Brutal Movie Quotes

Music makes everything more romantic, doesn't it? One second you're walking your dog in the suburbs, and then you put on Adele, and it's like you're in a movie and you've just had your heart brutally broken.

What about animals slaughtered for our consumption? who among us would be able to continue eating pork chops after visiting a factory farm in which pigs are half-blind and cannot even properly walk, but are just fattened to be killed? And what about, say, torture and suffering of millions we know about, but choose to ignore? Imagine the effect of having to watch a snuff movie portraying what goes on thousands of times a day around the world: brutal acts of torture, the picking out of eyes, the crushing of testicles -the list cannot bear recounting. Would the watcher be able to continue going on as usual? Yes, but only if he or she were able somehow to forget -in an act which suspended symbolic efficiency -what had been witnessed. This forgetting entails a gesture of what is called fetishist disavowal: "I know it, but I don't want to know that I know, so I don't know." I know it, but I refuse to fully assume the consequences of this knowledge, so that I can continue acting as if I don't know it.

If you were sitting quietly on your couch, waiting for your girlfriend to come back inside so you could finish watching your movie, and while you were waiting, someone called you up and said “I’ll give you a million dollars if you can guess what’s going to happen next,” you absolutely would not guess “I am going to be brutally and unexpectedly attacked by a goose in my own home.” Even if you had a hundred guesses, you would not guess that.

Don't be a zombie for anyone, if your oppressor likes zombies, cinemas are not located in mars.

Because filmmaking is a brutal industry. You don't get anywhere unless you work more than anyone else. Unless you're better than they are.

One second you’re walking your dog in the suburbs, and then you put on Adele, and it’s like you’re in a movie and you’ve just had your heart brutally broken.” Margot

Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It’s around us in real ways every day. I’m talking to you, the people who made that movie The Human Centipede. No more Human Centipede movies please. No more movies about people’s mouths being sewn onto people’s butts.

what does help the person who has been raped is to chew it up and then spit it the hell out. And by chew it up I mean talk about it, write about it, paint it, make a movie about it, and then be done with it and move on. Because here’s the truth about rape: you do not have to be victimized by it forever. You can take this awful, bottomless horror the rapist has inflicted on you, and you can seize it and recycle it into something wonderful and helpful and useful. You can, in this way, transform what was “done” to you into something that was “given” to you in the form of brutally raw material. You can, in other words, accept this hideous thing and embrace it and take complete control of the experience and reshape it as you please. This is not to deny the experience and how devastating it is; it is to accept the experience on the deepest level as your own possession now. An experience that is now part of you. Instead of allowing it to be a tap that drains you, you can force it into duty in service to your creative or intellectual goals. Many

Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It's around us in real ways every day. I'm talking to you, the people who make that movie "The Human Centipede". No more "Human Centipede" movies please. No more movies about people's mouths being sewn onto other people's butts. The whole idea of making and watching a movie like that makes me want to take a ten-year nap.

I tried to read Handmaid's tale, really I did, but every time I opened the book, I recalled the movie from 199 all too vividly. I threw up then and unfortunately, that brought back memories of my time in the middle east with the Marine Corp , where I witnessed the murders, rapes and brutality. I can't forget the screams. David Larkin.

I have always been intrigued by this obsession with so-called black-on-black violence, as if black-on-white violence was somehow more acceptable. And why had no one ever described what happened in Northern Ireland or in Bosnia, Kosovo, et al. with its vicious brutality as examples of white-on-white violence? There it was just violence - then why black-on-black violence?

The colder and more crass the world has become, the more it scoffs at love at first sight. Popular television shows which would have made your grandmother puke, blockbuster movies so banal, vulgar, unfunny and shallow that only the brain-dead could find enjoyment in them, and best-selling fiction featuring either graphic descriptions of brutal, stomach-churning violence, or sexual depravity that drew no lines, had become completely acceptable, even the norm in our desensitized society.

Despite a seemingly pervasive belief that only people of colour ‘play the race card’, it does not take anything as dramatic as a slave revolution or Japanese imperialism to evoke white racial anxieties, something as trivial as the casting of non-white people in films or plays in which a character was ‘supposed’ to be white will do the trick. For example, the casting of Olivier award-winning actress Noma Dumezweni to play the role of Hermione in the debut West End production of Harry Potter and the Cursed Child got bigots so riled up that J. K. Rowling felt the need to respond and give her blessing for a black actress to play the role. A similar but much larger controversy occurred when the character Rue in the film The Hunger Games was played by a black girl, Amandla Stenberg. Even though Rue is described as having brown skin in the original novel, ‘fans’ of the book were shocked and dismayed that the movie version cast a brown girl to play the role, and a Twitter storm of abuse about the ethnic casting of the role ensued. You have to read the responses to truly appreciate how angry and abusive they are.- As blogger Dodai Stewart pointed out at the time: All these . . . people . . . read The Hunger Games. Clearly, they all fell in love with and cared about Rue. Though what they really fell in love with was an image of Rue that they’d created in their minds. A girl that they knew they could love and adore and mourn at the thought of knowing that she’s been brutally killed. And then the casting is revealed (or they go see the movie) and they’re shocked to see that Rue is black. Now . . . this is so much more than, 'Oh, she’s bigger than I thought.’ The reactions are all based on feelings of disgust. These people are MAD that the girl that they cried over while reading the book was ‘some black girl’ all along. So now they’re angry. Wasted tears, wasted emotions. It’s sad to think that had they known that she was black all along, there would have been [no] sorrow or sadness over her death.

Lobsang sighed. ‘But I think I need you too, Joshua. I often think back to our days together on the Mark Twain.’ ‘Watched any old movies recently?’ ‘That’s another thing about Agnes. She won’t let me show any movies that don’t have nuns in.’ ‘Wow. That’s brutal.’ ‘Something else that’s good for me, she says. Of course there aren’t that many movies that qualify, and we watch them over and over.’ He shuddered. ‘Don’t talk to me about Two Mules for Sister Sara. But the musicals are the worst. Although Agnes says that the freezer-raiding scene in Sister Act is an authentic detail from convent life.’ ‘Well, that’s a consolation. Musicals with nuns in, huh . . .’ A voice rang out across the park, a voice Joshua remembered only too well from his own past. ‘Lobsang? Time to come in now. Your little friend will keep until tomorrow . . .’ ‘She has loudhailers everywhere.’ Lobsang shouldered his rake and sighed as they trudged across the grass. ‘You see what I’m reduced to? To think I hired forty-nine hundred monks to chant for forty-nine days on forty-nine mountain tops in stepwise Tibets, for this.’ Joshua clapped him on the shoulder. ‘It’s tough, Lobsang. She’s treating you like you’re a kid. Like you’re sixteen, going on seventeen.’ Lobsang looked at him sharply. ‘You can pack that in for a start,’ he snapped. ‘But I’ve got confidence you can overcome these difficulties, Lobsang. Just face up to every obstacle. Climb every mountain—’ Lobsang stalked off sulkily. Joshua waved cheerfully. ‘So long! Farewell!

As for sick people, patients, I had no illusions … In another neighborhood they’d be no less grasping or jugheaded or weak-kneed than the ones here. The same wine, the same movies, the same sports talk, the same enthusiastic submission to the natural needs of the gullet and the ass would produce the same crude, filthy horde, staggering from lie to lie, bragging, scheming, vicious … brutal between two fits of panic. But just as a sick man changes sides in bed and in life, so we too are entitled to move from side to side, it’s the only thing we can do, the only defense that’s ever been found against Fate. No good hoping to drop off your misery somewhere on the way. Misery is like some horrible woman you’ve married. Maybe it’s better to end up loving her a little than to knock yourself out beating her all your life. Since obviously you won’t be able to bump her off.

Let’s not end on African baby rape (or start with it, for that matter). Let’s end by pointing out all the positive ways you can scare yourself and feel alive. You can tell someone you love them first. You can try to speak only the truth for a whole week. You can jump out of an airplane or spend Christmas Day all by your lonesome. You can help people who need help and fight real bad guys. You can dance fast or take an improv class or do one of those Ironman things. Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It’s around us in real ways every day. I’m talking to you, the people who made that movie The Human Centipede. No more Human Centipede movies please. No more movies about people’s mouths being sewn onto people’s butts. The whole idea of making and watching a movie like that makes me want to take a ten-year nap.

We may think we know how the criminal justice system works. Television is overloaded with fictional dramas about police, crime, and prosecutors—shows such as Law & Order. These fictional dramas, like the evening news, tend to focus on individual stories of crime, victimization, and punishment, and the stories are typically told from the point of view of law enforcement. A charismatic police officer, investigator, or prosecutor struggles with his own demons while heroically trying to solve a horrible crime. He ultimately achieves a personal and moral victory by finding the bad guy and throwing him in jail. That is the made-for-TV version of the criminal justice system. It perpetuates the myth that the primary function of the system is to keep our streets safe and our homes secure by rooting out dangerous criminals and punishing them. These television shows, especially those that romanticize drug-law enforcement, are the modern-day equivalent of the old movies portraying happy slaves, the fictional gloss placed on a brutal system of racialized oppression and control. Those

MY OWN BUSINESS . . . M. O. B. MOB assumes the right of every individual to possess his inner space, to do what interests him with people he wants to see. In some areas this right was more respected a hundred years ago than it is in the permissive society. 'Which is it this time, Holmes? Cocaine or morphine?' asks a disapproving Watson. But Holmes won’t have fink hounds sniffing through his Baker Street digs. If he accepts an American assignment 8 narks won’t beat his door in with sledge hammers, rush in waving their guns “WHATZAT YOU’RE SMOKING?” jerk the pipe out of his mouth and strip him naked. We will make the MOB stand on criminals and crim­inal communes clear. A criminal is someone who commits crimes against property and crimes against persons. We feel that criminals are not minding their own business. Someone who steals your typewriter, starts barroom fights, kicks an old bum to death, is not minding his own business at all. The Thuggees of India, the Mafia, the Ku Klux Klan are examples of criminal communes. Strangling someone and stealing his money, throwing acid in his face, lynching beating and burn­ ing people to death is not minding one’s own business. On one side we have MOBS dedicated to minding their own business without interference. On the other side we have the enemies of MOB dedicated to interference. Equipped with new techniques of computerized thought control the enemies of MOB could inflict a permanent defeat. MOB want to know just where everybody stands. Wouldn’t advise you to try sitting on that fence. It’s electric. Your enemies then are the enemies of MOB. You can do more to destroy these enemies with tape recorders and video cameras than you can with machine guns. Video tape puts any number of machine guns into your hands. However, it is difficult to convince a revolutionary that this weapon is actually more potent than gelignite or guns. What do revolu­tionaries want? Vengeance, or a real change? Both perhaps. It is difficult for those who have suffered outrageous brutal­ity and oppression to forget about vengeance, which is why I postulated the wholesome catharsis of MA, the Mass Assassination of enemy word and image. And this brings us to a basic question that every revolutionary must ask himself. Can I live without enemies? Can any human being live without enemies? No human being has ever done so yet. If the present revolutionary movement is to amount to more than a change of management, presenting the same old good-guy, bad-guy movie, a basic change of conscious­ ness must take place.

Many books and movies had in their plots some echoes of my secret experiences with Flora. Places haunted by unquiet Indians were standard. Hotels were disturbed by Indians whose bones lay underneath the basements and floors -- a neat psychic excavation of American unease with its brutal history.

The Snake Pit, a 1948 movie starring Olivia de Havilland, portrayed the treatment of a young woman thrown into a cruel psych ward. The Shame of States, a book written by journalist Albert Deutsch, was an examination of the brutality of mental hospitals. Add to that Life magazine’s “Bedlam 1946,” a long, clearly told exposé that outlined the atrocities happening inside mental institutions.

And because the audience members identify with the protagonist, you’ve got a brutal grip on them as well.

Insight on the way a character resolves his or her dilemma can give us as viewers a powerful look at aspects of ourselves—perhaps a brutally unflattering look. It can be a wake-up call.

You’re brutal.” “Not brutal. Honest. So, she left and you…” Her head tilts to the side. “Just let her go. Just like that? You didn’t fight for her?” “This is real life. It isn’t some cheesy romance movie, Ariana.” “Obviously not. Future NHL star with up-and-coming songwriter. Best childhood friends turned high school enemies with a second chance at love. But no. You’re a colossal idiot. Not romance movie material at all. You let her go. Wuss move. If you were in a romance movie, you’d chase after her to the airport, or announce your love for her in front of the entire college. You wouldn’t run like a coward with your tail between your legs.” “She’s not flying anywhere.” “Totally missing the point, brother. If you don’t go after her, you’ve got zero chance. Personally, I think the odds are low even if you go after her, but a slim chance is better than no chance.” She glances around. “How about I stay another night? Before we have to go back to school on Monday.” “After that inspiring speech, how could I possibly say no?” I duck to avoid the second swat aimed at me.

Disney movies have led people to believe that nature is this harmonious place. It’s not. Nature can be brutal.” Philosophers call this flawed-but-common thinking the “appeal to nature” fallacy. It’s the belief, argument, or rhetorical tactic that proposes that anything “natural” is good, harmonious, and morally correct.

Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.

Let’s end by pointing out all the positive ways you can scare yourself and feel alive. You can tell someone you love them first. You can try to speak only the truth for a whole week. You can jump out of an airplane or spend Christmas Day all by your lonesome. You can help people who need help and fight real bad guys. You can dance fast or take an improv class or do one of those Ironman things. Adventure and danger can be good for your heart and soul. Violence and desperation are brutal things to search out. Why search out the horror? It’s around us in real ways every day. I’m talking to you, the people who made that movie The Human Centipede. No more Human Centipede movies please (...)The whole idea of making and watching a movie like that makes me want to take a ten-year nap

The Buried Woman // Die Begrabene In life we all pursued our aims. What held us up was lust and games. What drove us on was want and strife, And what we earned: an end to life. So now I lie stretched out alone, All covered up with earth and stone. "I have and want" I cannot say; "I must and will" became my way. In lands of light exults decay. He clothes himself as blue as a day; In many forms deceives the eye, And builds the tower of Babel high. We see his face in movie halls And nailed to newsstands, fences, walls; His name is there for all to see; "Success," he's called, "Technology." His cruel machines, his brutal crimes Break every record of our times. His coffin governs East and West. But will it soon be laid to rest? The victory of death seems near. But no! At last a grave appears, Awakens, yawns its jaws to bite, And crushes death in lasting night.

In fact, the parade scene in the movie Ferris Bueller’s Day Off memorably honors Von Steuben Day and the Baron’s German heritage.

It was at that moment Stephanie became acutely aware of the paradox of the police wife. She must be humble and grateful; she had a role to play for Jason and his profession. Although what she was feeling inside was contrary to what was expected, in a way she belonged to society as a movie star belongs to their fans. She stood for hours shaking hands and hugging well-wishers, hearing generic statements that were meant to ease her pain but couldn’t, making decisions to appease the people who wanted to grieve with her, and all the while the line of mourners kept getting longer. Stephanie wasn’t ungrateful. She was numb. When you live your life simply and are suddenly thrown into the spotlight, it becomes difficult to manage, understand, and cope. Being the center of attention because of a death brings a chaos that most people will never experience. Stephanie shared her husband, her grief, and her family with the public at the most private moment of her life. She knew that it was her responsibility as the wife of a public servant. For that, they thanked her.

You know that scene in every shoot-em-up movie where the hero is shot in the gut and bleeding all over the floors?  He makes it through the last 20 minutes of the movie like that – shooting up bad guys with one hand and holding his gut with the other.  Life is a lot like that.  We’ve all got our own problems - health problems, money problems, love problems, fears, insecurities, a brutal past that tries to haunt us.  But we can’t be paralyzed by that stuff.  We’ve got to save the day even if we bleed on the floors.

Dear Reader, We're so happy that you are thinking about reading our newest book The Bet. We hope you enjoy it to your fullest and we cannot wait to read your reviews on it. However, we wanted to leave a little note to warn readers with sensitivity to dubious content, sexual themes, and verbal abuse. For those readers, this book may not be a good read for them. We also would like to say that while the book is entirely fiction we know that abuse, sexual, physical, and verbal is a very real thing in our world and that we do NOT condone any behavior of that nature nor do we think that it's okay to treat someone that way. Just like the makers of gory horror movies dont actually want people to be brutally murdered, we do not want anyone to be bullied or abused in any way. Again, this is fiction and while we don't always agree with the things our fictional characters do, sometimes it works for a story line. As writers, it is our job to draw out real emotions. Sometimes we will make you fall in love with a character and other times we might have you yelling at the book. With love, J.L. Beck & C. Hallman

One time I asked my father, who was super laid-back, if he believed in evil. We'd been watching the TV news when an awful story came on about some guy who went to a crowded movie theater and started shooting everyone, people he'd never met before, even kids. The lawyer for the shooter said he had severe emotional problems (which was, like, no kidding), but in my mind, that didn't account for how and why he devised a plan so awful and cold-blooded. And I remember Dad mulling my question for a few moments before saying that true evil was rare, but, yes, it was real. He also said that it didn't occur in any other species besides humans, and I believe he was right. Violence and brutal domination exist in the animal world as a means for survival, not as sport or sick amusement.

want to say something that might sound surprising: the greatest battle for your soul is not the war going on between angels and demons; it is the war going on in between your ears. The battle starts with how you think and the “snake eggs” you allow the enemy to lay in your head. Brutal mass killings in America are tragically becoming more common as of late. These horrific events have stirred major controversies over gun violence and gun laws. I’m not here to enter that debate, but I will tell you that taking all the guns away will not take care of the problem because the “snake eggs” will still exist. The young men who shot up their high school years ago did not suddenly come up with the idea. Neither did the man who shot innocent victims at a movie theater. Like the man who slaughtered innocent children and adults in Connecticut, they had been carrying around those demonically inspired thoughts for weeks, maybe months, perhaps even years—like eggs waiting to hatch. The greatest battle for your soul is not the war going on between angels and demons; it is the war going on in between your ears. It starts with a thought, and that thought is like an egg that Satan puts in your head. I often call these snake eggs “thought bombs.” The

But every step of my writing career was a brutal fight, like the stealing of that oatmeal from hungry children.” Even the waiters stopped removing plates and stood with the trays in their hands, listening openmouthed. One confession led to another. “When I banked the money the movies paid me for Hungry Hearts, the elation of suddenly possessing a fortune was overshadowed by the voice of conscience: What is the difference between a potbellied boss who exploits the labor of helpless workers and an author who grows rich writing of the poor?

It might be said that this feeling for violence and brutality, for the pageant and panorama of fascism on the Continent, formed her principal disinterested aesthetic pleasure. She had few others. She read practically nothing: she did not respond to music or pictures: she never went to the theatre and very seldom to the movies: and although she had an instinctive ability to dress well and effectively when she desired, she did not even like pretty things. She only liked what affected her personally and physically and immediately – sleep, warmth, a certain amount of company and talk, drinks, getting drunk, good food, taxis, ease. She was not even responsive to adulation, save when, coming from a man, it promised to further these necessities. She was atrophied. She looked like a Byron beauty, but she was a fish.

Careful not to reveal too much about himself. Clint knew he could be fierce but he didn’t know he was brutal. Gawl painted himself as a man of honour, merciless when he needed to be, but benevolent most of the time, peaceful unless provoked. All lies, but Gawl had to win Clint’s trust and dependance, and the world for Clint was like the movies — gangsters were men of honour, with codes and ethics. That delusion helped Gawl manipulate him, so it had to be maintained.

Our current preoccupation with zombies and vampires is easy to explain. They're two sides of the same coin, addressing our fascination with sex, death and food. They're both undead, they both feed on us, they both pass on some kind of plague and they can both be killed with specialist techniques – a stake through the heart or a disembraining. But they seem to have become polarised. Vampires are the undead of choice for girls, and zombies for boys. Vampires are cool, aloof, beautiful, brooding creatures of the night. Typical moody teenage boys, basically. Zombies are dumb, brutal, ugly and mindlessly violent. Which makes them also like typical teenage boys, I suppose. 카톡►ppt33◄ 〓 라인►pxp32◄ 홈피는 친추로 연락주세요 발기부족으로 삽입시 조루증상 그리고 여성분 오르가즘늦기지 못한다 또한 페니션이 작다고 느끼는분들 이쪽으로 보세요 팔팔정,구구정,비닉스,센트립,네노마정,프릴리지,비맥스,비그알엑스 등 아주 많은 좋은제품들 취급하고 단골님 모시고 있는곳입니다.원하실경우 언제든 연락주세요 Zombie stories are life lessons for boys who don't mind thinking about bodies, but can't cope with emotions. Vampire stories are in many ways sex for the squeamish. We don't need Raj Persaud to tell us that plunging canines into soft warm necks, or driving stakes between heaving bosoms, are very basic sexual metaphors. There are now even whole sections of bookshops given over to the new genre of "supernatural romance". Maybe it was ever thus. Dr Polidori, who wrote the very first vampire novel, The Vampyr, based his central character very much on his chief patient, Lord Byron, and the Byronic "mad, bad and dangerous to know" archetype has been at the centre of both romantic and blood-sucking fiction ever since. Dracula, Heathcliffe, Rochester, Darcy and not to mention chief vampire Bill in Channel 4's new series True Blood are all cut from the same cloth. Meyer even claims that she based her first Twilight book on Pride and Prejudice, although Robert Pattinson, who plays the lead in the movie version, looks like James Dean in Rebel Without A Cause. Either way, vampire = sexy rebel. No zombie is ever going to be a pinup on some young girl's wall. Just as Pattinson and all the Darcy-alikes will never find space on any teenage boy's bedroom walls – every inch will be plastered with revolting posters of zombies. There are no levels of Freudian undertone to zombies. Like boys, they're not subtle. There's nothing sexual about them, and nothing sexy either.

I don’t mind staying in at all. I realise that, for plenty of people, it feels like a brutal restriction of their freedom, but it suits me down to the ground. Winter is a quiet house in lamplight, stepping into the garden to see bright stars on a clear night, the roar of the wood-burning stove, and the accompanying smell of charred wood. It is warming the teapot and making cups of bitter cocoa; it is stews magicked from bones with dumplings floating like clouds. It is reading quietly, and passing away the afternoon twilight watching movies. It is thick socks and the bundle of a cardigan.

so I tip my cap that you broke through to find that little spark a decency that dwells in all of us, or at least we like to think it does, or at least it does inna movies, but then again, the question is, was it really worth diggin’ through all the brutality and bullshit to find that little spark, dim and flickerin’ though it may be, sometimes almost, whaddyacallit, extinguished altogether, like the way ya used to have to turn the old Zippo lighters