Rent Movie Quotes

I rented Ghostbusters, my all-time favorite inspirational movie. I picked up some microwave, popcorn, a KitKat, a bag of bite-sized Reese's peanut butter cups, and a box of instant hot chocolate with marshmallows. Do I know how to have a good time, or what?

Now, though, I must rent a movie." "You're going to do that?" "Of course. I'm a werewolf, not a cretin. We have Blockbuster cards." It blew my mind. Werewolfs rented DVDs. At my local Blockbuster.

But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.

I don’t think it’s overstating it to say that my religion of choice became VHS rentals, and that its messages came in Technicolor and musical montages and fades and jump cuts and silver-screen legends and B-movie nobodies and villains to root for and good guys to hate. But Ruth was wrong, too. There was more than just one other world beyond ours; there were hundreds and hundreds of them, and at 99 cents apiece I could rent them all.

Beauvoir left their home wanting to call his wife and tell her how much he loved her, and then tell her what he believed in, and his fears and hopes and disappointments. To talk about something real and meaningful. He dialed his cell phone and got her. But the words got caught somewhere south of his throat. Instead he told her the weather had cleared, and she told him about the movie she'd rented. Then they both hung up.

MADDY’S TRUTHS Make room for who you are by knowing who you’re not. Smile all the time, at everyone, without exception: when you’re happy it will be contagious, and when you’re angry it will drive the person you’re mad at bonkers. Blow-dry before lipstick. Counters before sweeping. Water before dinner. To hell with what everyone thinks about your life, but you should know what you think about it. Don’t stay out past one a.m.—nobody is proud of the stories born later than that. Plans contingent on perfection fail. It’s dangerous to fight who you are. The stupidest thing you can do is believe your own bullshit, but you probably will every once in a while. Flowery perfume smells like a cover-up. Don’t have a room your kids can’t play in or a couch your kids can’t sit on; it’s their house too. If you don’t know what to say, say, “I don’t know what to say.” If you mess up, say, “I messed up.” If you need help, say, “I need help.” Never count on any one thing. Don’t confuse wanting to have sex and rent movies with someone for wanting to marry him. Never buy button-fly jeans—they aren’t flattering on anyone ever.

But I have never had the privilege of unhappiness in Happy Valley. California is about the good life. So a bad life there seems so much worse than a bad life anywhere else. Quality is an obsession there—good food, good wine, good movies, music, weather, cars. Those sound like the right things to shoot for, but the never-ending quality quest is a lot of pressure when you’re uncertain and disorganized and, not least, broker than broke. Some afternoons a person just wants to rent Die Hard, close the curtains, and have Cheerios for lunch.

He looks pretty broken up about the fact he won't see me tonight." "Absolutely crushed," Sarah agreed with a nod. "We were supposed to rent a movie together, you know." Sarah shrugged. "It must be terrible to be forgotten so easily." Miles laughed. He was smitten about her, no doubt about it.

People played with fact and fancy. Waitresses wrote novels at night that would make them famous. Laborers fell in love with naked movie queens in rented cassette films. The rich wore paper jewelry, and the poor bought tiny diamonds. And princesses sallied forth onto the Champs Elysées in carefully faded rags.

And so I wrote this book as a tribute to these most pathetic of creatures, in hopes that I might succeed in two noble pursuits: 1) helping even one person meet the horror movie odds, and 2) avoid being evicted from my apartment for back rent.

I lifted the remote control, pushed the Play button, and started the video. I guess, in that moment, I also started my new life as Cameron-the-girl-with-no-parents. Ruth was sort of right, I would learn: A relationship with a higher power is often best practiced alone. For me it was practiced in hour-and-half or two-hour increments, and paused when necessary. I don't think it's overstating it to say that my religion of choice became VHS rentals, and that its messages came in Technicolor and musical montages and fades and jump cuts and silver-screen legends and B-movie nobodies and villains to root for and good guys to hate. But Ruth was wrong, too. There was more than just one other world beyond ours; there were hundreds and hundreds of them, and at 99 cents apiece I could rent them all.

I enjoy a torture session on the rowing machine and I also enjoy my mom’s homemade peach cobbler. I enjoy flopping like that dead fish with hips that can’t lie in dance class, and I also enjoy ordering pizza with my kid, renting a movie, and downing popcorn while we share some special time together. I enjoy seeing how much I can lift at the gym and I also enjoy stuffing a fresh chewy chocolate chip cookie into my face when I’m having a hard day.

One of the most terrifying things that has ever happened to me was watching myself over and over again--thirty-five days in a row--not to return a movie I had rented. Every day, I saw it sitting there on the arm of my couch. And every day, I thought, "I should really do something about that..." and then I just didn't.

[Christy] joined some other girls from her floor who had gathered in the den to watch THe Princess Bride. The last time Christy had watched the movie was before she went to Switzerland. Katie had rented it and brought it over for their final girls' night. After watching it, Katie had declared she would never trust a guy who said "As you wish" to her every whim. She wanted a guy with gusto who would say, "Get it yourself," otherwise she knew she would sit around and get fat while he catered to her.

Watch a movie now or pass a course later; buy a bauble now or pay the rent later; enjoy five minutes of fellatio now or an unblemished record in the history books later.

So now would probably be the wrong time to tell you I rented that boxing movie with the hot guys, planning to watch it on mute?” Ashlyn asked. “Well, as long as I’m invited to watch it with you, I see nothing wrong with that.

I’m not sure how the ponies happened, though I have an inkling: “Can I get you anything?” I’ll say, getting up from a dinner table, “Coffee, tea, a pony?” People rarely laugh at this, especially if they’ve heard it before. “This party’s ‘sposed to be fun,” a friend will say. “Really? Will there be pony rides?” It’s a nervous tic and a cheap joke, cheapened further by the frequency with which I use it. For that same reason, it’s hard to weed it out of my speech – most of the time I don’t even realize I’m saying it. There are little elements in a person’s life, minor fibers that become unintentionally tangled with your personality. Sometimes it’s a patent phrase, sometimes it’s a perfume, sometimes it’s a wristwatch. For me, it is the constant referencing of ponies. I don’t even like ponies. If I made one of my throwaway equine requests and someone produced an actual pony, Juan-Valdez-style, I would run very fast in the other direction. During a few summers at camp, I rode a chronically dehydrated pony named Brandy who would jolt down without notice to lick the grass outside the corral and I would careen forward, my helmet tipping to cover my eyes. I do, however, like ponies on the abstract. Who doesn’t? It’s like those movies with the animated insects. Sure, the baby cockroach seems cute with CGI eyelashes, but how would you feel about fifty of her real-life counterparts living in your oven? And that’s precisely the manner in which the ponies clomped their way into my regular speech: abstractly. “I have something for you,” a guy will say on our first date. “Is it a pony?” No. It’s usually a movie ticket or his cell phone number. But on our second date, if I ask again, I’m pretty sure I’m getting a pony. And thus the Pony drawer came to be. It’s uncomfortable to admit, but almost every guy I have ever dated has unwittingly made a contribution to the stable. The retro pony from the ‘50s was from the most thoughtful guy I have ever known. The one with the glitter horseshoes was from a boy who would later turn out to be straight somehow, not gay. The one with the rainbow haunches was from a librarian, whom I broke up with because I felt the chemistry just wasn’t right, and the one with the price tag stuck on the back was given to me by a narcissist who was so impressed with his gift he forgot to remover the sticker. Each one of them marks the beginning of a new relationship. I don’t mean to hint. It’s not a hint, actually, it’s a flat out demand: I. Want. A. Pony. I think what happens is that young relationships are eager to build up a romantic repertoire of private jokes, especially in the city where there’s not always a great “how we met” story behind every great love affair. People meet at bars, through mutual friends, on dating sites, or because they work in the same industry. Just once a coworker of mine, asked me out between two stops on the N train. We were holding the same pole and he said, “I know this sounds completely insane, bean sprout, but would you like to go to a very public place with me and have a drink or something...?” I looked into his seemingly non-psycho-killing, rent-paying, Sunday Times-subscribing eyes and said, “Sure, why the hell not?” He never bought me a pony. But he didn’t have to, if you know what I mean.

In general, men should only be doing dinner dates once she proves herself worthwhile after some coffee or cocktail dates. Under no circumstances should a man pay for a woman's debt, be that credit cards or student loans. Under no circumstances should a man help with a woman's rent or car payment. And you absolutely never donate money to an e-thot for any reason. But if there's a nice girl you've met for coffee before, and she is sincere, paying for dinner and a movie isn't bad.

If we think of eroticism not as sex per se, but as a vibrant, creative energy, it’s easy to see that Stephanie’s erotic pulse is alive and well. But her eroticism no longer revolves around her husband. Instead, it’s been channeled to her children. There are regular playdates for Jake but only three dates a year for Stephanie and Warren: two birthdays, hers and his, and one anniversary. There is the latest in kids’ fashion for Sophia, but only college sweats for Stephanie. They rent twenty G-rated movies for every R-rated movie. There are languorous hugs for the kids while the grown-ups must survive on a diet of quick pecks. This brings me to another point. Stephanie gets tremendous physical pleasure from her children. Let me be perfectly clear here: she knows the difference between adult sexuality and the sensuousness of caring for small children. She, like most mothers, would never dream of seeking sexual gratification from her children. But, in a sense, a certain replacement has occurred. The sensuality that women experience with their children is, in some ways, much more in keeping with female sexuality in general. For women, much more than for men, sexuality exists along what the Italian historian Francesco Alberoni calls a “principle of continuity.” Female eroticism is diffuse, not localized in the genitals but distributed throughout the body, mind, and senses. It is tactile and auditory, linked to smell, skin, and contact; arousal is often more subjective than physical, and desire arises on a lattice of emotion. In the physicality between mother and child lie a multitude of sensuous experiences. We caress their silky skin, we kiss, we cradle, we rock. We nibble their toes, they touch our faces, we lick their fingers, let them bite us when they’re teething. We are captivated by them and can stare at them for hours. When they devour us with those big eyes, we are besotted, and so are they. This blissful fusion bears a striking resemblance to the physical connection between lovers. In fact, when Stephanie describes the early rapture of her relationship with Warren—lingering gazes, weekends in bed, baby talk, toe-nibbling—the echoes are unmistakable. When she says, “At the end of the day, I have nothing left to give,” I believe her. But I also have come to believe that at the end of the day, there may be nothing more she needs. All this play activity and intimate involvement with her children’s development, all this fleshy connection, has captured Stephanie’s erotic potency to the detriment of the couple’s intimacy and sexuality. This is eros redirected. Her sublimated energy is displaced onto the children, who become the centerpiece of her emotional gratification.

Make me breakfast in the morning?" "So long as you don't leave my sight until then." He grinned. I laughed. Sure, I was crazy about him, but spending the night with him? "Oh really?" "We'll rent a bunch of movies and fill up on popcorn. Maybe snuggle. If you're lucky." "I'm feeling very lucky right now.

People used to call me an attention whore, it’s like, is that what you call authors who try to sell their book? Do you call a movie star that when they walk the red carpet? Would you ever call a man that?’ I was trying to get people to read my columns so I could pay rent on my $2,500 studio apartment. Even that word, ‘whore,’ everyone uses it so much about me. She’s an attention whore.

When it comes to government as it is – and all that government ever could be – we are never really talking about two sides of the table. You get a letter in the mail informing you that your property taxes are going to increase 5% – there is no negotiation; no one offers you an alternative; your opinion is not consulted beforehand, and your approval is not required afterwards, because if you do not pay the increased tax, you will, after a fairly lengthy sequence of letters and phone calls, end up without a house. It is certainly true that your local cable company may also send you a notice that they’re going to increase their charges by 5%, but that is still a negotiation! You can switch to satellite, or give up on cable and rent DVDs of movies or television shows, or reduce some of the extra features that you have, or just decide to get rid of your television and read and talk instead. None of these options are available with the government – with the government, you either pay them, give up your house, go to jail, or move to some other country, where the exact same process will start all over again.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

We decided to attend to our community instead of asking our community to attend the church.” His staff started showing up at local community events such as sports contests and town hall meetings. They entered a float in the local Christmas parade. They rented a football field and inaugurated a Free Movie Night on summer Fridays, complete with popcorn machines and a giant screen. They opened a burger joint, which soon became a hangout for local youth; it gives free meals to those who can’t afford to pay. When they found out how difficult it was for immigrants to get a driver’s license, they formed a drivers school and set their fees at half the going rate. My own church in Colorado started a ministry called Hands of the Carpenter, recruiting volunteers to do painting, carpentry, and house repairs for widows and single mothers. Soon they learned of another need and opened Hands Automotive to offer free oil changes, inspections, and car washes to the same constituency. They fund the work by charging normal rates to those who can afford it. I heard from a church in Minneapolis that monitors parking meters. Volunteers patrol the streets, add money to the meters with expired time, and put cards on the windshields that read, “Your meter looked hungry so we fed it. If we can help you in any other way, please give us a call.” In Cincinnati, college students sign up every Christmas to wrap presents at a local mall — ​no charge. “People just could not understand why I would want to wrap their presents,” one wrote me. “I tell them, ‘We just want to show God’s love in a practical way.’ ” In one of the boldest ventures in creative grace, a pastor started a community called Miracle Village in which half the residents are registered sex offenders. Florida’s state laws require sex offenders to live more than a thousand feet from a school, day care center, park, or playground, and some municipalities have lengthened the distance to half a mile and added swimming pools, bus stops, and libraries to the list. As a result, sex offenders, one of the most despised categories of criminals, are pushed out of cities and have few places to live. A pastor named Dick Witherow opened Miracle Village as part of his Matthew 25 Ministries. Staff members closely supervise the residents, many of them on parole, and conduct services in the church at the heart of Miracle Village. The ministry also provides anger-management and Bible study classes.

…He needed to find some little poor kids to playfully spray with a hose, while he was helping out at a charity carwash for the handicapped or something.  Maybe rent a wet dog for the afternoon, and get it to shake its head in slow motion, while he laughed like some douchebag asshole and tried to lightheartedly block the soapy droplets with his hands or one of the little wheelchair kids or something.  Women loved that shit if movies were to be believed.  They ate it up. Sadly, he had no idea how to go about doing any of that though.  None of the pet shops had been open to the idea of him using their puppies as a prop in a seduction fantasy, and all of the schools for the disabled he called had refused to give him an hourly rate on renting their students.

How long does it last?" Said the other customer, a man wearing a tan shirt with little straps that buttoned on top of the shoulders. He looked as if he were comparing all the pros and cons before shelling out $.99. You could see he thought he was pretty shrewd. "It lasts for as long as you live," the manager said slowly. There was a second of silence while we all thought about that. The man in the tan shirt drew his head back, tucking his chin into his neck. His mind was working like a house on fire "What about other people?" He asked. "The wife? The kids?" "They can use your membership as long as you're alive," the manager said, making the distinction clear. "Then what?" The man asked, louder. He was the type who said things like "you get what you pay for" and "there's one born every minute" and was considering every angle. He didn't want to get taken for a ride by his own death. "That's all," the manager said, waving his hands, palms down, like a football referee ruling an extra point no good. "Then they'd have to join for themselves or forfeit the privileges." "Well then, it makes sense," the man said, on top of the situation now, "for the youngest one to join. The one that's likely to live the longest." "I can't argue with that," said the manager. The man chewed his lip while he mentally reviewed his family. Who would go first. Who would survive the longest. He cast his eyes around to all the cassettes as if he'd see one that would answer his question. The woman had not gone away. She had brought along her signed agreement, the one that she paid $25 for. "What is this accident waiver clause?" She asked the manager. "Look," he said, now exhibiting his hands to show they were empty, nothing up his sleeve, "I live in the real world. I'm a small businessman, right? I have to protect my investment, don't I? What would happen if, and I'm not suggesting you'd do this, all right, but some people might, what would happen if you decided to watch one of my movies in the bathtub and a VCR you rented from me fell into the water?" The woman retreated a step. This thought had clearly not occurred to her before.

Guys like him…they aren’t the flowers-and-candy type. He probably won’t take you out to a romantic dinner. I don’t see him renting a plane and having it fly a banner declaring his love for you.” Rayne giggled and nodded in agreement. “But if you pay attention, you’ll see the signs that he cares. A hand against your back. Asking if you need anything. He’ll make sure you eat before him. He’ll walk on the outside of the sidewalk, making sure you’re away from traffic. The signs will be there, but they won’t ever be the big romantic gestures most women crave.” “He wraps my wrists and ankles every morning. He took my nasty snot-filled tissues yesterday without making a big deal out of it. He let me have as much cream cheese on my bagel this morning as I wanted, even though it meant I used most of it and he only had a little bit.” Penelope nodded. “Exactly. They’ll swear until they’re dead as a doornail that they aren’t romantic, when in reality, what we see in the movies and on TV as ‘romance’ is just smoke and mirrors. I don’t know about you, but I’d much rather have their brand of romance than Hollywood’s.

It was little things at first. Abby missed a phone call because she had an away game. Then one time Gretchen didn’t write back and never made up for the missing letter. They got busy with SATs and college applications, and even though they both applied to Georgetown, Gretchen didn’t get in, and Abby wound up going to George Washington anyways. At college they went to their computer labs and sent each other emails, sitting in front of black and green CRT screens and pecking them out one letter at a time. And they still wrote, but calling became a once-a-week thing. Gretchen was Abby’s maid of honor at her tiny courthouse wedding, but sometimes a month would go by and they wouldn’t speak. Then two months. Then three. They went through periods when they both made an effort to write more, but after a while that usually faded. It wasn’t anything serious, it was just life. The dance recitals, making the rent, first real jobs, pickups, dropoffs, the fights that seemed so important, the laundry, the promotions, the vacations taken, shoes bought, movies watched, lunches packed. It was a haze of the everyday that blurred the big things and made them feel distant and small.

New Rule: Conservatives have to stop complaining about Hollywood values. It's Oscar time again, which means two things: (1) I've got to get waxed, and (2) talk-radio hosts and conservative columnists will trot out their annual complaints about Hollywood: We're too liberal; we're out of touch with the Heartland; our facial muscles have been deadened with chicken botulism; and we make them feel fat. To these people, I say: Shut up and eat your popcorn. And stop bitching about one of the few American products--movies---that people all over the world still want to buy. Last year, Hollywood set a new box-office record: $16 billion worldwide. Not bad for a bunch of socialists. You never see Hollywood begging Washington for a handout, like corn farmers, or the auto industry, or the entire state of Alaska. What makes it even more inappropriate for conservatives to slam Hollywood is that they more than anybody lose their shit over any D-lister who leans right to the point that they actually run them for office. Sony Bono? Fred Thompson? And let'snot forget that the modern conservative messiah is a guy who costarred with a chimp. That's right, Dick Cheney. I'm not trying to say that when celebrities are conservative they're almost always lame, but if Stephen Baldwin killed himself and Bo Derrick with a car bomb, the headline the next day would be "Two Die in Car Bombing." The truth is that the vast majority of Hollywood talent is liberal, because most stars adhere to an ideology that jibes with their core principles of taking drugs and getting laid. The liebral stars that the right is always demonizing--Sean Penn and Michael Moore, Barbra Streisand and Alec Baldwin and Tim Robbins, and all the other members of my biweekly cocaine orgy--they're just people with opinions. None of them hold elective office, and liberals aren't begging them to run. Because we live in the real world, where actors do acting, and politicians do...nothing. We progressives love our stars, but we know better than to elect them. We make the movies here, so we know a well-kept trade secret: The people on that screen are only pretending to be geniuses, astronauts, and cowboys. So please don't hat eon us. And please don't ruin the Oscars. Because honestly, we're just like you: We work hard all year long, and the Oscars are really just our prom night. The tuxedos are scratchy, the limousines are rented, and we go home with eighteen-year-old girls.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the power she was carrying some sort of project about World War II—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some poignant music, out is in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the poster board chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain as it’s happening, and then the moment is over.

Coley and I had to separate to get around a girl who was mostly eclipsed by the size of the poster she was carrying, some sort of project about World War Two—a picture of Hitler doing his mustachioed Sieg heil, a gaunt concentration-camp victim, a couple of American soldiers smoking cigarettes and scowling at the camera, the captions beneath each photo in glitter-bubble letters. If this had been the movie version of my life, I knew, somebody who did teenage stuff well, some director, would have lingered on that poster and maybe even have swelled some sort of poignant music, put us in slow motion as the hallway continued on at regular speed around us, backlit the three of us—Coley and the posterboard chick and me—and in doing so tried to make some statement about teenage frivolity and prom season as it stacked up against something authentic and horrible like war. But if renting all those movies had taught me anything more than how to lose myself in them, it was that you only actually have perfectly profound little moments like that in real life if you recognize them yourself, do all the fancy shot work and editing in your head, usually in the very seconds that whatever is happening is happening. And even if you do manage to do so, just about never does anyone else you’re with at the time experience that exact same kind of moment, and it’s impossible to explain it as it’s happening, and then the moment is over.

a young Goldman Sachs banker named Joseph Park was sitting in his apartment, frustrated at the effort required to get access to entertainment. Why should he trek all the way to Blockbuster to rent a movie? He should just be able to open a website, pick out a movie, and have it delivered to his door. Despite raising around $250 million, Kozmo, the company Park founded, went bankrupt in 2001. His biggest mistake was making a brash promise for one-hour delivery of virtually anything, and investing in building national operations to support growth that never happened. One study of over three thousand startups indicates that roughly three out of every four fail because of premature scaling—making investments that the market isn’t yet ready to support. Had Park proceeded more slowly, he might have noticed that with the current technology available, one-hour delivery was an impractical and low-margin business. There was, however, a tremendous demand for online movie rentals. Netflix was just then getting off the ground, and Kozmo might have been able to compete in the area of mail-order rentals and then online movie streaming. Later, he might have been able to capitalize on technological changes that made it possible for Instacart to build a logistics operation that made one-hour grocery delivery scalable and profitable. Since the market is more defined when settlers enter, they can focus on providing superior quality instead of deliberating about what to offer in the first place. “Wouldn’t you rather be second or third and see how the guy in first did, and then . . . improve it?” Malcolm Gladwell asked in an interview. “When ideas get really complicated, and when the world gets complicated, it’s foolish to think the person who’s first can work it all out,” Gladwell remarked. “Most good things, it takes a long time to figure them out.”* Second, there’s reason to believe that the kinds of people who choose to be late movers may be better suited to succeed. Risk seekers are drawn to being first, and they’re prone to making impulsive decisions. Meanwhile, more risk-averse entrepreneurs watch from the sidelines, waiting for the right opportunity and balancing their risk portfolios before entering. In a study of software startups, strategy researchers Elizabeth Pontikes and William Barnett find that when entrepreneurs rush to follow the crowd into hyped markets, their startups are less likely to survive and grow. When entrepreneurs wait for the market to cool down, they have higher odds of success: “Nonconformists . . . that buck the trend are most likely to stay in the market, receive funding, and ultimately go public.” Third, along with being less recklessly ambitious, settlers can improve upon competitors’ technology to make products better. When you’re the first to market, you have to make all the mistakes yourself. Meanwhile, settlers can watch and learn from your errors. “Moving first is a tactic, not a goal,” Peter Thiel writes in Zero to One; “being the first mover doesn’t do you any good if someone else comes along and unseats you.” Fourth, whereas pioneers tend to get stuck in their early offerings, settlers can observe market changes and shifting consumer tastes and adjust accordingly. In a study of the U.S. automobile industry over nearly a century, pioneers had lower survival rates because they struggled to establish legitimacy, developed routines that didn’t fit the market, and became obsolete as consumer needs clarified. Settlers also have the luxury of waiting for the market to be ready. When Warby Parker launched, e-commerce companies had been thriving for more than a decade, though other companies had tried selling glasses online with little success. “There’s no way it would have worked before,” Neil Blumenthal tells me. “We had to wait for Amazon, Zappos, and Blue Nile to get people comfortable buying products they typically wouldn’t order online.

The Ten Ways to Evaluate a Market provide a back-of-the-napkin method you can use to identify the attractiveness of any potential market. Rate each of the ten factors below on a scale of 0 to 10, where 0 is terrible and 10 fantastic. When in doubt, be conservative in your estimate: Urgency. How badly do people want or need this right now? (Renting an old movie is low urgency; seeing the first showing of a new movie on opening night is high urgency, since it only happens once.) Market Size. How many people are purchasing things like this? (The market for underwater basket-weaving courses is very small; the market for cancer cures is massive.) Pricing Potential. What is the highest price a typical purchaser would be willing to spend for a solution? (Lollipops sell for $0.05; aircraft carriers sell for billions.) Cost of Customer Acquisition. How easy is it to acquire a new customer? On average, how much will it cost to generate a sale, in both money and effort? (Restaurants built on high-traffic interstate highways spend little to bring in new customers. Government contractors can spend millions landing major procurement deals.) Cost of Value Delivery. How much will it cost to create and deliver the value offered, in both money and effort? (Delivering files via the internet is almost free; inventing a product and building a factory costs millions.) Uniqueness of Offer. How unique is your offer versus competing offerings in the market, and how easy is it for potential competitors to copy you? (There are many hair salons but very few companies that offer private space travel.) Speed to Market. How soon can you create something to sell? (You can offer to mow a neighbor’s lawn in minutes; opening a bank can take years.) Up-front Investment. How much will you have to invest before you’re ready to sell? (To be a housekeeper, all you need is a set of inexpensive cleaning products. To mine for gold, you need millions to purchase land and excavating equipment.) Upsell Potential. Are there related secondary offers that you could also present to purchasing customers? (Customers who purchase razors need shaving cream and extra blades as well; buy a Frisbee and you won’t need another unless you lose it.) Evergreen Potential. Once the initial offer has been created, how much additional work will you have to put in in order to continue selling? (Business consulting requires ongoing work to get paid; a book can be produced once and then sold over and over as is.) When you’re done with your assessment, add up the score. If the score is 50 or below, move on to another idea—there are better places to invest your energy and resources. If the score is 75 or above, you have a very promising idea—full speed ahead. Anything between 50 and 75 has the potential to pay the bills but won’t be a home run without a huge investment of energy and resources.

I rented a dark little bar on Sunset Boulevard that had pool tables, three bars inside and out, and a movie theater where we played only Quentin Tarantino movies all night.

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In America, my father began working as a clerk for a government agency. He rented an apartment in a place called Queens, New York. A year after he left us, he sent airplane tickets. The Delhi of the seventies is hard to imagine: the quietness, the streets empty of traffic, children playing cricket in the middle of the street and rarely having to move out of the way to let cars by, the vegetable vendors who came pushing their carts down the streets in the late afternoon, crying out their wares in tight, high-pitched voices. There weren't VCRs back then, let alone cable channels. A movie would play for twenty-five or fifty weeks in huge auditorium theaters, and then once the movie was gone, it was gone forever. I remembered feeling grief when the enormous billboards for Sholay at the end of our street were taken down. It was like somebody had died. It is also hard to remember how frugal we were. We saved the cotton that comes inside pill bottles. Our mothers used it to make wicks. This frugality meant that we were sensitive to the physical reality of the world in a way most people no longer are. When my mother bought a box of matches, she had my brother sit at a table and use a razor to split the matches in half. When we had to light several things, we would use the match to set a twist of paper on fire and then walk around the apartment lighting the stove, the incense stick, the mosquito coil. This close engagement with things meant that we were conscious that the wood of a match is soft, that a bit of spit on paper split on paper slows down how it burns. By the time our airplane tickets arrived, not every family hired a band to play outside their house on the day of the departure to a foreign country. Still, many families did.

Very few kids step out of a youth ministry because the programs are lousy. Kids will actually forgive all kinds of programmatic mediocrity if they are certain they belong. Consider what most teenagers do on weekend nights. They don’t usually have brilliant, hypercreative plans (you’ve seen them meandering through Blockbuster for hours, looking for a movie to rent). They simply “hang out” with their friends. If our youth ministries don’t provide students with the opportunity to be with the kinds of friends they want, it won’t matter how spiritual, cutting-edge or outrageous our programs are; kids will not stick.

He frowned and reached out, lifting a lock of her hair off her shoulder. “Do you have mud in your hair?” “Probably,” she said. “I was standing on the porch, appreciating the beauty of this nice spring morning when one end gave way and spilled me right into a big, nasty mud puddle. And I wasn’t brave enough to try out the shower—it’s beyond filthy. But I thought I got it all off.” “Oh, man,” he said, surprising her with a big laugh. “Could you have had a worse day? If you’d like, I have a shower in my quarters—clean as a whistle.” He grinned again. “Towels even smell like Downy.” “Thanks, but I think I’ll just move on. When I get closer to the coast, I’m going to get a hotel room and have a quiet, warm, clean evening. Maybe rent a movie.” “Sounds nice,” he said. “Then back to Los Angeles?” She shrugged. “No,” she said. She couldn’t do that. Everything from the hospital to the house would conjure sweet memories and bring her grief to the surface. She just couldn’t move on as long as she stayed in L.A. Besides, now there was nothing there for her anymore.

The first time Halley set eyes on Howard was at a showing of The Towering Inferno. When she heard about him, her sister had wondered aloud how much of a future you could have with someone you’d met at a disaster movie. But at that point Halley wasn’t feeling picky. She had been in Dublin just over three weeks – not so long that she didn’t still get lost all the time on the infuriating streets that kept changing their names, but enough to disabuse her of most of her illusions about the place; enough too, with the deposit and first month’s rent for her new apartment, to separate her from most of the money she’d brought, and cut the time available for soul-searching and self-finding quite drastically. That afternoon she’d spent in an Internet café, reluctantly updating her résumé; she hadn’t had a conversation since the night before, a stilted exchange with the Chinese pizza delivery boy about his native Yunan province. When she spotted the poster for The Towering Inferno, which she and Zephyr must have watched twenty times together, it was like catching sight of an old friend. She went in and for three hours warmed herself in the familiar blaze of collapsing architecture and suffocating hotel guests; she stayed in her seat until the ushers started sweeping round her feet.

I’m a writer/director, my movie is a hit at Sundance, I have a wonderful loving boyfriend, and wow, I have financial stability. Why can’t I get out of bed still? It made it even worse, because there’s nothing else I want. This is what I’m born to do. I’m living my purpose, I’m paying my rent, what’s missing?

You’re so ugly… your baby videos are rented as a horror movie!

home only to pine over an ex-girlfriend, so he stopped. He apologized, saying a few more things that Catherine once again just nodded her head to, smiling, and before she knew it, she had plans to go see a movie with Dickie the following Friday. It was a date, the first of many. It went like this for two months: Friday night dates. Rides home from school while other girls looked on in jealousy. Long nights parked up at The Point, the low rumble of his car idling away while they made out with the heat blowing on her legs. Him sliding his hands up her skirt. Under her shirt. Her moaning. Her face flushing red. Her toes curling. The Rolling Stones on the radio. Why did he taste so good? Never sex, though. Even when he begged for it, she would refuse. She knew what their relationship really was. It was great and fun and wild and exciting, but she knew it wouldn’t last; he was off to college soon, and she remembered how he felt about being tethered to something familiar. That conversation never left her mind for the duration of their relationship, always reminding her to be ready to lose him. At the time, she was still a virgin, and as much as she loved Dickie she did not wish to give herself fully to someone who would more than likely forget about her within months, if not weeks, of leaving. Catherine was young, but never stupid or naive. She knew how the world worked… even Dickie’s world. What she felt and experienced with him may have been real by her definition, but she understood that that did not make the relationship everlasting or meant-to-be. Their time together had been great and fun and had changed her in ways she would never be able to put into words. She would forever cherish their moments together. Or at least, that’s what she’d thought at the time, before these cherished memories soured. Everything changed the night of the dance. The night he changed. The night she changed, too. It was Dickie’s senior prom. He invited her to go and she happily accepted. She even bought a new dress with the money she’d saved working shifts down at Woolworth’s. The dance was fine and good. They had a blast. They’d even kissed in the middle of the gymnasium during the last slow dance. It had been so romantic. But afterward was a different sort of time. Dickie and some of his friends rented a few rooms at the Heartsridge Motel for a place to hang out after the dance. But it was more than just a place to hang out. It was a place to party, a place to drink alcohol purchased illegally, a place for some of the looser girls to sleep with their dates. She had been to parties with Dickie before, parties with drinking and drugs and where there were rooms dedicated to fooling around. She wasn’t a square. But this was different. This place made her skin crawl. There was a raw energy in the air. She remembered feeling it on her skin. And the fact that it was a motel made the whole scene seem depraved. It just felt off, and she wanted to beg him to go somewhere else. But instead she held her tongue and went along with Dickie. He was leaving soon, after all. Why not appease him? He seemed excited about going. A few of them—all friends of Dickie’s—ended up together in one room, drinking Schnapps, smoking cigarettes, having

DVD technology allowed Netflix to create a completely new business model. Rather than renting out individual movies and being charged exorbitant late fees if they failed to return the VHS tape in time, Netflix customers paid $20 per month for a subscription to “unlimited” movies—provided they checked out just one movie at a time. This allowed Netflix to eliminate Blockbuster’s widely loathed late fees and capture the powerful and certain revenue stream from the proven model of a subscription service. Netflix took off, and even went public as a DVD-by-mail service. But Hastings never lost sight of his ultimate vision for Netflix—on-demand television delivered via the Internet

Sony paid both stars handsomely for their consistent success: $20 million against 20 percent of the gross receipts, whichever was higher, was their standard compensation. They also received as much as $5 million against 5 percent for their production companies, where they employed family and friends. Sony also provided Happy Madison and Overbrook with a generous overhead to cover expenses—worth about $4 million per year. To top it off, Sandler and Smith enjoyed the perks of the luxe studio life. Flights on a corporate jet were common, with family members and friends often invited along. On occasion, Smith’s entourage and its belongings necessitated the use of two jets for travel to premieres. Knowing that Sandler was a huge sports fan, Sony regularly sent him and his pals to the Super Bowl to do publicity. In addition to enjoying the best tickets and accommodations, they had a private basketball court to play on, which the studio rented for them. Back at the Sony lot, the basketball court was renamed Happy Madison Square Garden in the star’s honor. When anybody questioned the wide latitude and endless indulgence given to Sandler and Smith, Sony executives had a standard answer: “Will and Adam bought our houses.

You're right. I should make more of an effort to get along with people. Even you." "God, Alex, that's so sweet of you." She turns back to the computers. "Now I totally feel life renting movies and eating ice cream in our jammies.

Literary friendship is impossible, it seems; at least, it is impossible for me. Indeed, all male friendships outside of work sometimes seem to be impossible: you look at each other at the restaurant at some point in the conversation and you know that each of you is thinking, man, this is futile, why are we here, we’re wasting our time, we have nothing to say, we’re not involved in some project together that we can bitch about, we can’t flirt, we feel like dummies discussing movies or books, we aren’t in some moral bind with a woman that we need to confess, we’ve each said the other is a genius several times already, and the whole thing is depressing and the tone is false and we might as well go home to our wives and children and rent buddy movies like Midnight Run or Planes, Trains, and Automobiles or The Pope of Greenwich Village> when we need a shot of the old camaraderie.

A thousand books and movies and lessons in school have told you this was true, so much so that it’s seeped into your very soul. That wasn’t your fault, but what you do about it now is. So how will you confront the lie? What will you sacrifice? What are you willing to put on the line? Are you going to send your kid to the public school down the street? Are you going to rent your house to a young Black family? Are you going to hire more eager dark girls with kinky curls to be your junior executive? Because your well-meaning intentions, your woke T-shirts, your Black Lives Matter tote bags, your racial justice book clubs are not going to cut it.

first choice had been to rent a cabin in the woods, but that is too much nature. I don't do cabins in the woods because I have seen too many movies about cabins in the woods. If someone wants to murder me, they are going to have to get past reception.

Instead, somehow they’re going to try it right down the main highway, eight lanes wide, heron-neck arc lamps rising up as far as the eye can see, and they will broadcast on all frequencies, waving American flags, turning up the Day-Glo and the neon of 1960s electro-pastel America, wired up and amplified, 327,000 horsepower, a fantasy bus in a science-fiction movie, welcoming all on board, no matter how unbelievably Truck Stop Low Rent or raunchy—

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

Both industrial customers and consumers tend to be more price sensitive when what they’re buying is Undifferentiated Expensive relative to their other costs or income Inconsequential to their own performance A counterexample that includes all three of these conditions is the price insensitivity of makers of major motion pictures when they buy or rent production equipment. A movie camera, for example, is a highly differentiated piece of equipment. Its price is small relative to the other costs of production, but the performance of the equipment has a big impact on the success of the movie. Here quality trumps price.

was thinking about getting myself a VCR. I could see any movie I wanted any time of the day, and it doesn’t cost but two or three dollars to rent one. But it’s not the same, watching on your own set in your own room, and on a bitty TV screen. It’s like the difference between praying at home and in church.

There’s more!! In addition to your $400,000/year salary, you also get: • A no-questions-asked $50,000 expense account—in other words, you’re not required to provide receipts to get reimbursed. But if you don’t spend it all, you have to give what’s left back to the Treasury Department every year. • To live rent-free in a nice big house that includes a bowling alley, putting green, jogging track, billiard room, tennis courts, swimming pool, and movie theater (with various contacts in Hollywood providing all first-run movies for free). • Five full-time chefs who are standing by to prepare the food you paid for (see above). A nice, secluded, 180-acre vacation home in Maryland called Camp David that includes numerous cabins for the president and guests, a heated pool, tennis, horseshoes, bowling, a three-hole golf course, an archery range, and a trout stream. • The presidential version of “public” transportation: limos, helicopters, and your own personal jets. • Up to one million dollars you can spend every year for “unanticipated needs,” in case you ever go over budget somewhere else.

1) A “Ladies Who Lunch Party” thrown at the country club. Waiters carried hors d’oeuvres around, kneeling on the ground so that the little girls could reach them. The lunch was nicer than Jane’s wedding shower, possibly nicer than her wedding. 2) A “Movie Premiere Party” where the entire theater was rented out and the kids were allowed as much popcorn and candy as they wanted while watching a double feature of Moana and Monsters, Inc. (Lauren threw up in her bed that night.) 3) A “Camping Party” where each child received a sleeping bag personalized with her name and the backyard was set up with mini pink tents and paper lanterns. Someone was hired to grill the hot dogs and make the s’mores. 4) A “Spa Party” at the Four Seasons downtown where the girls got facials and fluffy pink robes and slippers. (Because what first grader wouldn’t appreciate getting rid of clogged pores?)

escaped from a Russian prison camp?” “Yes. I know cement from this time.” “Then you’re hired.” Chapter Forty The Martels rented a small house in Baker within walking distance of Emil’s work site. Adeline found a job cleaning rooms at the only motel in town for fifty cents an hour. Walt officially changed his formal name from Waldemar to Walter and found work after school at the butcher shop and at the movie theater as a projectionist. Will changed his name from Wilhelm to William and called himself “Bill.” He bagged groceries at the local store and swept the theater floors. They pooled their money, saving until they could afford to buy a small lot across from the high school and pay to have a basement foundation dug and poured. Emil worked at the hospital site and other projects during the day and, with Bill, put down a subfloor on top of the foundation in the evenings. They also installed plumbing, electrical lines, and a woodstove in the basement.

You think it’s funny,’ she took a sip then shifted her body towards me, ‘you think you’re alternative, and outside of the system. You rented the interesting movies. And went to the noise concerts in Bushwick. And you, like everyone at that school, thought you had to be dirty and weird to be a good artist. But that’s not true.’ ‘I don’t think I’m alternative,’ I said incredulously.

It was also so expensive that I actually gasped when I heard her daily rate, and this is coming from someone who didn’t think twice about spending twenty bucks to buy the movie Split on iTunes because she didn’t want to wait two weeks to rent it.

I’m underwater on my mortgage, and I have a flooded movie theater for rent. Scuba tank and popcorn not included.

An accurate budget must be built on a base of thorough research. You must do research on your community to find out what it will cost to get a church off the ground. You need to solidly answer questions such as:, What will the cost of living in this community be?, What will my salary be? How about salaries for additional staff?, How much will it cost to rent space for the church to meet in?, How much will it cost to operate a business in this city (office rent, phones, computer equipment, copy equipment, and so on)? Talk with other pastors in the community. Find out what their start-up costs were and what they are currently spending to maintain and operate the church. Other pastors can be a valuable resource for you on many levels. The worst mistake you can make is to start the budget process by viewing economic realities through a rose-colored lens. If you speculate too much or cut corners in this area, you’ll end up paying dearly down the road. Remember, God never intended for you to go it alone. There are people and resources out there to help you prepare. Ask others for help. God receives no glory when you are scraping the bottom to do His work. So don’t think too small. Church planting is an all or nothing venture. You can’t just partially commit. You have to fully commit, and often that means with your wallet. Don’t underestimate the importance of having a base of prayer partners. You need prayers as desperately as you need money. You need prayers as desperately as you need money. An unhealthy launch may occur when a new church begins as the result of a church split, when a planter is disobedient in following God, or when there is a lack of funding or solid strategy. Finding the right teammates to help you on this journey is serious business. The people you bring on to your staff will either propel you down the road toward fulfilling the vision for your church or serve as speed bumps along the way. You should never be afraid to ask potential staff members to join you—even if it means a salary cut, a drastic position change or a significant new challenge for them. When you ask someone to join your staff, you are not asking that person to make a sacrifice. (If you have that mentality, you need to work to change it.) Instead, you are offering that person the opportunity of a lifetime. There are three things that every new church must have before it can be a real church: (1) a lead pastor, (2) a start date, and (3) a worship leader. Hire a person at the part-time level before bringing him or her on full time. When hiring a new staff person, make sure he or she possesses the three C's: Character, Chemistry & Competency Hiring staff precedes growth, not vice versa. Hire slow, fire fast. Never hire staff when you can find a volunteer. Launch as publicly as possible, with as many people as possible. There are two things you are looking for in a start date: (1) a date on which you have the potential to reach as many people as possible, and (2) a date that precedes a period of time in which people, in general, are unlikely to be traveling out of town. You need steppingstones to get you from where you are to your launch date. Monthly services are real services that you begin holding three to six months prior to your launch date. They are the absolute best strategic precursor to your launch. Monthly services give you the invaluable opportunity to test-drive your systems, your staff and, to an extent, even your service style. At the same time, you are doing real ministry with the people in attendance. These services should mirror as closely as possible what your service will look like on the launch date. Let your target demographic group be the strongest deciding factor in settling on a location: Hotel ballrooms, Movie theaters, Comedy clubs, Public-school auditoriums, Performing-arts theaters, Available church meeting spaces, College auditoriums, Corporate conference space.

The best entrepreneurs don’t just follow Moore’s Law; they anticipate it. Consider Reed Hastings, the cofounder and CEO of Netflix. When he started Netflix, his long-term vision was to provide television on demand, delivered via the Internet. But back in 1997, the technology simply wasn’t ready for his vision—remember, this was during the era of dial-up Internet access. One hour of high-definition video requires transmitting 40 GB of compressed data (over 400 GB without compression). A standard 28.8K modem from that era would have taken over four months to transmit a single episode of Stranger Things. However, there was a technological innovation that would allow Netflix to get partway to Hastings’s ultimate vision—the DVD. Hastings realized that movie DVDs, then selling for around $ 20, were both compact and durable. This made them perfect for running a movie-rental-by-mail business. Hastings has said that he got the idea from a computer science class in which one of the assignments was to calculate the bandwidth of a station wagon full of backup tapes driving across the country! This was truly a case of technological innovation enabling business model innovation. Blockbuster Video had built a successful business around buying VHS tapes for around $ 100 and renting them out from physical stores, but the bulky, expensive, fragile tapes would never have supported a rental-by-mail business.

Tencent had partnered with leading mobile carriers like China Mobile to receive 40 percent of the SMS charges that QQ users racked up when they sent messages to mobile phones. A new service could hurt Tencent’s financial bottom line and at the same time risk its relationships with some of China’s most powerful companies. It was the sort of decision that publicly traded, ten-thousand-person companies typically refer to a committee for further study. But Ma wasn’t a typical corporate executive. That very night, he gave Zhang the go-ahead to pursue the idea. Zhang put together a ten-person team, including seven engineers, to build and launch the new product. In just two months, Zhang’s small team had built a mobile-first social messaging network with a clean, minimalistic design that was the polar opposite of QQ. Ma named the service Weixin, which means “micromessage” in Mandarin. Outside of China, the service became known as WeChat. What came next was staggering. Just sixteen months after Zhang’s fateful late-night message to Ma, WeChat celebrated its one hundred millionth user. Six months after that, it had grown to two hundred million users. Four months after that, it had grown to three hundred million users. Pony Ma’s late-night bet paid off handsomely. Tencent reported 2016 revenues of $ 22 billion, up 48 percent from the previous year, and up nearly 700 percent since 2010, the year before WeChat’s launch. By early 2018, Tencent reached a market capitalization of over $ 500 billion, making it one of the world’s most valuable companies, and WeChat was one of the most widely and intensively used services in the world. Fast Company called WeChat “China’s app for everything,” and the Financial Times reported that more than half of its users spend over ninety minutes a day using the app. To put WeChat in an American context, it’s as if one single service combined the functions of Facebook, WhatsApp, Facebook Messenger, Venmo, Grubhub, Amazon, Uber, Apple Pay, Gmail, and even Slack into a single megaservice. You can use WeChat to do run-of-the-mill things like texting and calling people, participating in social media, and reading articles, but you can also book a taxi, buy movie tickets, make doctors’ appointments, send money to friends, play games, pay your rent, order dinner for the night, plus so much more. All from a single app on your smartphone.

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

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

By 2008, storm clouds were gathering over Microsoft. PC shipments, the financial lifeblood of Microsoft, had leveled off. Meanwhile sales of Apple and Google smartphones and tablets were on the rise, producing growing revenues from search and online advertising that Microsoft hadn’t matched. Meanwhile, Amazon had quietly launched Amazon Web Services (AWS), establishing itself for years to come as a leader in the lucrative, rapidly growing cloud services business. The logic behind the advent of the cloud was simple and compelling. The PC Revolution of the 1980s, led by Microsoft, Intel, Apple, and others, had made computing accessible to homes and offices around the world. The 1990s had ushered in the client/server era to meet the needs of millions of users who wanted to share data over networks rather than on floppy disks. But the cost of maintaining servers in an ever-growing sea of data—and the advent of businesses like Amazon, Office 365, Google, and Facebook—simply outpaced the ability for servers to keep up. The emergence of cloud services fundamentally shifted the economics of computing. It standardized and pooled computing resources and automated maintenance tasks once done manually. It allowed for elastic scaling up or down on a self-service, pay-as-you-go basis. Cloud providers invested in enormous data ​centers around the world and then rented them out at a lower cost per user. This was the Cloud Revolution. Amazon was one of the first to cash in with AWS. They figured out early on that the same cloud infrastructure they used to sell books, movies, and other retail items could be rented, like a time-share, to other businesses and startups at a much lower price than it would take for each company to build its own cloud. By June 2008, Amazon already had 180,000 developers building applications and services for their cloud platform. Microsoft did not yet have a commercially viable cloud platform. All of this spelled trouble for Microsoft. Even before the Great Recession of 2008, our stock had begun a downward slide. In a long-planned move, Bill Gates left the company that year to focus on the Bill & Melinda Gates Foundation. But others were leaving, too. Among them, Kevin Johnson, president of the Windows and online services business, announced he would leave to become CEO of Juniper Networks. In their letter to shareholders that year, Bill and Steve Ballmer noted that Ray Ozzie, creator of Lotus Notes, had been named the company’s new Chief Software Architect (Bill’s old title), reflecting the fact that a new generation of leaders was stepping up in areas like online advertising and search. There was no mention of the cloud in that year’s shareholder letter, but, to his credit, Steve had a game plan and a wider view of the playing field.