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What is stunning is all the exchanges among top executives. The filing quotes numerous e-mails among Jobs, Sergey Brin, Adobe CEO Bruce Chizen, and other Silicon Valley heavy-hitters that talk openly about the agreement and various threats when a member to an agreement falls out of line. By contrast, in the ADM case above, the parties to the lysine cartel were very careful to hold meetings where they’d discuss price fixing overseas, where that action was not criminal. The brazenness is remarkable.

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jaqenoflorath:

buttsofjustice:

gamer-of-thrones:

I wish I could reblog this thousands of times

omg

i think everybody can go home now

and his band, 30 Odd Foot of Names

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And yet the machinery tasked with producing all these shows is slow, wasteful, and wildly outdated. On the network side, the initial contracts are too prohibitive and too long — thus limiting the talent pool. (Actors like McConaughey and Woody Harrelson aren’t going to sign away seven years of their life. But a couple months? Sure!) I’ve written at length about how ridiculous the entire pilot-season charade is, in which millions of dollars are spent and hundreds of perfectly good ideas wasted, all in the service of a handful of shows unlikely to see a second season. And on cable, the rising ratings of shows like The Walking Dead haven’t lifted all boats — they’ve threatened to swamp them. Channels hoping to compete are now forced to shell out more money on increasingly outrageous concepts solely to justify the future cost of production. Even on the more artistically inclined networks, a show about people isn’t nearly as likely to be green-lit as a show about the things attempting to eat said people. Limited series change all that. They allow the television business to become as nimble and responsive as the television audience. Without the fear and expenditure of long-term commitment, networks can be free to take bold chances and experiment with style and genre

‘True Detective: Part 2’? We’re Way Ahead of You «

This is why I don’t get discouraged when people think the stuff I make is too weird to fit in the normal TV landscape. There IS no more normal TV landscape.

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mattfractionblog:

ffactory:

Peter Bogdanovich and Orson Wells, El Rancho Market (1977)

a still from the greatest sitcom never made, ROOMIES

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Not many people are going to agree with me, but ‘Homicide’ was a comedy too,” he said. “It was a shoot-’em-up, and there were all these dangerous situations, but at heart I think it was an office comedy. We always came back to the squad, and the relationships were built upon mutual affection. And I always felt that they were comic in tone.

Andre Braugher in ‘Brooklyn Nine-Nine’ – NYTimes.com

I always thought Homicide was a romantic comedy.

Pembyliss 4eva

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slaughterhouse90210:

“She belonged to a different age, but being so entire, so complete, would always stand up on the horizon, stone-white, eminent, like a lighthouse marking some past stage on this adventurous, long, long voyage, this interminable — this interminable life.”
― Virginia Woolf,
Mrs. Dalloway

Perfect Frances Conroy is perfect.