Don’t do anything by half. If you love someone, love them with all your soul. When you go to work, work your ass off. When you hate someone, hate them until it hurts. - Henry Rollins
(Source: fffightoffyourdemons.tumblr.com )
If I set sail, would you follow me to the sea? / If I never came back? / If I never looked back? / would you call me a coward for never making right with myself? / If I die at sea, would you please set me adrift? / So I can die as a martyr, and not as a fuck up in everyones memories. / This ship is sinking. / abandon me and your hope. / I’ll sink like a stone. / But please, remember me when the tide pulls you in.
![bbones:
iamtheju:
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 is the best information on the internet.
speechless](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 is the best information on the internet.
speechless
“He looks like a total nerd, right? This guy looks like a geek, but his name’s Mike. He’s one of the most hardcore guys in the scene.”
(Source: bettyfelon)
They’ll just get bigger and then everyone will know them and it’ll be so cool. They deserve it too.
16. Chicago 17. no favourite one specifically 18. not at all… 19. the whirring sound of my fan 20. Their face features 21. 11 1/2 22. hazel/brown. it varies. 23. dark brown 24. whatever i can afford 25. yes! 26. blue 27. I like to make mixtapes for people I care about dearly. I guess that’s it. 28. Where The Wild Things Are 29. I don’t know! 30. Right now I really dig The Weakerthans, but it changes 31. TIRED AS FUCK 32. My sister 33. SINGLE (come at me ladies) 34. it varies: right now we’re okay i guess 35. Thanksgiving! 36. N/A 37. i want a tattoo of some Mineral lyrics on my ribs. 38. to be “hip” ;) 39. The Things They Carried 40. oh all the time 41. LOL I WISH 42. i tried to hold Billy’s hand earlier. it kinda worked. 43. literally 10 minutes 44. no… 45. in my bed 46. probably Sammy 47. depends. usually loud.
SUCK MY DICK
Anonymous asked: all of them.
1. Brandon Michael Lee 2. Libra 3. being alone, being lonely, not having friends 4. friends, music, traveling 5. nice legs, brown hair, british accents, intelligence 6. lack of confidence, ignorance, bigotry, being flakey 7. Sam Nuccio. (i have more, but he’s the longest standing) 8. Straight. 9. Freshman year @ the bowling alley 10. 6’2” 11. my dog 12. i don’t know exactly. late afternoon. 13. red 14. Yes! 15. “everything will be okay in the end, if it’s not okay, it’s not the end. 16.
