[video]
(via blast-negativity)
Keep ‘em coming!
tdmcpherson replied to your video: This does not have enough views. Watch it. …
Clap at 1:35. Can’t put my finger on it, but it immediately became my favorite part.
I completely understand.
I don’t understand him at all, on the other hand. I’m not sure if I’m being trolled or not.
[video]
LOOK AT MAH MUNNEY. Come any closer and I’ll eviscerate your face. BUT LOOK AT MAH MUNNEY.
(Source: cashcats)
![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.
This wins the film studies award of the year.](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.
This wins the film studies award of the year.
![theatlantic:
What If Herman Cain Had a Kill List?
Scene: Herman Cain is grinning as he enters the Situation Room, carrying enough Godfather’s Pizza for everyone present — and to everyone’s horror, Rich Lowrie is there at his side. JOHN BRENNAN: Before we begin, Mr. Cain, a question.CAIN: (glancing at a note card) Islom Karimov!BRENNAN: Huh?CLINTON: (amused) That’s the president of Uzbekistan. BRENNAN: Jesus. CAIN: I think that we ought to be able to kill 9 terrorists from 9 different countries in 9 minutes. Is there any reason we can’t do that?BRENNAN:That isn’t exactly how it works, Mr. Cain, we can’t —CAIN: Excuse me, I was talking to my man Rich. As I said during my campaign, I’m going to rely on my national security advisers, and I’m not going to let Washington insiders keep making all the decisions. BRENNAN: I was just explaining that someone has gone to fetch the next batch of photos, so we have to at least wait —CAIN: What about that guy? Looks to me like he’s a fan of sharia law. CLINTON: (texts “OMG” to Brennan).
Read more. [Image: Reuters, Kasia Cieplak-Mayr von Baldegg]
A one-act play of GOP fan fiction, by Conor Friedersdorf.](http://24.media.tumblr.com/tumblr_m4wamygTM01qcokc4o1_500.jpg)
What If Herman Cain Had a Kill List?
Scene: Herman Cain is grinning as he enters the Situation Room, carrying enough Godfather’s Pizza for everyone present — and to everyone’s horror, Rich Lowrie is there at his side.
JOHN BRENNAN: Before we begin, Mr. Cain, a question.
CAIN: (glancing at a note card) Islom Karimov!
BRENNAN: Huh?
CLINTON: (amused) That’s the president of Uzbekistan.
BRENNAN: Jesus.
CAIN: I think that we ought to be able to kill 9 terrorists from 9 different countries in 9 minutes. Is there any reason we can’t do that?
BRENNAN:That isn’t exactly how it works, Mr. Cain, we can’t —
CAIN: Excuse me, I was talking to my man Rich. As I said during my campaign, I’m going to rely on my national security advisers, and I’m not going to let Washington insiders keep making all the decisions.
BRENNAN: I was just explaining that someone has gone to fetch the next batch of photos, so we have to at least wait —
CAIN: What about that guy? Looks to me like he’s a fan of sharia law.
CLINTON: (texts “OMG” to Brennan).Read more. [Image: Reuters, Kasia Cieplak-Mayr von Baldegg]
A one-act play of GOP fan fiction, by Conor Friedersdorf.
Because some days talons are just not enough.
(Source: theinternetaccordingtoadrian, via fuckyounofuckme)
This Graph Is Disastrous for Print and Great for Facebook—or the Opposite!
If you work anywhere near media, you’ll want to take a long look at this graph. It tells you where Americans direct our attention (in BLUE) and where advertisers pay money to capture our attention (in RED).
- Takeaway #1: We still love TV.
- Takeaway #2: Advertisers still love print.
- Takeaway #3: Audiences move faster than advertisers.
According to this chart — adapted from a Mary Meeker slideshow excerpted by Bill Gross — we spend more time engaging with mobile devices than reading print. But print publications still get 25-times more ad money than mobile. Either the eyeballs are moving faster than the advertisers, who will eventually stop paying for print … or the ad teams don’t think a minute spent around mobile ads is worth a minute spend around print ads. Those aren’t mutually exclusive.
We can take this chart in a lot of directions. Could print see another mass exodus of money? Is mobile advertising about to explode?
“That’s the biggest issue with nihilism. It doesn’t work as advertised. It holds itself out as a brutally pragmatic approach to a harsh reality. In reality, it’s just a way to pat yourself on the back for surrendering in the face of eminently solveable problems.” — Squashed (via azspot)
(via azspot)