—aim higher (e.g., $250 a month and up). If you have a high-touch sales process that involves multiple calls, you need to charge enough to justify the cost of selling it. For example, $1,000 a month and up is a reasonable place to start. If you’re making true enterprise sales that require multiple demos and a procurement process, aim for $30,000 a year and up (into six figures). One of the best signals to guide your pricing is other SaaS tools, and I don’t just mean competition. Any SaaS tool a company in your space might replace you with, a complementary tool or a tool similar to yours in a different vertical can offer guidance, but make sure you don’t just compare features; compare how it’s sold. As mentioned above, the sales process has tremendous influence over how a product should be priced. There are so many SaaS tools out now that a survey of competitive and adjacent tools can give you a mental map of the range of prices you can charge. No matter where your business sits, one thing is true: “If no one’s complaining about your price, you’re probably priced too low.

This, in turn, only reinforces the unrealistically low assumptions that kicked off the cycle in the first place. And so the cycle repeats itself. Over time, funders expect grantees to do more and more with less and less. These leadership and funding challenges intersect in troubling ways. Nonprofit leaders are typically under relentless pressure to raise money to support existing programs and, if they are truly fortunate, to innovate, improve, and do more. As a result, they’re perpetually in “sell mode,” externally focused and intent on persuading people to contribute their money, time, and influence. Even the most successful nonprofits usually have to raise the funds for each year’s operating budget anew. Their leaders never forget that if they come up short in that effort, the organization’s very existence may be imperiled.

property, they said. If the budget had to be doubled, so be it. Let’s go forward, trusting that the money will come in. We notified the architect of the council’s decision. Within a month or so, he called to say that he had some tentative designs to show us. The designs turned out to be conventional, uninspired. So we offered suggestions. A month or so later, we received a call saying that a new set of designs was ready; but these, too, were uninspired. It was evident what was going on: though our budget had been doubled, it was still low, and the low budget, rather than challenging him to

Should I go ahead and lock the front door, then start serving the cats their —” “Don’t say it —” “ —dinner?” No sooner had the word “dinner” left her lips than a chorus of feline whines and meows erupted throughout the café like the wailing undead in a low-budget horror flick.

The sheer number of sequels and reboots doesn’t leave much room for big-budget movies with out-there ideas. In 1999, there were fewer than a half-dozen major-studio-released sequels—an almost unthinkably low number decades later, when release schedules often include more than thirty sequels or reboots per year. And no matter what kind of movie a director wants to make, studios are rarely interested in eking out modest sums on smaller, smarter projects—a model that made many of the films of 1999 possible.

The popular definition of “independent movie” was changing. Instead of the cheap acts of insurrection that had spurred the movement in the early nineties, such as Clerks and El Mariachi, many of the new indies were glossy, classy, and thoroughly nana-pleasing. By the time Sundance 1999 rolled around, there was a well-worn playbook for turning a low-budget movie into a middlebrow success, one that Miramax had helped create: find a slightly outsidery tale of uplift with a famous face or two; hype up its festival cred and underdog charm; roll it out delicately across the country. Then a bunch of kids went and got lost in the woods, and the rules changed all over again.

Back in 2008, unable to come to terms with its many creditors, Vallejo had declared bankruptcy. Eighty percent of the city’s budget—and the lion’s share of the claims that had thrown it into bankruptcy—were wrapped up in the pay and benefits of public safety workers. Relations between the police and the firefighters, on the one hand, and the citizens, on the other, were at historic lows. The public safety workers thought that the city was out to screw them on their contracts; the citizenry thought that the public safety workers were using fear as a tool to extort money from them. The local joke was that “P.D.” stands for “Pay or Die.” The city council meetings had become exercises in outrage: at one, a citizen arrived and tossed a severed pig’s head onto the floor.

Finally, doing good through the power of the state bumps up against institutional realities. Doing good requires bureaucrats and bureaucracies. But human nature dictates that people given bureaucratic power will exercise it in the service of petty psychological needs or for personal profit. Bureaucracy also means turf battles, in this case between the departments of War and Interior, and also turf battles within those departments. Doing good put the treaty-guaranteed food allocations at the mercy of yearly budget battles in Congress, where treaty obligations to the Sioux were extremely low on the hierarchy of interest that determined how congressmen voted. In fact, the realities of electoral politics meant doing good gave rising local politicians a chance to play on the anti-Indian fears and emotions of the populace to garner votes.

Thus far Lucas had spent $473,000 of his own money on The Star Wars. He knew this dessert would take far more ingredients than could be bought for $8.3 million. That was a fairly low figure; the average studio comedy at the time, with no special effects, cost around $20 million. How on Earth could Lucas realize his vision on that budget?

Cuomo decided to stick to his abortion guns and let the whole bill go down in flames. Tellingly, his decision occurred in the same legislative session in which he pushed a budget that cut funding for a successful program supporting low-income and teenage mothers.9 Cuomo let everyone know that his true loyalty was to abortion rights and not women’s equality. Many

Before they had even gotten down the entirety of the driveway Hank knew her superstitious side was getting the best of her. The house certainly did look the part of a demon house from some half baked, nineteen eighties, low budget horror movie. He chuckled a little to himself as they got to the end of the driveway. She smacked his arm with her purse and shot him a dirty

The Economist has produced a more sophisticated set of ‘back-of-the-envelope’ estimates in an interactive basic income calculator for all OECD countries.4 This purports to show how much could be paid as a basic income by switching spending on non-health transfers, leaving tax revenues and other public spending unchanged. Interestingly, even on this very restrictive basis, a cluster of seven west European countries could already pay over $10,000 per person per year. The United States could pay $6,300 and Britain $5,800. Obviously, for most countries, the level of basic income that could be financed from this tax-neutral welfare-switching exercise would be modest – though, especially for bottom-ranked countries such as South Korea ($2,200) or Mexico (only $900), this largely reflects their current low tax take and welfare spending. The Economist’s interactive calculator also aims to calculate what tax rises would be needed to pay a basic income of a given amount. For the UK, the calculator estimates that the cost of a basic income of one-third average GDP per head would require a 15 percentage point rise in tax take. Its calculations can again be questioned in their own terms. However, all these back-of-the-envelope exercises are flawed in more fundamental ways. First, they do not allow for clawing the basic income back in tax from higher-income earners, which could be done with no net cost to the affluent or to the Exchequer, simply by tweaking tax rates and allowances so that the extra tax take equals the basic income paid. Second, they do not take account of administrative savings from removal of means testing and behaviour conditions. Administration accounted for £8 billion of the £172 billion 2013–14 budget of the UK’s Department of Work and Pensions, much of which will have gone to pay staff in local job centres to monitor and sanction benefit recipients. This does not include hundreds of millions of pounds paid to private contractors to carry out so-called ‘work assessment’ tests on people with disabilities, which have led to denial of benefits to some of society’s most vulnerable people. Third, they compare the cost of a basic income with the existing welfare budget and assume that all other areas of public spending remain intact. Yet governments can always choose to realign spending priorities. The UK government could save billions by scrapping the plan to replace the Trident nuclear missile system, now estimated to cost more than £200 billion over its lifetime. It could save further billions by ending subsidies that go predominantly to corporations and the affluent.

Trade liberalization has created other problems, too. It has increased the pressures on government budgets, as it reduced tariff revenues. This has been a particularly serious problem for the poorer countries. Because they lack tax collection capabilities and because tariffs are the easiest tax to collect, they rely heavily on tariffs (which sometimes account for over 50% of total government revenue).7 As a result, the fiscal adjustment that has had to be made following large-scale trade liberalization has been huge in many developing countries – even a recent IMF study shows that, in low-income countries that have limited abilities to collect other taxes, less than 30% of the revenue lost due to trade liberalization over the last 25 years has been made up by other taxes.8 Moreover, lower levels of business activity and higher unemployment resulting from trade liberalization have also reduced income tax revenue.When countries were already under considerable pressure from the IMF to reduce their budget deficits, falling revenue meant severe cuts in spending, often eating into vital areas like education, health and physical infrastructure, damaging long-term growth. It

When you become old ... When you become old, you find yourself auditioning for the role of a lifetime; then, after interminable rehearsals, you're finally starring in a horror film--a talentless, irresponsible, and above all low-budget horror film, in which (as is the way with horror films) they're saving the worst for last.

The Kennebec River was the largest river we had to cross without a bridge. The stories of peril and even death as a result of wading across haunted the Trail registers. Not to worry . . . the wonderful state of Maine provided a “ferry service” for Appalachian Trail hikers. It was a low-budget program featuring a scruffy guy and his trusty canoe. According to rumours, he would be there twice a day to perform his service. A bunch of hikers hung out patiently on the south bank to wait.

frustration on her part and fatigue on his, they both threw in the towel early and settled on soft jazz. Soft, so Hugo’s deep and lengthy nap would not be disturbed. Soft, because Lacy didn’t care much for jazz either. It was another give-and-take of sorts, one of many that had sustained their teamwork over the years. He slept and she drove and both were content. Before the Great Recession, the Board on Judicial Conduct had access to a small pool of state-owned Hondas, all with four doors and white paint and low mileage. With budget cuts, though, those disappeared. Lacy,

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This low level inflation encourages economic growth; because it helps people to spend money rather than hoard it; since it will gradually lose value due to future inflation. On the other hand, inflation eats away at savings, so that savers experience a loss of wealth by stealth!

I’ve come to the conclusion that many low budget horror and sci-fi films of the fifties and early sixties were slow and seemingly devoid of action because they were designed to provide a kind of wallpaper for the kids who were only in the theater to make-out. 

While he was in school, we needed to pay our bills. I had to get a job. I'd majored in music (piano). I had no business credentials, connections, or confidence, so I started as a secretary to a retail sales broker at Smith Barney in midtown Manhattan. It was the era of Liar's Poker, Bonfire of the Vanities, and Working Girl. Working on Wall Street was exciting. I started taking business courses at night and I had a boss who believed in me, which allowed me to bridge from secretary to investment banker. This rarely happens. Later I became an equity research analyst and subsequently cofounded the investment firm Rose Park Advisors with Clayton Christensen, a professor at Harvard Business School. When I walked onto Wall Street through the secretarial side door, and then walked off Wall Street to become an entrepreneur, I was a disruptor. "Disruptive innovation" is a term coined by Christensen to describe an innovation at the low end of the market that eventually upends an industry. In my case, I had started at the bottom and climbed to the top—now I wanted to upend my own career. No wonder my friend thought I'd lost my sanity. According to Christensen's theory, disruptors secure their initial foothold at the low end of the market, offering inferior, low-margin products. At first, the disrupter's position is weak. For example, when Toyota entered the U.S. market in the 1950s, it introduced the Corona, a small, cheap, no-frills car that appealed to first-time car buyers on a tight budget.

Software architects have to take responsibility for their decisions as they have much more influential power in software projects than most people in organizations. Studies of software projects show over two-thirds of them either are outright failures or deliver unsuccessfully (deadline slip, budget overruns, or low customer satisfaction). Many of the root causes point to improper decisions software architects made, or failures of follow-through on the right architectural decisions.

It would be easy to make this purely about local authority budgets, but the privatisation of social care has cloaked the profession in a profit-making penumbra which at times seems to trump the welfare of those the sector is supposed to serve. For many of the companies that vie with each other for business, elderly people are first and foremost pound symbols on a balance sheet. The corporate jargon which permeates the sector reflects this avaricious raison d'être. Elderly people are 'clients', 'customers', and 'service users'. 'Patients' are a separate category of people for whom the NHS has to send a ambulance in emergencies.

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I am badly cursed with low budget and high taste..

Chelsey sat in her car annoyed that Dezzy was actually entertaining some low-budget hoe all out in the open.

MIU was still stuffed into their overheated office space. Luckily somebody had sprung for an industrial-sized cooling fan with a face the same diameter as a dustbin lid and an unfortunate tendency to blow any unsecured paperwork out the nearest window. If we’d had a green screen we could have shot the live elements to a low budget disaster movie.

Sound. No matter how great a movie looks, if the audience can’t understand what the actors are saying, they’ll get frustrated and lose interest quickly. I know when I see a low-budget movie and the sound is crummy, I shut it off. The less money you have, the less you’ll probably budget for postproduction sound, so what you get during the shoot becomes even more important. Don’t scrimp here. If your production sound is good enough, you won’t need a lot of ADR (additional dialogue recording), which most of the time you need because there’s a flaw in the production sound, or an airplane was overhead and you couldn’t get a clean take. Your sound person should scout your locations. If you’re going to be shooting on a weekday and you visit on a weekend, make sure that there isn’t a noisy garage next door that’s only open Monday to Friday. Sometimes you do ADR because you want to change the performance. That’s fine, but I can usually tell when an actor has been looped, and I hate it, and so do many directors. Some actors are hopelessly bad at it—they’re never able to dub themselves in a convincing way. The best reason to use ADR is when you want to fill in a scene where lots of people are talking at once.

The corpulent, impotent Petrus casts pubescent girls in skin flicks so low-budget sex, from film to film, takes place “on the same old couch, which occasionally changed covers.

In the late 1990s, Parachute was the market leader with more than 50 per cent market share. Fresh from its success in taking market share in toothpaste away from Colgate using Pepsodent, HUL entered the coconut oil category to take on Marico. Dadiseth, the then chairman of HUL, had warned Mariwala to sell Marico to HUL or face dire consequences. Mariwala decided to take on the challenge. Even the capital markets believed that Marico stood no chance against the might of HUL which resulted in Marico’s price-to-earnings ratio dipping to as low as 7x, as against 13x during its listing in 1996. As part of its plans to take on Marico, HUL relaunched Nihar in 1998, acquired Cococare from Redcon and positioned both brands as price challengers to Parachute. In addition, HUL also increased advertising and promotion spends for its brands. In one quarter in FY2000, HUL’s advertising and promotional (A&P) spend on coconut oil alone was an amount which was almost equivalent to Marico’s full year A&P budget (around Rs 30 crore). As Milind Sarwate, former CFO of Marico, recalls, ‘Marico’s response was typically entrepreneurial and desi. We quickly realized that we have our key resource engine under threat. So, we re-prioritized and focused entirely on Parachute. We gave the project a war flavour. For example, the business conference on this issue saw Mariconians dressed as soldiers. The project was called operation Parachute ki Kasam. The leadership galvanized the whole team. It was exhilarating as the team realized the gravity of the situation and sprang into action. We were able to recover lost ground and turn the tables, so much so that eventually Marico acquired the aggressor brand, Nihar.’ Marico retaliated by relaunching Parachute: (a) with a new packaging; (b) with a new tag line highlighting its purity (Shuddhata ki Seal—or the seal of purity); (c) by widening its distribution; and (d) by launching an internal sales force initiative. Within twelve months, Parachute regained its lost share, thus limiting HUL’s growth. Despite several relaunches, Nihar failed against Parachute. Eventually, HUL dropped the brand Nihar off its power brand list before selling it off to Marico in 2006. Since then, Parachute has been the undisputed leader in the coconut oil category. This leadership has ensured that when one visits the hair oil section in a retail store, about 80 per cent of the shelves are occupied by Marico-branded hair oil.

Lord gave His church some final instructions. In fact, the very last words He spoke on earth have been commonly known as “the Great Commission.”1 This unchanging command is to “make disciples of all ethnic groups of the world” (Matt. 28:19-20). All four Gospels, along with the book of Acts, repeat the disciple-making mission entrusted to the church.2 In fact, from a hermeneutical perspective, one must interpret the entire New Testament in light of the Great Commission and the redemptive work of Jesus. The salvific mission of Jesus remains the same and has been handed down to every believer. The follower of Christ must obediently pick up the baton and carry on the mission of Jesus. On the other hand, the Great Commission has fallen on hard times and in reality has been re-defined as “the Great Omission.”3 Perhaps one’s conscience has been soothed by the fine art of “making church members” or helping the poor. Nevertheless, the haunting words of the Great Commission continue to echo from the pages of Scripture, “make disciples of all nations” not just casual followers. Far too often, Christians are content with leading people to say a prayer or sign a card in order to ease their guilty hearts. The bar of discipleship has been lowered, and leadership has accepted the fact that most church members will never be involved in the disciple-making mission of Jesus. In fact, low expectations have become the norm in everyday Christianity. The content of preaching continues to be “dumbed down,” and the ever-widening gap between the professional clergy and the common layman continues to expand. As long as the offerings exceed the budget, leadership will accept the status quo. Nevertheless, the church remains oblivious to the mission of Jesus. Perhaps missiologist Ed Stetzer has correctly surmised the situation: The greatest travesty in the contemporary church is we pile hundreds of Christians into our churches and stack them in on padded pews very similar to products stacked on shelves in the grocery store and we let them come and go and do absolutely nothing and we let them think they’re okay. The greatest sin in most churches is that we have made it okay to do nothing and call ourselves a follower of Jesus.4