1. This movie stuck it to the man by filming the entire production in both Disneyland and Disney World without their permission.
2. Disney is apparently “aware” of this movie but has taken no legal action.
3. I’d never heard of this film until a friend forced me to watch it. I neither regret this nor thank him for it.
4. This film somehow succeeded in making Disney a terrifying menace that is a threat to fathers everywhere.
5. “What the fuck am I watching?” is what I thought multiple times while viewing this film.
6. Pedophilia is everywhere in Disney. Fathers chase after underage French girls, retired Disney princesses kidnap little kids to reenact scenes from Snow White, little boys are shown pictures of naked foreign women during cinematic rides—the list goes on and on.
7. Can’t help but be paranoid that Disney will sue me over this review. I have nothing, you bastards.
8. The film opened with someone being decapitated on a Disney ride—then cut to a scene of a corporate asshole firing the protagonist over the phone while he was on vacation with his family. The scary part is that both of these incidents have occurred multiple times throughout the course of modern human history. This makes me dread graduating college and entering the real world.
9. My friend and I both agreed that the protagonist’s wife was a bitch the entire film. (Spoilers: she sadly doesn’t die.)
10. There’s a scene where a nurse suddenly breaks into tears and I still don’t understand why.
June 19th, 2014 / 12:00 pm
On the day when al-Qaeda toppled the Twin Towers with commercial airplanes I was very upset, not because thousands of Americans had just died, but because the snack that my mommy always had in the car when she picked me up form school — a yummy, delicious, chocolaty, nutty, and creamy Snickers — had melted.
A lot of people seem to be very perturbed by 9/11, and these types are, according to me, phony, stupid, or both. What turns 9/11 into a tragedy isn’t that tons of humans beings die. Tons of humans beings die all of the time. Right now around 5,000 Syrians are dying per month, and only a tiny percentage of Americans seem to care enough to do anything. 9/11, though, is different because, as Noam Chomsky says, “For the first time, the guns have been directed the other way. That is a dramatic change.” Normally, America’s the country who gets to be grandly violent, like when Bill Clinton sundered a Sudanese pharmaceutical plant, decimating their medicine supplies, causing thousands to die from treatable diseases. But on 9/11 the opposite occurred. The country whose interests, according to Woodrow Wilson, “must march forward” got gashed. People — white people, Capitalist people, Western people — who weren’t supposed to die, died.
The controversial French boy, Jean Baudrillard, says that 9/11 made our “fantasies real.” All of those terrific and terrifying disaster movies — Independence Day, the Transformers, Schindler’s List — had tumbled into America’s tangible territory. The acts actually annihilated USA bodies. But just because Jean used the word “real” doesn’t make it so. For Jean, “reality only exists to the extent that we can intervene in it. But when something emerges that we cannot change in any way, even with the imagination, something that escapes all representation, then it simply expels us.” Just as I can’t kiss that cute Nazi boy in Schindler’s List, nobody was able to cease the Twin Towers’ collapse.
Today is the day a stork (supposedly one who was wearing a Miu Miu baby doll dress and a demure dark bow in her hair) delivered Carina Finn — poetess, visual artist, baker, and girl — to her mommy. Everyone should buy her a present. Here’s some suggestions.
* A cupcake with lemon frosting.
* A cupcake with mint frosting.
* This Belle Ensemble.
* A cupcake with strawberry icing and sprinkles.
* A pair of sunnies or maybe even a pair of specs, like the kind Marilyn Monroe wears in How To Marry a Millionaire.
* This Belle Fairytale Journal.
* A chocolate cupcake with vanilla icing (if there are sprinkles on it then don’t bother).
* And obviously this Belle Tiara because all admirable girls should absolutely be attired in a Belle Tiara.
You can read about some of the gossip concerning the birthday of Baby Carina (who’s not interchangeable with Carina Finn, ok) on Bambi Muse right here.
The conference was kind of (though not really) supposed to take place soon after, but due to incidents involving peanut butter, Sean Cody, and tea parties, the conference kept incurring delays.
Finally, on a cool summer night, the primary participants of The Hunger Games % Academic Conference — New York City Poetry Festival princess Stephanie Berger, Carina, and me — gathered at a sharply secret location, and the conference, after so many months, commenced.
Before the first panel was to begin, controversy came. I noticed that the then title of our conference, The Hungers Games Academic Conference, looked sort of weird, like Barack Obama’s birth certificate (which I still haven’t had the chance to see, by the way). I suggested that we add percentage symbols before the “The” and after “Games.” Carina concurred that The Hunger Games Academic Conference was too plain to be pretty, but she deemed that two percentage symbols was a surfeit, and declared that there should only be one, and that one should come after the “Games.” So that’s how The Hunger Games Academic Conference became The Hunger Games % Academic Conference.
Stephanie, who’d been texting with boys throughout the title alteration, then declared, “We’re off to a good start.” But her cheer was countered right away when a stack of referential texts, including Kate Durbin’s Kept Women, Sianne Ngai’s Our Aesthetic Categories, and an alien anthology of film theory essays, toppled over.
And on that odious note, the first panel — The Hungers Games As a Micro/Macrocosm of the Hungarian Doctor in Celine’s Oeuvre As Interpreted by Kristeva; or, Stephanie Drops Her Port — proceeded with both Stephanie and Carina recalling the specific time when the former dropped her port; both labeled the occurrence “a moment of abjection.”
Carina then touched on the Celine component of the panel by describing both Celine and The Hunger Games as dramatically violent and pastorally lovely.
Like Disney movies, creamy coffee desserts, and many other things, Willa Cather is a terrifyingly terrific treasure. Being a boy, it’s somewhat bothersome to admit to admiring a girl, especially since nearly all the boys the I look up to don’t really look up to girls. “Woman is natural, that is to say abominable,” declares French boy poet Charles Baudelaire in his Intimate Journals. “She is always vulgar; the opposite, in fact, of the Dandy.” Then there’s the American boy novelist Norman Mailer. In An American Dream, Norman’s semi-doppelganger throws his ex-wife out the bathroom window after she admits to partaking in the type of act that Dan Savage and Frank Bruni revere. But, as with Emily D, Charlotte B, Annie F, and tons more, Willa is simply too wonderful to cast aside just because she’s the opposite of a boy. Her stories and novels are grumpy, moody, severe, ascetic, and fashionable (Antonia’s friend Lena becomes a dressmaker in San Francisco and Professor St. Peter composes his Spanish adventurer study in the same room as a seamstress).
As for the characters Willa compels, they’re cuttingly on the button in their evaluations of people-centric societies. Reflecting upon his prior city life, the eponymous boy of Neighbour Rosicky remarks:
In the country, if you had a mean neighbour, you could keep off his land and make him keep off yours. But in the city, all the foulness and misery and brutality of your neighbours was part of your life. The worst things he had come upon in his journey through the world were human, — depraved and poisonous specimens of man.
What to do when beset by corrupt, indelicate, inconsiderate creatures? Why… destroy, of course! Violence is enthralling, enlightening, and entertaining. It’s allotted a starring role in Willa’s world. In My Antonia, Jim slugs a rattlesnake to death in front of Antonia, her father also hangs himself, and her family is friends with a couple of Russian boys who were ostracized by practically every European country for throwing a newlywed couple off a sled and to the wolves so that they themselves wouldn’t be eaten. Some stories start out serene only to become violent later on. The Enchanted Bluff is about a bunch of boys on a camping trip. The trip’s tranquility is toppled when one of the boys tells of a Cliff-Dweller society whose men were massacred and whose women and children were left to starve. Keeping children’s tummies empty is obviously wrong, but violence is right. There are few better means to upending uppity control (i.e liberal America) than violence, and there is such an abundance of this trenchant tool in Willa’s tales.
Basically, Willa is sort of one of the best. Formerly, I dressed up The Professor, but someone as sensational as the Nebraska girl certainly deserves to have her universes adorned much more than once, which is why I’ll now deck the characters from O Pioneers!
There shouldn’t be an AWP. There should only be one if it would result in me meeting Gina Abelkop. She is the publisher of Birds of Lace, a press that publishes books about girl groups, adventurous twins, and girls who justify murder in high school essays. Most Birds of Lace books fulfill one of the primary attributes of literature: They transmute the reader to magical, mysterious worlds of death, babysitters, and big hair. Gina and I could meet for tea (or vanilla cupcakes). We could discuss trenchant topics, like the veils in Meadham Kirchoff’s Fall 13 collection or Disney princesses. Why, we could even mosey to a Disney store (if there are Disney stores in Boston) and she could purchase an Ariel doll (because she’s a girl) and I could purchase a Buzz Lightyear doll (because I’m a boy). It’d all be rather idyllic. But according to the grapevine Gina won’t be attending this year. So I won’t either, which is fine, since the AWP is as disgusting as gay people, straight people, bisexual people, and Brooklyn.
On their site, the AWP claims to be “the largest literary conference in North America.” But the AWP has little relation to literature. Only around one percent of the attendees make literature. There’s just a tiny fraction who formulate texts that are monstrous and divine – that, like those German boys, possess the grit and glamour to wage war on basically everyone on the globe. As for the rest – the 99 percent of AWP people – they are not poets and they are not composing literature. They are not concerned with epic Emily Bronte or moody Frank O’Hara. They are a product of typical middle class capitalism, or, as Karl Marx says, “the bourgeois.” According to Karl, the bourgeois live off others’ labor. They acquire value through accumulation. As the bourgeois stockpile products their worth increases. This renders them reliable upon the proletariat who must toil night and day with very little rest to keep up with the insatiable, indiscriminate bourgeois.
|film||year||production budget||worldwide gross|
|Star Wars||1977||$11 million||$775,398,007|
|The Empire Strikes Back||1980||$18 million||$538,375,067|
|Return of the Jedi||1983||$32.5 million||$475,106,177|
|The Phantom Menace||1999||$115 million||$1,027,044,677|
|Attack of the Clones||2002||$115 million||$649,398,328|
|Revenge of the Sith||2005||#113 million||$848,754,768|
Net profit: 3.9 billion dollars.
And that’s just ticket sales.