There’s something so uncannily timely about The Hunger Games: Catching Fire that it’s almost disturbing. In the UK over the past few weeks, there’s been a palpable sense that the dominant reality system is juddering, that things are starting to give. There’s an awakening from hedonic depressive slumber, and The Hunger Games: Catching Fire is not merely in tune with that, it’s amplifying it. Explosion in the heart of the commodity? Yes, and fire causes more fire …
A man standing on a crowded Muni train pulls out a .45-caliber pistol.
He raises the gun, pointing it across the aisle, before tucking it back against his side. He draws it out several more times, once using the hand holding the gun to wipe his nose. Dozens of passengers stand and sit just feet away - but none reacts.
Their eyes, focused on smartphones and tablets, don't lift until the gunman fires a bullet into the back of a San Francisco State student getting off the train.
It’s much easier to write off women’s behaviors, attitudes, and emotions as “mysterious” and “indecipherable” and perhaps arising from mystical female biological processes than it is to actually listen to and try to understand them.
Say what you want about the results, but at least Verbinski tries to bring intelligent, politically-savvy revisionist westerns back into style.
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