from inception


Not only is my chemical romances music a work of art, but just the whole band’s existence, from its inception to its end it’s like a great timeless classic novel.. Theatrical, culturally defining, has a conflict, is revolved with solution that’s thought up of seemingly overnight,  is sad because it ends, but it was great while it lasted, and the characters live happily ever after, and it can be re-read and re-watched and will never get old or irrelevant.

@toonami thank you for this holiday

I’m not saying that free-market economics is bad or dangerous, I’m saying that it doesn’t even exist.

The mythical butcher-baker-candlestick-maker view of capitalism only existed in the very earliest days of capitalist development, when it was little more than a social experiment embarked upon by adventurous minor nobles and desperate peasants in fast-growing early-modern cities. The whole reason capitalism survived as a way of organising economic activity was because the newly-wealthy capitalist elites were best placed to wield influence over tottering European feudal states as they crumbled under their own weight - taking them over to run them as glorified protection rackets for their profit-making schemes. From its earliest inception within feudal societies, capital has sought the benefits of the state - legal regulation, economic protectionism, military repression - and used them to secure its future.

Even the most dimly-conscious free-market ideologue knows this. What ‘free-market’ ideology really conceals is a civil war between staggeringly wealthy elites, over which faction of capitalists should reap the rewards: those who benefit from the huge resources of states being poured into subsidising the profits of manufacturing, industry and trade, or those who can make a killing from bank bailouts, government-secured property deals and state-backed oil ventures.

Modern states, therefore, are to capitalism both nursemaid and childhood playmate: they are utterly inseparable, bound together in a Faustian bargain written in the blood of workers.

The Signs As Leonardo Dicaprio Roles

Aries: Calvin Candie from “Django Unchained”

Taurus: Jack Dawson from “Titanic”

Gemini: Billy from “The Departed”

Cancer: Cobb from “Inception”

Leo: Jordan Belfort from “The Wolf Of Wall Street”

Virgo: Amsterdam Vallon from “Gangs of New York”

Libra: Romeo from “Romeo + Juliet”

Scorpio: Hugh Glass from “The Revenant”

Sagittarius: Teddy Daniels from “Shutter Island”

Capricorn: Jay Gatsby from “The Great Gatsby”

Aquarius: Howard Hughes from “The Aviator”

Pisces: Danny Archer from “Blood Diamond”

Design for Sport

#tbt With SuperBowlLI on Sunday, we look back to MoMA’s first sports-related exhibition, 1962’s Design for Sport. From its inception, MoMA had been active in establishing an inclusive concept of modernist design: of this exhibition, Time magazine wrote that encountering sporting design at MoMA was no more or less surprising than seeing classic cars, Japanese houses, or geodesic domes. More than 100 examples of sports equipment, including a football, baseball bats, and hockey gloves, were assembled under a tent in the Museum’s Sculpture Garden. An essay in the catalogue noted that the canoes and tennis rackets were in fact not so out of place next to the bronze sculptures: for curator Arthur Drexler, not only were form and function ideally united in these objects, but their design is in harmony with the classical concept that passionately committed competition is a virtue far more important than winning.

See images of the installation and more at http://mo.ma/2jnsYMO. 21 of #52exhibitions

arthur and eames’s personal methods of falling in love would completely contradict their normal modes of functioning.

eames comes off as whimsical and impulsive, prancing cocksure into situations in the last minute and making decisions off the cuff based on whatever his fancy du jour happens to be. 

arthur comes off as cool and calculating, assessing every single piece of finer print of every single situation he ever enters before making decisions or going into action. he checks and rechecks facts, puts the most minuscule facts and statistics to memory just in case someone happens to need them down the road. words to describe him include ‘prepared’ and ‘bloody fucking prepared’ because he’s good at what he does, goddammit.

but when it comes to love, it’s the complete and utter fucking opposite. eames worries and worries and worries and second guesses and worries some more and panics and paces and thinks of every single outcome of every single action and panics some more. it consumes his every waking thought and he can barely smile without having serious mental conversations with himself about the possible repercussions. every single detail of every situation is analyzed closely as he tosses and turns through sleepless nights. by the time any sort of move is made, eames has considered every single possible case scenario that could occur.

and then with arthur… it just happens. ‘oh’, he thinks lazily as it dawns on him. ‘interesting.’ and then that’s fucking that, eames becomes a permanent installation in his life and he doesn’t question it.

Overly Suspicious

When you’re trying to figure out who’s really your friend, and who’s just being nice to you because you’re in a wheelchair.

A genuinely nice person: Hey!! How’s it going??

Me:

Originally posted by redloho

[GIF combining three memes of Ned Flanders looking suspicious through the window. While Fry slides in from the left with his suspicious face, and Leonardo DiCaprio sliding in from the bottom right, with his squinty face from Inception.]

Film as Lit class:
Had to go up and write what makes a good movie.

Mr. Ray approved

“Supergirl” Is The Most Politically Progressive Show On Television

The CW series — which has a female immigrant hero at its center — is even more committed to inclusive stories in its second season.

“Truth, justice, and the American way” has been the tagline and mission statement for Superman for over 75 years. Now, on The CW’s Supergirl, Superman’s cousin Kara Zor-El (Melissa Benoist) has taken up the mantle during one of the most politically divisive times in American history. Her unrelenting commitment to these core principles has made her — and the series on which she stars — border on radical, particularly given that Kara is a woman and an immigrant.

Her gender alone makes the show a rare exception among the many male-dominated comic book series on television, a fact that has given Supergirl a progressive slant from its inception. “We’re telling a story about a woman with incredible power, and unfortunately that is automatically a political discussion,” executive producer Sarah Schechter told BuzzFeed News in a phone interview. “It’s really in the DNA of the show, in its core, that it’s about a strong woman.”

“Our desire is to reflect back not just the world that we live in, but the world that we could live in.”

Supergirl’s second season has focused heavily on the rights of undocumented aliens like Kara, a not-so-subtle allegory for the country’s contentious immigration debate — and, showrunner Andrew Kresiberg acknowledged, at least partly a response to the xenophobic rhetoric that dominated the 2016 US presidential campaign. And while the show may be addressing immigration metaphorically, it’s also embraced inclusion head-on.

(x)

So I emailed the writer/director of Ask Me Anything telling him all of my theories about what happened, hoping he would give me a clue and this is what he said


“Ashlyn, one thing is certain.  It’s not the man who molested her, as she posted the letter the night she disappeared, so he would not have time to receive it yet.  I think you should pick the ending that best helps you to sleep.  :)  

Here are some insights that you might find useful.

There are a million movies/stories out there that fulfill the emotional need for story resolution.  Indies films and literary novels, I think, are different and should not feel obligated to tie up everything neatly.  This movie from its very inception, from the moment Katie appears as a skeleton in the first scene, was about a girl on a path of self-destruction.

The world that we shift to at the end of the movie is merely the realistic version of the world that we have just left, the world as presented by Katie, who has embellished and concealed and distorted things a bit to protect her identity and perhaps to inflate her sense of importance.  Now we see who the people really were before Katie distorted them in her blog.  But in the difference lies the difficulty for her mother (and us) in ever discovering what happened to her.  She has been lost in the miasma of social media.  Self-branding, which is so prevalent these days, is really a hall of mirrors that conceals who a person really is. 

In a way, not knowing what happened to Katie/Amy is the point of the movie.   

What matters is not so much whether someone hurt Katie, it is that anyone might have, as her beauty, sexuality, youth, and recklessness inspired such intense anger and desire in men…..

At the end, we don’t know if Katie is alive or dead.  But we do know one thing:  her “reality show” is over.  And we have been its most loyal audience.  We have been voyeurs.

I know it’s difficult, but you have to see if you can embrace the ambiguity.  If you can, it becomes a much bigger and better movie.   At least I think so.   It’s not just about one girl.  It’s about the world we live in

.I hope this clears it up for you a little bit.  The novel version – undiscovered gyrl – includes a ton more about Katie – there is even a dead body at the end…but it still doesn’t give you a final answer.

best, Allison”


Just in case anyone was looking for answers, this is what I got. 

The last time we’ll pan across these photos…still amazing to think how central this aspect was to the show from its inception, and how quickly and thoroughly it disappeared. Like if The Godfather stopped being about the Mafia 2 hours in, or Jaws resolved the shark story and kept going afterwards.

3

A Charlie Brown Christmas was Made in Less Than 6 Months!

S’true! One afternoon in May of 1965, advertising company McCann Erickson called documentary filmmaker Lee Mendelson. They had seen his festivals-only documentary on Peanuts creator Charles Schulz and wanted to know if Mendelson and Schulz had ever thought of doing a Christmas special.

Mendelson recalls, “I immediately said, ‘Yes,’ assuming we could develop something in a few weeks or months.”

Only McCann Erickson didn’t want to wait a few weeks, never mind a few months.

Mendelson explains, “It was a Wednesday, and they said they needed an outline by Monday, as they had to make a quick decision, as other animated specials were being offered. I called Schulz and said, ‘I think I just sold a Charlie Brown Christmas show.’ He asked, ‘What is that?’ And I said, ‘It’s something you have to write tomorrow, when [animator] Bill [Melendez] and I come up.”

Mendelson and Melendez zipped up to Santa Rosa, and the three artists quickly hammered out the outline for A Charlie Brown Christmas.

“Coca-Cola bought the outline, and the show went on [TV] six months later,” says Mendelson. “It did a 45-percent share of the [US] audience, and went on to win an Emmy and a Peabody.” (Via: The Washington Post.)

NHL players, and hockey fans in general, are overwhelmingly complicit in regards to hockey’s relationship with white supremacy.

Last night at the ESPYs, four of the NBA’s most prominent players (including LeBron James, an arguable candidate for the best NBA player of all time) gave a stirring, well-composed speech on police brutality in America and the specific manner in which, to quote directly, “black and brown bodies” are targeted by police. 

This shows a deep understanding of the issue, one that understands the manner in which white supremacy brutalizes bodies deemed to be outside of whiteness, and the way in which police power relies upon this very brutalization at a basic level. From their inception, police have been specifically used not to protect, but to maintain an order of law with the threat of violence or incarceration. 

The NHL, the whitest of the Big Four sports, has not seen any appreciable discussion of police brutality, or even of any issues with racism beyond incredibly shallow gestures towards a supposed progress. When a talented player like Joshua Ho-Sang is sent home from camp for oversleeping and the response loudly condemns him, when a player like PK Subban is traded in a lopsided deal for a player of the same caliber but older and on a worse contract, when Wayne Simmonds is loudly condemned but other players are excused for far more dangerous conduct, when the hockey media runs articles attempting to describe Auston Matthews in a manner that will allow the mostly white fans of the Maple Leafs to see him as not only Canadian but more specifically a white Canadian, it should be easy to tell the sport has a problem with race. 

Both specific examples like these, and far more nebulous examples such as the manner in which many NHL fans discuss the NBA with dogwhistles and coded language, contribute to an image of the sport as unwelcoming and moreover unwelcoming by design. While programs such as the You Can Play Project have made admirable strides, this progress is not an excuse for the racism of the league.

Hockey absolutely has a problem with whiteness, with white supremacy, and that much should be rather clear from engaging with hockey fans for any appreciable amount of time.

And this is not simply relegated to the fans, but to the players themselves. As Stars players offer condolences to the Dallas PD, their silence on police brutality as well as other events such as the Pulse Nightclub shooting is incredibly apparent. That the most memorable examples of players mentioning police brutality are poorly thought-out tweets from Tom Sestito and Bobby Ryan complaining about protestors and insisting neutrality while implicitly protecting police from critique says quite a bit about how players feel. Considering the incredibly deeply embedded cultures of white supremacy in both America and Canada, it should come as no surprise that the league is so deeply white in every sense, but that it is unsurprising is not an excuse.

Hockey fans must begin to openly, loudly, and relentlessly critique the whiteness of the sport, must talk about the manner in which its whiteness is preserved through structures of racism deeply in North American society, and to challenge the overwhelming silence of NHL players on matters of racial justice in America.

Black Panthers vs. “Co-opting” struggles

From Black Against Empire:

[Begin Quotation]

The Party also keenly understood that the Black Liberation Struggle needed nonblack allies, particularly progressive white allies. An editorial in the Black Panther explained why this alliance was important: The increasing isolation of the black radical movement from the white radical movement was a dangerous thing, playing into the power structure’s game of divide and conquer. We feel that in taking the step of making the coalition with the Peace and Freedom Party, we have altered the course of history on a minor, but important level.”

From its inception, the Black Panther Party had embraced both an uncompromising commitment to black liberation and a principled rejection of a separatist black politics. The coalition with the Peace and Freedom Party, which a number of black nationalists criticized, illustrated both. Explaining the Party’s position to its expanding black base was critical. “Because our Party has the image of an uncompromising stand against the oppression of the white power structure on Black people, we could take this step without getting shot down with the charge of selling out.”

As the Black Panther Party promoted the “Free Huey!” campaign, it built on emerging alliances with students and white antiwar activists, advancing an anti-imperialist political ideology that linked the oppression of antiwar protestors to the oppression of blacks and Vietnamese. Bobby Seale elaborated this position at a January 28, 1968, rally at UC Berkeley supporting students who had been arrested during Stop the Draft Week. Citing Newton’s article “On the Functional Definition of Politics,” Seale spoke to the crowd about self-defense power and the parallels between the Vietnamese and the black American liberation struggles. He pointed out that the antidraft students were locked up right alongside Huey Newton in the Alameda County jail. He made common cause with the students, arguing that the antiwar demonstrators faced a plight like that of the black community:

Black people have protested police brutality. And many of you thought we were jiving, thought we didn’t know what we were talking about, because many Black people in the community probably couldn’t answer your questions articulately. But now you are experiencing this same thing. When you go down in front of the draft [board], when you go over and you demonstrate in front of Dean Rusk, those pig cops will come down and brutalize your heads just like they brutalized the heads of black people in the black community. We are saying now that you can draw a direct relationship that is for real and that is not abstract anymore: you don’t have to abstract what police brutality is like when a club is there to crush your skull; you don’t have to abstract what police brutality is like when there is a vicious service revolver there to tear your flesh; you can see in fact that the real power of the power structure maintaining its racist regime is manifested in its occupying troops, and is manifested in its police department—with guns and force.

The new approach to draft resistance was compelling because of its universality. The black anti-imperialism championed by SNCC compared the plight of blacks in the United States with the plight of the Vietnamese and others throughout the world who were waging struggles against colonialism and imperialism. At SNCC’s invitation, student antiwar activists came to see themselves as fighting for their own liberation from the American empire. The imperial machinery of war that was inflicting havoc abroad was forcing America’s young to kill and die for a cause many did not believe in. Young activists came to see the draft as an imposition of empire on themselves just as the war was an imposition of empire on the Vietnamese.

SDS leader Greg Calvert encapsulated this emerging view in the idea of “revolutionary consciousness” in a widely influential speech at Princeton University that February. Arguing that students themselves were revolutionary subjects, Calvert sought to distinguish radicals from liberals, and he advanced “revolutionary consciousness” as the basis for a distinct and superior morality: “Radical or revolutionary consciousness … is the perception of oneself as unfree, as oppressed—and finally it is the discovery of oneself as one of the oppressed who must unite to transform the objective conditions of their existence in order to resolve the contradiction between potentiality and actuality. Revolutionary consciousness leads to the struggle for one’s own freedom in unity with others who share the burden of oppression.” 

The speech marked a watershed in the New Left’s self-conception. Coming to see itself as part of the global struggle of the Vietnamese against American imperialism and the black struggle against racist oppression, the New Left rejected the status quo as fundamentally immoral and embraced the morality of revolutionary challenge. From this vantage point, the Vietnam War was illegitimate, and draft resistance was an act of revolutionary heroism.

[End Quotation]


How different the discourse of the Black Panthers is from much of today’s activism, with its concerns for “co-opting” struggles, for parsing actions down to discrete authentic groups, for emphasizing the special and distinct nature of each struggle, incommensurable with any other group’s oppression, even when they are locked up in the same cells.

The revolutionaries of a previous generation thought exactly the opposite: the struggle must broaden, and the way to do that was to identify common oppressions, and further, to identify oneself as oppressed. This absolutely did not mean co-optation – the Black Panthers never abandoned black liberation, they simply understood that it would require a global revolutionary movement uniting many oppressed people against racist imperialism. They aligned with other groups who were on board with these politics – which meant breaking ties with reformist black organizations. The authors also stress how the Black Panthers actually led the antiwar movement: they pioneered draft resistance tactics, and agitated on college campuses, emboldening a moribund student left.

theatlantic.com
Buffy Summers: Third-Wave Feminist Icon
The final season of 'Buffy the Vampire Slayer' illuminates the many promises and predicaments of a contemporary movement.
By Patricia Pender

Gender analysis has been central to popular and academic critiques of Buffy from the series’ inception, and debates about its feminist rhetoric, politics, and potential continue to engage readers and viewers, scholars and fans. But what accounts for the extraordinary and enduring feminist appeal of Buffy, more than a decade after it went off the air? And how did its ex-cheerleading, demon-hunting heroine become the poster girl for third-wave feminist popular culture?

Simply put, Buffy, the story of a popular high-school student chosen by fate to fight vampires, offers a vision of collective feminist activism that’s unparalleled in mainstream television. At the same time, the series’ emphasis on individual empowerment, its celebration of the exceptional woman, and its problematic politics of racial representation remain important concerns. But in its final season, which ran from September 2002 to May 2003, Buffy offered a more straightforward and decisive feminist message than the show had attempted before. And in doing so it painted a compelling picture of the promises and predicaments that attend third-wave feminism as it negotiates both its second-wave predecessors and its traditional patriarchal nemeses.

****

(season 7) The principal story arc pits an amorphous antagonist, The First Evil, against the Slayer and her “army,” a group that’s swelled to include in its ranks “Potential” Slayers from around the world. In introducing a previously unknown matriarchal legacy (and weapon) for the Slayer, staging the series’ final showdown with a demon who’s overtly misogynist, and creating an original evil with a clearly patriarchal platform, Buffy’s final season raises the explicit feminist stakes of the series considerably.

Long, but interesting analysis of season 7 Buffy - power feminism and collective feminism