(via general-grievous)
Kendrick Lamar - A.D.H.D.
Man, no wonder our lives is caught up
In the daily superstition
That the world is bout to end
Who gives a fuck, we never do listen.
Irina Lazareanu by Alex Prager for W November 2010
(via localunicorn)
![suicideblonde:
INGLOURIOUS BASTERDS Fits Perfectly into Quentin Tarantino’s Movie Universe and Influences the Entire Filmography
By now, most Quentin Tarantino fans are aware of the connections interlaced throughout all of his films. John Travolta’s Vincent Vega in Pulp Fiction is the brother of Michael Madsen’s Vic Vega in Reservoir Dogs, Harvey Keitel’s Mr. White worked with Alabama from True Romance, the plot basis for Kill Bill is described as the synopsis for a TV series in Pulp Fiction, etc.
Now the epiphany that Eli Roth’s character of Donny Donowitz aka “The Bear Jew” in Inglourious Basterds is the father of the movie producer Lee Donowitz in True Romance has inspired a truly mind-blowing theory that the rest of the films (chronologically speaking) in Tarantino’s filmography take place in a world where [Inglorious Basterds spoiler] World War II came to an end when Adolf Hitler was brutally murdered in a movie theater by the Basterds.
This initial connection was brought up in an article on Cracked, but a poster on Reddit (via David Chen’s Twitter) has more eloquently summed up what this means for Tarantino’s movieverse:
As it turns out, Donny Donowitz, ‘The Bear Jew’, is the father of movie producer Lee Donowitz from True Romance – which means that, in Tarantino’s universe, everybody grew up learning about how a bunch of commando Jews machine gunned Hitler to death in a burning movie theater, as opposed to quietly killing himself in a bunker. Because World War 2 ended in a movie theater, everybody lends greater significance to pop culture, hence why seemingly everybody has Abed-level knowledge of movies and TV. Likewise, because America won World War 2 in one concentrated act of hyperviolent slaughter, Americans as a whole are more desensitized to that sort of thing. Hence why Butch is unfazed by killing two people, Mr. White and Mr. Pink take a pragmatic approach to killing in their line of work, Esmerelda the cab driver is obsessed with death, etc. You can extrapolate this further when you realize that Tarantino’s movies are technically two universes – he’s gone on record as saying that Kill Bill and From Dusk ‘Til Dawn take place in a ‘movie movie universe’; that is, they’re movies that characters from the Pulp Fiction, Reservoir Dogs, True Romance, and Death Proof universe would go to see in theaters. (Kill Bill, after all, is basically Fox Force Five, right on down to Mia Wallace playing the title role.) What immediately springs to mind about Kill Bill and From Dusk ‘Til Dawn? That they’re crazy violent, even by Tarantino standards. These are the movies produced in a world where America’s crowning victory was locking a bunch of people in a movie theater and blowing it to bits – and keep in mind, Lee Donowitz, son of one of the people on the suicide mission to kill Hitler, is a very successful movie producer. Basically, it turns every Tarantino movie into alternate reality sci fi. I love it so hard.](http://25.media.tumblr.com/tumblr_m4uw9gSZmJ1qz9qooo1_500.jpg)
By now, most Quentin Tarantino fans are aware of the connections interlaced throughout all of his films. John Travolta’s Vincent Vega in Pulp Fiction is the brother of Michael Madsen’s Vic Vega in Reservoir Dogs, Harvey Keitel’s Mr. White worked with Alabama from True Romance, the plot basis for Kill Bill is described as the synopsis for a TV series in Pulp Fiction, etc.
Now the epiphany that Eli Roth’s character of Donny Donowitz aka “The Bear Jew” in Inglourious Basterds is the father of the movie producer Lee Donowitz in True Romance has inspired a truly mind-blowing theory that the rest of the films (chronologically speaking) in Tarantino’s filmography take place in a world where [Inglorious Basterds spoiler] World War II came to an end when Adolf Hitler was brutally murdered in a movie theater by the Basterds.
This initial connection was brought up in an article on Cracked, but a poster on Reddit (via David Chen’s Twitter) has more eloquently summed up what this means for Tarantino’s movieverse:
As it turns out, Donny Donowitz, ‘The Bear Jew’, is the father of movie producer Lee Donowitz from True Romance – which means that, in Tarantino’s universe, everybody grew up learning about how a bunch of commando Jews machine gunned Hitler to death in a burning movie theater, as opposed to quietly killing himself in a bunker. Because World War 2 ended in a movie theater, everybody lends greater significance to pop culture, hence why seemingly everybody has Abed-level knowledge of movies and TV. Likewise, because America won World War 2 in one concentrated act of hyperviolent slaughter, Americans as a whole are more desensitized to that sort of thing. Hence why Butch is unfazed by killing two people, Mr. White and Mr. Pink take a pragmatic approach to killing in their line of work, Esmerelda the cab driver is obsessed with death, etc. You can extrapolate this further when you realize that Tarantino’s movies are technically two universes – he’s gone on record as saying that Kill Bill and From Dusk ‘Til Dawn take place in a ‘movie movie universe’; that is, they’re movies that characters from the Pulp Fiction, Reservoir Dogs, True Romance, and Death Proof universe would go to see in theaters. (Kill Bill, after all, is basically Fox Force Five, right on down to Mia Wallace playing the title role.) What immediately springs to mind about Kill Bill and From Dusk ‘Til Dawn? That they’re crazy violent, even by Tarantino standards. These are the movies produced in a world where America’s crowning victory was locking a bunch of people in a movie theater and blowing it to bits – and keep in mind, Lee Donowitz, son of one of the people on the suicide mission to kill Hitler, is a very successful movie producer. Basically, it turns every Tarantino movie into alternate reality sci fi. I love it so hard.
(via twangmywang)
Sixteen Things Calvin and Hobbes Said Better Than Anyone Else
On life’s constant little limitations
Calvin: You know, Hobbes, some days even my lucky rocket ship underpants don’t help.
On expectations
Calvin: Everybody seeks happiness! Not me, though! That’s the difference between me and the rest of the world. Happiness isn’t good enough for me! I demand euphoria!
On why we are scared of the dark
Calvin: I think night time is dark so you can imagine your fears with less distraction.
On the unspoken truth behind the education system
Calvin: As you can see, I have memorized this utterly useless piece of information long enough to pass a test question. I now intend to forget it forever. You’ve taught me nothing except how to cynically manipulate the system. Congratulations.
On the cruel reality of commercial art
Hobbes: Van Gogh would’ve sold more than one painting if he’d put tigers in them.
On the tragedy of hipsters
Calvin: The world bores you when you’re cool.
On the tears of a clown
Calvin: Isn’t it strange that evolution would give us a sense of humour? When you think about it, it’s weird that we have a physiological response to absurdity. We laugh at nonsense. We like it. We think it’s funny. Don’t you think it’s odd that we appreciate absurdity? Why would we develop that way? How does it benefit us?
Hobbes: I suppose if we couldn’t laugh at things that don’t make sense, we couldn’t react to a lot of life.
Calvin: (after a long pause) I can’t tell if that’s funny or really scary.
On the falling of sparrows (or providence’s lack of a timetable)
Calvin: Life is full of surprises, but never when you need one.
On why winter is the cruellest of seasons
Calvin: Getting an inch of snow is like winning 10 cents in the lottery.
On the gaping hole in contemporary art’s soul
Calvin: People always make the mistake of thinking art is created for them. But really, art is a private language for sophisticates to congratulate themselves on their superiority to the rest of the world. As my artist’s statement explains, my work is utterly incomprehensible and is therefore full of deep significance.
On playing Frankenstein with words
Calvin: Verbing weirds language.
On realising God is more Woody Allen than Michael Bay
Calvin: They say the world is a stage. But obviously the play is unrehearsed and everybody is ad-libbing his lines.
Hobbes: Maybe that’s why it’s hard to tell if we’re living in a tragedy or a farce.
Calvin: We need more special effects and dance numbers.
On why ET is real
Calvin: Sometimes I think the surest sign that intelligent life exists elsewhere in the universe is that none of it has tried to contact us.
On looking yourself in the mirror
Hobbes: So the secret to good self-esteem is to lower your expectations to the point where they’re already met?
On the future
Calvin: Trick or treat!
Adult: Where’s your costume? What are you supposed to be?
Calvin: I’m yet another resource-consuming kid in an overpopulated planet, raised to an alarming extent by Madison Avenue and Hollywood, poised with my cynical and alienated peers to take over the world when you’re old and weak. Am I scary, or what?
On the truth
Calvin: It’s a magical world, Hobbes, ol’ buddy…Let’s go exploring!
(via ohdelay)
Yoko Kanno
Kaoru & Sentaro Duo in BUNKASAI
(Medley My Favorite Things~Someday My Prince Will Come~Moanin’)
(via catladysoul)
