Most Popular Tv Show Quotes

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The way things are going, I wouldn't be surprised if pretty soon I start wearing ripped-up fishnet stockings and dyeing my hair black. Maybe I'll even start smoking and get my ears double-pierced or something. And then they'll make a TV movie about me and call it Royal Scandal. It will show me going up to Prince William and saying,'Who's the most popular young royal now, huh, punk?' and then headbutting him or something.
Meg Cabot (Princess in Love (The Princess Diaries, #3))
Seinfeld was the most popular, most transformative live-action show on television. It altered the language and shifted comedic sensibilities, and almost every random episode was witnessed by more people than the 2019 finale of Game of Thrones.
Chuck Klosterman (The Nineties: A Book)
But if lifestyle ads work by the third-person effect, then there will be some products for which it makes good business sense to target a wider audience, one that includes both buyers and non-buyers.32 One reason to target non-buyers is to create envy. As Miller argues, this is the case for many luxury products. “Most BMW ads,” he says, “are not really aimed so much at potential BMW buyers as they are at potential BMW coveters.”33 When BMW advertises during popular TV shows or in mass-circulation magazines, only a small fraction of the audience can actually afford a BMW. But the goal is to reinforce for non-buyers the idea that BMW is a luxury brand.
Kevin Simler (The Elephant in the Brain: Hidden Motives in Everyday Life)
For as long as there have been heroes, those half-brave, half-mad souls willing to dash headlong against things that would send most of us screaming in the other direction, there have been stories to immortalize their journeys.
Nathan Robert Brown (The Mythology of Supernatural: The Signs and Symbols Behind the Popular TV Show)
While you’re blogging, venting on Facebook, and earnestly seeking “your best life now,” know this—we have already won. We’re just waiting on the time of death. I’m so confident in this claim I’m even going to let you turn the page to find out how we pulled it off. This is how America ends, not with a bang nor even a whimper, but by thunderous applause from your country’s best and brightest. It’s only fitting one of your most popular television shows is called The Walking Dead, for that’s exactly who you are.
Steve Deace (A Nefarious Plot)
The work I do is not exactly respectable. But I want to explain how it works without any of the negatives associated with my infamous clients. I’ll show how I manipulated the media for a good cause. A friend of mine recently used some of my advice on trading up the chain for the benefit of the charity he runs. This friend needed to raise money to cover the costs of a community art project, and chose to do it through Kickstarter, the crowdsourced fund-raising platform. With just a few days’ work, he turned an obscure cause into a popular Internet meme and raised nearly ten thousand dollars to expand the charity internationally. Following my instructions, he made a YouTube video for the Kickstarter page showing off his charity’s work. Not a video of the charity’s best work, or even its most important work, but the work that exaggerated certain elements aimed at helping the video spread. (In this case, two or three examples in exotic locations that actually had the least amount of community benefit.) Next, he wrote a short article for a small local blog in Brooklyn and embedded the video. This site was chosen because its stories were often used or picked up by the New York section of the Huffington Post. As expected, the Huffington Post did bite, and ultimately featured the story as local news in both New York City and Los Angeles. Following my advice, he sent an e-mail from a fake address with these links to a reporter at CBS in Los Angeles, who then did a television piece on it—using mostly clips from my friend’s heavily edited video. In anticipation of all of this he’d been active on a channel of the social news site Reddit (where users vote on stories and topics they like) during the weeks leading up to his campaign launch in order to build up some connections on the site. When the CBS News piece came out and the video was up, he was ready to post it all on Reddit. It made the front page almost immediately. This score on Reddit (now bolstered by other press as well) put the story on the radar of what I call the major “cool stuff” blogs—sites like BoingBoing, Laughing Squid, FFFFOUND!, and others—since they get post ideas from Reddit. From this final burst of coverage, money began pouring in, as did volunteers, recognition, and new ideas. With no advertising budget, no publicist, and no experience, his little video did nearly a half million views, and funded his project for the next two years. It went from nothing to something. This may have all been for charity, but it still raises a critical question: What exactly happened? How was it so easy for him to manipulate the media, even for a good cause? He turned one exaggerated amateur video into a news story that was written about independently by dozens of outlets in dozens of markets and did millions of media impressions. It even registered nationally. He had created and then manipulated this attention entirely by himself.
Ryan Holiday (Trust Me, I'm Lying: Confessions of a Media Manipulator)
Before you now it, you're in high school, wondering if you're the only one who actually read Brave New World, rather than it's summary on Wikipedia. Or you're sitting in the cafeteria, pondering the complexities of the latest Christopher Nolan film while the nearest table of cheerleaders discusses whatever reality TV show is popular that week, then argues over who gives the most efficient blow job. Surely, the real world would be different. But I'm beginning to wonder if the whole damn planet hasn't been Wikipedia'd
David Arnold (Mosquitoland)
In the roughly one-third of the day that is free of obligations, in their precious “leisure” time, most people in fact seem to use their minds as little as possible. The largest part of free time—almost half of it for American adults—is spent in front of the television set. The plots and characters of the popular shows are so repetitive that although watching TV requires the processing of visual images, very little else in the way of memory, thinking, or volition is required. Not surprisingly, people report some of the lowest levels of concentration, use of skills, clarity of thought, and feelings of potency when watching television. The other leisure activities people usually do at home are only a little more demanding. Reading most newspapers and magazines, talking to other people, and gazing out the window also involve processing very little new information, and thus require little concentration.
Mihály Csíkszentmihályi (Flow: The Psychology of Optimal Experience)
Tho was Buffalo Bill Cody? Most people know, at the very least, that he was a hero of the Old West, like Daniel Boone, Davy Crockett, and Kit Carson-one of those larger-than-life figures from which legends are made. Cody himself provided such a linkage to his heroic predecessors in 1888 when he published a book with biographies of Boone, Crockett, Carson-and one of his own autobiographies: Story of the Wild West and Campfire Chats, by Buffalo Bill (Hon. W.F. Cody), a Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill. In this context, Cody was often called "the last of the great scouts." Some are also aware that he was an enormously popular showman, creator and star of Buffalo Bill's Wild West, a spectacular entertainment of the late nineteenth and early twentieth centuries. It has been estimated that more than a billion words were written by or about William Frederick Cody during his own lifetime, and biographies of him have appeared at irregular intervals ever since. A search of "Buffalo Bill Cody" on amazon.com reveals twenty-seven items. Most of these, however, are children's books, and it is likely that many of them play up the more melodramatic and questionable aspects of his life story; a notable exception is Ingri and Edgar Parin d'Aulaire's Buffalo Bill, which is solidly based on fact. Cody has also shown up in movies and television shows, though not in recent years, for whatever else he was, he was never cool or cynical. As his latest biographer, I believe his life has a valuable contribution to make in this new millennium-it provides a sense of who we once were and who we might be again. He was a commanding presence in our American history, a man who helped shape the way we look at that history. It was he, in fact, who created the Wild West, in all its adventure, violence, and romance. Buffalo Bill is important to me as the symbol of the growth of our nation, for his life spanned the settlement of the Great Plains, the Indian Wars, the Gold Rush, the Pony Express, the building of the transcontinental railroad, and the enduring romance of the American frontier-especially the Great Plains. Consider what he witnessed in his lifetime: the invention of the telephone, the transatlantic cable, the automobile, the airplane, and the introduction of modem warfare, with great armies massed against each other, with tanks, armored cars, flame-throwers, and poison gas-a far cry from the days when Cody and the troopers of the Fifth Cavalry rode hell-for-leather across the prairie in pursuit of hostile Indians. Nor, though it is not usually considered
Robert A. Carter (Buffalo Bill Cody: The Man Behind the Legend)
Two of the most popular TV series in the world at the time of me writing this book, for example, are Game of Thrones and The Walking Dead. Both shows feature big piles of violence, grief, pain, and horror. There are also heroines and heroes striving epically against all odds to survive and help others to survive as well. These shows are terrifying and people love them.
Carolyn Elliott (Existential Kink: Unmask Your Shadow and Embrace Your Power (A method for getting what you want by getting off on what you don't))
Allan McBride showed in a careful content analysis of the most popular TV programs that “television programs erode social and political capital by concentrating on characters and stories that portray a way of life that weakens group attachments and social/political commitment.” Television purveys a disarmingly direct and personal view of world events in a setting dominated by entertainment values. Television privileges personalities over issues and communities of interest over communities of place. In sum, television viewing may be so strongly linked to civic disengagement because of the psychological impact of the medium itself.54
Robert D. Putnam (Bowling Alone)
Stories can be incredibly powerful and beautiful devices that form and assist our perception and understanding of the world. However, according to twentieth-century American author Kurt Vonnegut, stories rarely tell the truth. After studying stories from an anthropological standpoint, examining the relationships with various cultures, Vonnegut found that stories and myths across many cultures share consistent similar shapes that can typically be broken down into just a few main categories. These shapes can be found graphing the course of a protagonist’s journey through a story along an axis of good and ill fortune. In all stories, someone or something starts somewhere, either in a good place, bad place, or neutral place. Then things happen related to that person which is conveyed as good or bad, bringing the character up and down the axis of fortune as they traverse forward through the story. Then, the story ends and its shape reveals itself. Vonnegut discovered that many popular stories follow common, consistent curves and spikes up and down the good/ill axis and that most end with the protagonist higher on the axis than where they started. However, what’s perhaps most interesting about Vonnegut’s analysis is this argument that these shapes, and consequently most stories, lie. Vonnegut proposed that a more honest, realistic story shape is simply a straight line. In a story of this shape, things still happen and characters still change, but the story maintains ambiguity around whether or not the events that occur are conclusively good or bad. According to Vonnegut, Hamlet is the closest literary representation of real life. “We are so seldom told the truth. In Hamlet-Shakespeare tells us that we don’t know enough about life to know what the good news is and the bad news is and we respond to that.” One story medium that seems to inadvertently coincide with this idea, is the medium of the television series. The goal of TV series is to keep viewers watching as long as possible. Each episode must be an engaging enough story to keep the viewer watching until the end, but each episode must also be left unresolved enough so the larger season-long and series-long stories continue and the viewer is interested in watching all the following episodes. In order to keep the whole thing going, none of the stories can reach a conclusion, and thus, the main characters can’t find ultimate peace or freedom from the uncertainty between good and ill-fortune. Of course, most shows don’t qualify as the straight-line shape in Vonnegut’s analysis, because most shows attempt to convey conclusively good and bad fortunes within them. However merely by the requirements of the medium TV series are forced to self-impose the same sort of universal truth that Vonnegut suggests. That neither the viewer nor the characters in a series can ever know what anything that’s so-called “good” or “bad” in one episode might cause in the next. And that on a fundamental level, the changes in each episode are futile because they are a part of a never-ending cycle of change through conflict and resolution, for the mere sake of its continuation, with no aim of a final resolution or reveal of what’s ultimately good or bad. Of course, eventually, a show reaches its series end when it stops working or runs its natural course. But the show fights its whole life to stay away from this moment. A good TV series, a series that we don’t want to end, is only a series that we don’t want to end because it can’t seem to resolve itself. In this, the format of Tv series also shows us that there is meaning, engagement, and entertainment within the endless cycle of change, regardless of its potential universal futility. And that perhaps change in life can exist not for the sake of some conclusion or ultimate state of peace, but a continuation of itself for the sake of itself. And perhaps the ability to be in this cycle of continued change for the sake of change is the actual good fortune.
Robert Pantano
How much is a fact man worth? I spent a very interesting evening recently with a friend who is the president of a young but rapidly growing manufacturing concern. The TV set happened to be turned to one of the most popular quiz programs. The fellow being quizzed had been on the show for several weeks. He could answer questions on all sorts of subjects, many of which seemed nonsensical. After the fellow answered a particularly odd question, something about a mountain in Argentina, my host looked at me and said, “How much do you think I’d pay that guy to work for me?” “How much?” I asked. “Not a cent over $300—not per week, not per month, but for life. I’ve sized him up. That ‘expert’ can’t think. He can only memorize. He’s just a human encyclopedia, and I figure for $300 I can buy a pretty good set of encyclopedias. In fact, maybe that’s too much. Ninety percent of what that guy knows I can find in a $2 almanac. “What I want around me,” he continued, “are people who can solve problems, who can think up ideas. People who can dream and then develop the dream into a practical application; an idea man can make money with me; a fact man can’t.
David J. Schwartz (The Magic of Thinking Big)
Still, these are very much exceptions. AI video analysis could quantify this, but if you took the top N most popular movies and TV shows over the past several decades, in terms of raw hours of footage watched, I’d bet the world has seen a >1000:1 ratio of scenes featuring evil capitalists to scenes featuring evil communists.
Balaji S. Srinivasan (The Network State: How To Start a New Country)
Somehow, Midsomer Murders is our best-rated TV import,’ admits Adrian, reluctantly. ‘It’s been getting a 30–40 per cent audience share for the past thirteen years – as long as it’s been around.’ The show is so popular in Denmark that to celebrate the anniversary of the ITV crime drama, bosses teamed up with Danish producers and stars from The Killing and Borgen for a special episode. ‘I think it’s because people find it soothing or something,’ says Adrian. I tell him that The Viking compared the experience of watching Midsomer Murders with eating soup: ‘It’s not the most exciting thing out there but it does make you feel all warm and hygge.
Helen Russell (The Year of Living Danishly: Uncovering the Secrets of the World's Happiest Country)
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Mike Scott
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angeladong
A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.
Peter Bogdanovich (Paper Moon)
If Metaxas offered a comparatively highbrow discourse on heroic masculinity, the Robertsons offered a decidedly lowbrow version. Duck Dynasty, the reality television show featuring the Robertson family, debuted in 2008, and by 2013 it had become one of the most popular shows on television, with its fourth season premier drawing almost twelve million viewers, more than the highest viewed episodes of critical favorites Breaking Bad and Mad Men combined.
Kristin Kobes Du Mez (Jesus and John Wayne: How White Evangelicals Corrupted a Faith and Fractured a Nation)
By tracing paternal ancestry through Y-DNA, geneticists have found that a third of African American men today are directly descended from a white male ancestor who fathered a mulatto child in the slavery era, “most probably from rape or coerced sexuality,” in the words of Henry Louis Gates Jr., professor of African American studies at Harvard, and presenter of popular television shows on black genealogy.
Richard Grant (The Deepest South of All: True Stories from Natchez, Mississippi)
mythos—the collective myths that make up a work or universe—in a way that is accurate, informative, and most of all interesting to read.
Nathan Robert Brown (The Mythology of Supernatural: The Signs and Symbols Behind the Popular TV Show)
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Dan S. Kennedy (The Ultimate Sales Letter: Attract New Customers. Boost your Sales.)
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I saw the governor of California who waved at me with a sadistic mocking. I stood up, trying to see everybody’s face. There were several news anchors who had called me a white supremacist on TV. When I looked to the side of the audience, I saw my favorite singer who I had just been singing her song the other day. There was a talk show host who was the most popular celebrity in the world smiling at me. A famous rapper was standing next to her.
M.J. Creek (Trafficked II: Marlene's Story of Justice, A Teen Thrilling Kidnap Suspense Crime Fiction Novel (Trafficked Series Book 2))
Jim Cramer’s Mad Money is one of the most popular shows on CNBC, a cable TV network that specializes in business and financial news. Cramer, who mostly offers investment advice, is known for his sense of showmanship. But few viewers were prepared for his outburst on August 3, 2007, when he began screaming about what he saw as inadequate action from the Federal Reserve: “Bernanke is being an academic! It is no time to be an academic. . . . He has no idea how bad it is out there. He has no idea! He has no idea! . . . and Bill Poole? Has no idea what it’s like out there! . . . They’re nuts! They know nothing! . . . The Fed is asleep! Bill Poole is a shame! He’s shameful!!” Who are Bernanke and Bill Poole? In the previous chapter we described the role of the Federal Reserve System, the U.S. central bank. At the time of Cramer’s tirade, Ben Bernanke, a former Princeton professor of economics, was the chair of the Fed’s Board of Governors, and William Poole, also a former economics professor, was the president of the Federal Reserve Bank of St. Louis. Both men, because of their positions, are members of the Federal Open Market Committee, which meets eight times a year to set monetary policy. In August 2007, Cramerwas crying outforthe Fed to change monetary policy in order to address what he perceived to be a growing financial crisis. Why was Cramer screaming at the Federal Reserve rather than, say, the U.S. Treasury—or, for that matter, the president? The answer is that the Fed’s control of monetary policy makes it the first line of response to macroeconomic difficulties—very much including the financial crisis that had Cramer so upset. Indeed, within a few weeks the Fed swung into action with a dramatic reversal of its previous policies. In Section 4, we developed the aggregate demand and supply model and introduced the use of fiscal policy to stabilize the economy. In Section 5, we introduced money, banking, and the Federal Reserve System, and began to look at how monetary policy is used to stabilize the economy. In this section, we use the models introduced in Sections 4 and 5 to further develop our understanding of stabilization policies (both fiscal and monetary), including their long-run effects on the economy. In addition, we introduce the Phillips curve—a short-run trade-off between unexpected inflation and unemployment—and investigate the role of expectations in the economy. We end the section with a brief summary of the history of macroeconomic thought and how the modern consensus view of stabilization policy has developed.
Margaret Ray (Krugman's Economics for Ap*)
two entertainers got together to create a 90-minute television special. They had no experience writing for the medium and quickly ran out of material, so they shifted their concept to a half-hour weekly show. When they submitted their script, most of the network executives didn’t like it or didn’t get it. One of the actors involved in the program described it as a “glorious mess.” After filming the pilot, it was time for an audience test. The one hundred viewers who were assembled in Los Angeles to discuss the strengths and weaknesses of the show dismissed it as a dismal failure. One put it bluntly: “He’s just a loser, who’d want to watch this guy?” After about six hundred additional people were shown the pilot in four different cities, the summary report concluded: “No segment of the audience was eager to watch the show again.” The performance was rated weak. The pilot episode squeaked onto the airwaves, and as expected, it wasn’t a hit. Between that and the negative audience tests, the show should have been toast. But one executive campaigned to have four more episodes made. They didn’t go live until nearly a year after the pilot, and again, they failed to gain a devoted following. With the clock winding down, the network ordered half a season as replacement for a canceled show, but by then one of the writers was ready to walk away: he didn’t have any more ideas. It’s a good thing he changed his mind. Over the next decade, the show dominated the Nielsen ratings and brought in over $1 billion in revenues. It became the most popular TV series in America, and TV Guide named it the greatest program of all time. If you’ve ever complained about a close talker, accused a partygoer of double-dipping a chip, uttered the disclaimer “Not that there’s anything wrong with that,” or rejected someone by saying “No soup for you,” you’re using phrases coined on the show. Why did network executives have so little faith in Seinfeld? When we bemoan the lack of originality in the world, we blame it on the absence of creativity. If only people could generate more novel ideas, we’d all be better off. But in reality, the biggest barrier to originality is not idea generation—it’s idea selection. In one analysis, when over two hundred people dreamed up more than a thousand ideas for new ventures and products, 87 percent were completely unique. Our companies, communities, and countries don’t necessarily suffer from a shortage of novel ideas. They’re constrained by a shortage of people who excel at choosing the right novel ideas. The Segway was a false positive: it was forecast as a hit but turned out to be a miss. Seinfeld was a false negative: it was expected to fail but ultimately flourished.
Adam M. Grant (Originals: How Non-Conformists Move the World)
All China’s minorities lack outlets of expression. Even in the multi-cultural UK, the views of the ethnic British are heard less frequently than everyone else’s. In China, it is far worse. The minorities are absent from TV shows, movies, literature, popular discourse and are mostly excluded from politics. Now what little dialogue that takes place in Tibet between the locals and the Han is being replaced by death. And despite my ambivalence towards Tibetans, that left me both depressed and unsure of what I was really doing here.
David Eimer (The Emperor Far Away: Travels at the Edge of China)
Internationally, Baywatch is the most popular TV show in history.
Field Marshal Knowledge (F M Knowledge) (10,000 Random Amazing & Fun Facts)
Today, movies are one of a near-limitless array of viewing options including television shows, YouTube clips, and TikTok videos. But in the late 1960s and early ’70s, movies weren’t just popular, they were important. They dominated the cultural conversation. They were the most influential and widely consumed art
Matt Singer (Opposable Thumbs: How Siskel & Ebert Changed Movies Forever)
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Of the entire gamut of reforms proposed by Gorbachev, glasnost really did work and rapidly changed everything. Unlike everything else, to achieve it, you didn't have to do anything; you had only not to do anything. You hade to not prohibit, not censor, not dismiss journalists for articles they wrote. Stories began appearing in the press that made you wonder how they ever got published. It soon became clear that writing the truth was actually profitable: you were not kicked out of your job, no "administrative conclusions" were drawn, you became wildly popular, and the circulations of publications you worked for went through the roof. The ideological dam had begun to crack, and although the Soviet leaders tried desperately to shore it up, they couldn't. The news that a program had been removed from the national television channel's schedule provoked instant fury, as if these very protesters had not been living a year previously in a country where censorship was total...From 1987 onward the U.S.S.R. moved rapidly toward winning the world championship for free speech. The realization that you no longer went to prison for anything you said so delighted everyone that people tried to make up for the preceding seventy years lost to censorship. In October 1987 the national channel began airing Vzglyad (Viewpoint), which came to mean everything to me....Young presenters, also unlike the standard officious old codgers, covered a wide variety of news stories and discussed them in the studio. From time to time this was interrupted by videos of bands like DDT, Alisa, Kino, and Nautilus Pompilius. Seeing rock musicians with their socially relevant and often anti-Soviet songs on national television was fantastic. This was no longer a crack in the dam of censorship, but more like seeing it under fire from heavy artillery....For four years, Vzglyad was unquestionably the most popular broadcast in the Soviet Union. Its journalists and presenters became superstars who determined the way television developed. Their subsequent fates have been strikingly different. Vladislav Listyev, the mainstay of Vzglyad, was shot dead in the entrance to his apartment complex. Artyom Borovik, who had become one of the top investigative journalists, died in an airplane accident in 2000; my daughter went to a school named after him. Alexander Lyubimov, the Vzglyad journalist I most adored, now roams the state-run television and radio studios as a diligent Putinite. In 2007, when Putin's censorship was in full bloom, he invited me on his talk show on a radio station run by the state-owned gas company Gazprom. He was as smart as ever, had the same intonations I remembered so well from my childhood, but now was pushing the official line and had a clear understanding of what could be said and what was banned. I looked at him and the whole time felt such an urge to say, "For heaven's sake, Alexander, I became who I am thanks to you and your colleagues. For some reason, you betrayed all that." After Vzglyad, Konstantin Ernst hosted Matador, a program about the movies, every broadcast of which I watched. He now heads Channel One of state television and is a major Putin propagandist. The most repulsive, deceitful reports, including the infamous lie about a little Russian boy allegedly crucified by Ukrainian soldiers in front of his mother, aired on his watch... It seems incredible to believe that most of these people, who were at the wellspring of free speech in Russia, did not just hold their tongues after giving in to the temptation of easy money, but brought the same energy and initiative of their early days to bear as active propagandists of the new regime, foaming at the mouth as they defended acts of injustice and corruption.
Alexei Navalny (Patriot: A Memoir)
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How to Activate Roku on my TV? To activate Roku on your TV, connect it, follow on-screen instructions, and call 1-888-570-1595 for assistance. Roku is one of the most popular streaming devices used in homes today. It allows you to stream your favorite movies, shows, sports, and more using the internet. With Roku, you can turn any regular TV into a smart streaming device. If you just bought a Roku or have reset it to factory settings, you will need to activate it before you can start streaming. This guide will help you understand everything you need to know about how to activate Roku on your TV in a clear and simple way. What You Need Before Activating Roku Before we dive into the steps, make sure you have the following items ready: A Roku device or Roku-enabled TV A working TV with an HDMI port A stable internet connection, either WiFi or Ethernet A computer, tablet, or smartphone with access to the internet Your Roku remote control with batteries inserted Once you have all these items, you can proceed with setting up and activating your Roku. Step-by-Step Guide to Activate Roku on Your TV Step 1: Connect Your Roku Device First, plug your Roku device into your TV. Most Roku devices use an HDMI connection. If you have a Roku streaming stick, insert it directly into an HDMI port on the back or side of your TV. For other models like Roku Express or Roku Ultra, use the HDMI cable provided in the box. If your Roku device requires power, connect the power adapter to a wall outlet and plug it into the Roku device. Some Roku sticks get power from the TV itself through the USB port, but it is always better to use a wall outlet for a more stable power supply. Step 2: Turn On Your TV and Select the Correct HDMI Input After connecting your Roku, turn on your TV. Use your TV remote to change the input source to the HDMI port where your Roku is connected. You will now see the Roku welcome screen, which usually displays the Roku logo with a loading bar. Step 3: Set Up Your Roku Remote Your Roku remote should pair automatically with the device. If it does not, press and hold the pairing button inside the battery compartment until the light flashes. This will begin the pairing process. Once paired, use the remote to begin the setup process. Step 4: Choose Your Language and Region Use the Roku remote to select your preferred language. After selecting the language, you may also need to choose your location or region. Roku will use this information to provide the correct time zone and content. Step 5: Connect Roku to the Internet Next, you will be asked to connect Roku to the internet. Choose your WiFi network from the list of available networks. Enter the WiFi password when prompted. If the connection is successful, Roku will confirm it and may download the latest updates. This step may take a few minutes. For some Roku models that support Ethernet, you can connect a cable from your router to the Roku device for a wired connection. This is more stable and often faster than WiFi. Step 6: Wait for Roku to Update Once connected to the internet, your Roku device may automatically start updating its software. This process can take a few minutes. Let it finish updating. Your device may restart once or twice during this step. Do not unplug it during the update. Step 7: Link Roku to Your TV Remote If you have a Roku player with TV control features, Roku may guide you through setting up the remote to control your TV power and volume. Follow the instructions on the screen to complete this step. Step 8: Activate Your Roku Device Now comes the most important part: activating your Roku. You will see an activation code on your TV screen. The code will look something like AB123C or similar. Do not turn off your TV or press any buttons on the Roku remote during this step.
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How to Activate Firestick Without a Remote To activate Firestick without a remote, use the Fire TV app or call 1-888-570-1595 for quick assistance. Amazon Firestick is one of the most popular streaming devices in the world. It allows you to watch thousands of movies, TV shows, and live channels from different apps. But what if you lose the Firestick remote or it stops working? Many people find themselves in this situation and wonder if they can still activate and use their Firestick without a remote. The good news is yes, you can activate your Firestick without a remote. It is possible using some simple methods and tools that are easy to set up. This guide will explain how to do it step by step, so you can start watching your favorite content even without the original Firestick remote. Understanding the Problem Before jumping into the solutions, let us understand what activation means in this case. When you set up a new Firestick or reset an old one, you need to go through the setup process. This includes choosing the language, connecting to Wi-Fi, signing in with your Amazon account, and installing apps. Normally, you do all of this using the Firestick remote. But if you do not have the remote, you cannot move through the on-screen menu. This becomes a challenge. However, with the help of the Fire TV app, a second device, and a few tricks, you can complete the activation without any problems. What You Need To activate Firestick without a remote, here are the things you will need: A smartphone or tablet with internet access The Fire TV app installed on your smartphone or tablet A second smartphone or a device that can create a mobile hotspot A working Wi-Fi connection With these four things, you can activate and control your Firestick even if the remote is lost or broken. Step 1: Download the Fire TV App The first step is to download the Fire TV app. This app is available for both Android and iPhone users. Go to the Play Store or the App Store and search for Fire TV. Install the app on your phone or tablet. Once installed, open the app. It will ask for permissions such as Bluetooth and location access. Allow these permissions for the app to work properly. You will now see a screen asking you to connect to a Fire TV device. But since the Firestick is not yet connected to Wi-Fi, it will not show up here yet. That is why we need to move to the next step. Step 2: Create a Mobile Hotspot The trick here is to connect your Firestick to the internet using a mobile hotspot with the same Wi-Fi network name and password it was last connected to. This only works if your Firestick was previously set up and connected to a Wi-Fi network. Use a second smartphone or device that can create a mobile hotspot. Turn on the hotspot feature and set the network name and password exactly the same as your old home Wi-Fi network that the Firestick was connected to. Make sure the spelling, uppercase and lowercase letters, and spaces are all exactly the same. This will trick the Firestick into thinking it is connecting to the same old network. Step 3: Power On the Firestick Now plug your Firestick into the TV and turn it on. Your TV should display the Firestick welcome screen. Wait a few moments for the Firestick to connect to the fake hotspot network you just created. Once the Firestick connects to the hotspot, it will appear on the Fire TV app on your first phone. Tap on the device name on the app, and it will ask you to enter a code shown on your TV screen. Type in the code using your phone.
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How to Activate Apple TV on Smart TV? To activate Apple TV on your Smart TV, open the app, sign in, or call 1-888-570-1595 for help. Apple TV is one of the most popular digital streaming platforms available today. It offers access to a wide variety of content, including movies, TV shows, sports, documentaries, and exclusive Apple Originals. Many Smart TVs now come with the Apple TV app pre-installed or available to download. If you have a Smart TV and want to enjoy Apple TV, you will first need to activate the Apple TV app. Activating Apple TV on your Smart TV is a simple process, but you need to follow the steps correctly. In this guide, you will learn everything you need to know about how to activate Apple TV on your Smart TV. What Is Apple TV Before we begin, it is important to understand what Apple TV actually means. Some people confuse the Apple TV app with the Apple TV streaming device. They are not the same. The Apple TV app is a software platform that lets you stream content. It is available on many devices, including Smart TVs, smartphones, tablets, gaming consoles, and more. The Apple TV streaming device is a separate piece of hardware you connect to your television. However, you do not need the physical device if your Smart TV supports the Apple TV app. You can simply download the app and activate it using your Apple ID. What You Need to Activate Apple TV on Smart TV Here is a list of things you need before you start the activation process: A Smart TV with internet access Apple TV app installed on the TV An active Apple ID A smartphone, tablet, or computer for verification A reliable internet connection Once you have everything ready, follow the step-by-step guide below.
Apple TV
Yellowstone Merchandise & Jackets: Iconic Styles Inspired by the Duttons Entertainment fans like the Yellowstone series because of its powerful, cool, and original characters. There are no clothes in dresses; these are people who have grown a lot to this kind of attire. That is why Yellowstone merchandise has seriously adjusted its roots, allowing the young and innovative minds of its users to think even beyond the box. Bring Out The Yellowstone Within You The appeal of Yellowstone’s style diets in its versatility, the milk cows are not necessary to recommend them, but in fact are recommended for all. Yellowstone jackets, which are available at our Company, range in quality from leather, wool, and also padded jackets that can be used even in relaxing surroundings, as well as during some strenuous movement adventures outside the city. The Rip Wheeler Jacket has also been one of the most complimented attire out of all because of the weird, rough appearance and even more powerful endurance. It’s a very simple yet very elegant jacket to wear. By the way, the Beth Dutton Coat of arms is pure elegance that no one should call perfection; that is, it is like the very Beth herself in the pictures. The John Dutton Quilted Jacket is cosy, elegant, and functional, transforming it into a timeless fashion accessory. The Dutton Ranch Vest – Perfect for Any Occasion All the pieces manage to hold a viewer’s eye to even just a one glimpse precisely because of how well they serve their function in connection with the Yellowstone and somehow , find one’s adventurous spirit and fashion. Yellowstone Apparel- Bringing Nature into the Wardrobe Within our Yellowstone apparel range, you will find more than jackets. Starting with sweaters and coats, completing with today's outdoor market, extremely popular yet practical clothing, each piece has been made to ensure you never compromise on comfort and style in any season. The Yellowstone bomber jackets have had a huge impact, from the high quality of the feel of the material to the look they portray. They are luxurious on the surface and tough within, which is why they can be perfect with jeans as well as with a dress. Conclusion It's important to note that Yellowstone Merchandise is not just entertainment but also a narrative about family, morality, and the will to be a brave woman in today’s world. Yellowsone series’ clothes are a mirror reflection of this. Owning the branded clothing items like Beth Dutton Pink Coat or seasonal John Dutton Jacket enables one to feel a part of the history as well. All items correspond to the product category of clothing, but they are something more than a piece of clothing; they stand for identity, power, and something else. FAQs Q1: Can the Yellowstone jacket be worn in normal life? Yes, Yellowstone jackets are made to be worn in different ways. They can be very rugged for any outdoor activities and yet paired with other outfits for casual wear in town. Q2: What is the most sought-after piece of Yellowstone clothing? The Rip Wheeler Jacket, Beth Dutton Coat, and John Dutton Quilted Jacket are among the most popular options, known for their unique design and the emotional bond they have with the narrative of the show. Q3: Do you provide Yellowstone clothing for both sexes? Yes, we do have the Yellowstone collection, which consists of jackets, coats, and attire both for males and females, inspired by some of the characters in the series.
Sumit Guptil
In fact, don’t believe most of what you read about the Rapture. Many Christians, particularly in North America, have been taught for the last century and a half that when Jesus returns he will come down from “heaven” and that his faithful people (i.e., Christians) will then fly upward into the sky to meet him and be taken to heaven with him forever. Books, movies, a million radio and TV shows, and tens of millions of sermons have drilled this picture into the popular imagination. Indeed, for some people today the Rapture is more or less the center of their faith. But it’s a complete misunderstanding. It’s based on a misreading of what Paul says about the return of Jesus in 1 Thessalonians 4:14–17, just four verses, with the idea of a “rapture” in only one, as the basis for a complete theory of everything:
N.T. Wright (Simply Jesus: A New Vision of Who He Was, What He Did, and Why He Matters)