Dolls Movie Quotes

Back in the main corridor—what Luke now understood to be the residents’ wing—the little girls, Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

…but I don’t think I’m the only person who is tired of books and movies full of paper-doll characters you don’t care about, who have no self-respect and no respect for anybody or any institution…..And I don’t want to sound preachy or Victorian, but I’m tired of amorality in fiction and in real life. Immorality is a fascinating human dilemma that creates suspense for the readers and tension for the characters, but where is the tension in an amoral situation? When people have no personal code, nothing is threatening and nothing is meaningful.

Huh-uh,” Archy said, not trying to charm or work her anymore, the deep 1978 El Cerrito–apartment sullenness starting to seep out of him as he remembered how Luther and Valletta used to leave him there all night by himself, nothing on the television but Wolfman Jack and some movie where a shark-toothed devil doll was biting Karen Black on the ankles.

He’s a bit like those creepy little killer dolls from horror movies the way he stalks me and grins his little maniac Remo grin. ~Savio

They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and cluthing dolls as identical as they were. They reminded Luke of twins in some old horror movie

Gerda and Greta, were standing and watching with wide, frightened eyes. They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

Call me Ozzie, doll,” he called back. He hunched over the keyboard like a starving man hunches over a plate of food. “And there’s no need to conceal my weapons. I figure everyone should see what’s in store for them should they attempt to fuck with me.”“ Oh man.” Dan groaned and rolled his eyes. “Next thing you know he’ll be coming to work shirtless with bandoliers strapped across his chest and a red bandana tied around his head.” “Ah, so you have seen a movie or two.” Ozzie swiveled in his chair, his eyes sparkling with devilish glee. “Rambo, huh? I can give you Rambo.” He lowered his voice. “‘They drew first blood. Not me…’” “What a crock of bullsh—uh, crap.” Dan scoffed. “Are you sitting there dissing Stallone?” Ozzie demanded, making like he was about to stand in defense of the Italian Stallion. “No. I’m sitting here dissing you, you stu—

EVERY NIGHT BEFORE I went to sleep, I would conjure the image of the actor George Burns in my head and ask him for the things I wanted most in life: new dolls, a best friend, and for my house to burn down. Religion was not a solidly formed concept for me, but I had seen a movie about God once; he looked like George Burns and was in the habit of causing trouble and granting wishes. I accepted him wholeheartedly as my savior.

Ted was wildly uncomfortable. He wasn't quite sure who Rachel was on a date with, but it didn't seem to be him. He'd contributed nothing to the outing; as far as he could tell, she could have brought an inflatable doll with her to the movie and had an equally good time.

When I grow up I wanna be famous I wanna be a star I wanna be in movies When I grow up I wanna see the world Drive nice cars I wanna have groupies When I grow up Be on TV People know me Be on magazines When I grow up Fresh and clean Number one chick When I step out on the scene

California during the 1940s had Hollywood and the bright lights of Los Angeles, but on the other coast was Florida, land of sunshine and glamour, Miami and Miami Beach. If you weren't already near California's Pacific Coast you headed for Florida during the winter. One of the things which made Miami such a mix of glitter and sunshine was the plethora of movie stars who flocked there to play, rubbing shoulders with tycoons and gangsters. Sometimes it was hard to tell the difference between the latter two. Miami and everything that surrounded it hadn't happened by accident. Carl Fisher had set out to make Miami Beach a playground destination during the 1930s and had succeeded far beyond his dreams. The promenade behind the Roney Plaza Hotel was a block-long lovers' lane of palm trees and promise that began rather than ended in the blue waters of the Atlantic. Florida was more than simply Miami and Miami Beach, however. When George Merrick opened the Biltmore Hotel in Coral Gables papers across the country couldn't wait to gush about the growing aura of Florida. They tore down Collins Bridge in the Gables and replaced it with the beautiful Venetian Causeway. You could plop down a fiver if you had one and take your best girl — or the girl you wanted to score with — for a gondola ride there before the depression, or so I'd been told. You see, I'd never actually been to Florida before the war, much less Miami. I was a newspaper reporter from Chicago before the war and had never even seen the ocean until I was flying over the Pacific for the Air Corp. There wasn't much time for admiring the waves when Japanese Zeroes were trying to shoot you out of the sky and bury you at the bottom of that deep blue sea. It was because of my friend Pete that I knew so much about Miami. Florida was his home, so when we both got leave in '42 I followed him to the warm waters of Miami to see what all the fuss was about. It would be easy to say that I skipped Chicago for Miami after the war ended because Pete and I were such good pals and I'd had such a great time there on leave. But in truth I decided to stay on in Miami because of Veronica Lake. I'd better explain that. Veronica Lake never knew she was the reason I came back with Pete to Miami after the war. But she had been there in '42 while Pete and I were enjoying the sand, sun, and the sweet kisses of more than a few love-starved girls desperate to remember what it felt like to have a man's arm around them — not to mention a few other sensations. Lake had been there promoting war bonds on Florida's first radio station, WQAM. It was a big outdoor event and Pete and I were among those listening with relish to Lake's sultry voice as she urged everyone to pitch-in for our boys overseas. We were in those dark early days of the war at the time, and the outcome was very much in question. Lake's appearance at the event was a morale booster for civilians and servicemen alike. She was standing behind a microphone that sat on a table draped in the American flag. I'd never seen a Hollywood star up-close and though I liked the movies as much as any other guy, I had always attributed most of what I saw on-screen to smoke and mirrors. I doubted I'd be impressed seeing a star off-screen. A girl was a girl, after all, and there were loads of real dolls in Miami, as I'd already discovered. Boy, was I wrong." - Where Flamingos Fly

The girl looked at her so sharply that Ripley was taken aback. The assurance in Newt’s eyes bespoke a hardness that was anything but childish. Her tone was flat, neutral. ‘I don’t want you for a friend.’ Ripley tried to conceal her surprise. ‘Why not?’ ‘Because you’ll be gone soon, like the others. Like everybody.’ She gazed down at the doll head. ‘Casey’s okay. She’ll stay with me. But you’ll go away. You’ll be dead and you’ll leave me alone.’ There was no anger in that childish declamation, no sense of accusation or betrayal. It was delivered coolly and with complete assurance, as though the event had already occurred. It was not a prediction, but rather a statement of fact soon to take place.

Although I like a good scary movie, I’ve never actually believed anything paranormal or supernatural could be real...until today. Magic genies, witch spells, and magic troll dolls with funky bright hair are other ideas that have crossed my mind. It also occurs to me that I may be going crazy, and will have to be committed before I finish high school.

My sense of self-worth vanished when I was with him. I hated myself for not having seen the movies he mentioned, for not having any decent clothes or shoes, for having no class. I totally messed things up with him. But I couldn't stand somebody who sang the words to Luo Dayou's "Love Song 1990" at the same time he was all hung up on desire and money, because that was an endless blasphemy against beauty.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

na kept her head down and pulled Lockie out into the street. She hoped he would manage to avoid standing on anything. His bare feet were already filthy but the streets of the Cross held the worst bits of human detritus. Tina didn’t want to have to deal with a piece of glass in Lockie’s foot, or worse. He was walking on tiptoe and more than one adult stopped to look at them. Tina moved quickly, getting Lockie out of sight before the questions had time to form. People tended to ask a lot more questions in the daytime. They saw things more clearly. Tina preferred the dark, where it was easy to hide.She had no idea what she was going to do with the kid after the new clothes and a shower. Maybe if he was warm and fed he would agree to walk into the police station and tell his story. Maybe he just needed a little time. He looked like a thinker. It was possible that she was really fucking up by keeping him. She had no idea what his body had been through. He could drop dead right now or have some kind of psycho meltdown.He looked at the ground as he walked. He held her hand and she guided him around the obstacles. He would not look up.He was locked up inside himself. His body was doing what it needed to do and maybe somewhere in his mind he was trying to find a key. If she got him to go to the police they would bring in a counsellor. Someone with a box of dolls and a soft voice. She had seen a movie about it. Lockie would be able to point to the doll and tell everyone exactly how his childhood had been taken. But would that help? Tina hoped he would be ready to talk to the police soon. If he wasn’t she was really screwed.

began to walk home, very quickly. A car full of high-school girls screeched around the corner. They were the girls who ran all the clubs and won all the elections in Allison’s high-school class: little Lisa Leavitt; Pam McCormick, with her dark ponytail, and Ginger Herbert, who had won the Beauty Revue; Sissy Arnold, who wasn’t as pretty as the rest of them but just as popular. Their faces—like movie starlets’, universally worshiped in the lower grades—smiled from practically every page of the yearbook. There they were, triumphant, on the yellowed, floodlit turf of the football field—in cheerleader uniform, in majorette spangles, gloved and gowned for homecoming; convulsed with laughter on a carnival ride (Favorites) or tumbling elated in the back of a September haywagon (Sweethearts)—and despite the range of costume, athletic to casual to formal wear, they were like dolls whose smiles and hair-dos never changed.

It’s nice when grown people whisper to each other under the covers. Their ecstasy is more leaf-sigh than bray and the body is the vehicle, not the point. They reach, grown people, for something beyond, way beyond and way, way down underneath tissue. They are remembering while they whisper the carnival dolls they won and the Baltimore boats they never sailed on. The pears they let hang on the limb because if they plucked them, they would be gone from there and who else would see that ripeness if they took it away for themselves? How could anybody passing by see them and imagine for themselves what the flavor would be like? Breathing and murmuring under covers both of them have washed and hung out on the line, in a bed they chose together and kept together nevermind one leg was propped on a 1916 dictionary, and the mattress, curved like a preacher’s palm asking for witnesses in His name’s sake, enclosed them each and every night and muffled their whispering, old-time love. They are under the covers because they don’t have to look at themselves anymore; there is no stud’s eye, no chippie glance to undo them. They are inward toward the other, bound and joined by carnival dolls and the steamers that sailed from ports they never saw. That is what is beneath their undercover whispers. But there is another part, not so secret. The part that touches fingers when one passes the cup and saucer to the other. The part that closes her neckline snap while waiting for the trolley; and brushes lint from his blue serge suit when they come out of the movie house into the sunlight. I envy them their public love. I myself have only known it in secret, shared it in secret and longed, aw longed to show it—to be able to say out loud what they have no need to say at all: That I have loved only you, surrendered my whole self reckless to you and nobody else. That I want you to love me back and show it to me. That I love the way you hold me, how close you let me be to you. I like your fingers on and on, lifting, turning. I have watched your face for a long time now, and missed your eyes when you went away from me. Talking to you and hearing you answer —that’s the kick. But I can’t say that aloud; I can’t tell anyone that I have been waiting for this all my life and that being chosen to wait is the reason I can. If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.

We need to help her,” Bryce panted to Azriel. “I promise you, she’s fine,” Azriel countered, urging them further into the tunnel. Out of the impact zone, Bryce realized. The Wyrm must have sensed the sword’s approach, because it bucked against the bones and claws pinning it to the rock. It managed to nudge the undead creature back, but only for a heartbeat. Nesta raised her free hand again, and the undead creature slammed the Wyrm back into the ground. The Wyrm thrashed, desperate now. With a dancer’s grace, Nesta scaled the undead beast’s tail, running along the knobs of its spine like rocks in a stream. Getting to higher ground, to a better angle. The Wyrm shrieked, but Nesta had reached the undead beast’s white skull. And then she was jumping, sword arcing above her, then down, down— Straight into the head of the Wyrm. A shudder of silver fire rushed down the Wyrm. That cold, dry wind shivered through the caves again, death in its wake. The Wyrm slumped to the ground. The silence was worse than the sound. Azriel was instantly gone, wings tucking in tight as he rushed toward Nesta and the undead beast that still held the Wyrm in its grip. “Take it off,” Azriel ordered her. The female turned her head toward him with a smooth motion that Bryce had only seen from possessed dolls in horror movies. “Take it off,” Azriel snarled.

Bailey sat on the edge of the couch and fed Maddy grapes. The very swollen mommy-to-be initially complained about being fed like a pet. Eventually, she gave in and enjoyed the attention. Not to be outdone, Sawyer turned a fan towards Maddy and was painting her nails. I watched them baby her and wondered about when I would be that big and uncomfortable. “I’m in no hurry to have a baby,” Tawny said, maybe for the tenth time since arriving. “Not in any hurry at all.” Farah grinned from where she was cutting carrots into little perfect sticks for dipping. “Coop is obsessed with getting me pregnant. First, his little brother is about to have a baby then his best friend. I swear whenever we’re alone, he’s inside me,” she said then her smile grew. “It’s awesome.” “Huh,” Tawny muttered. “Judd is in me all the time too and not because he’s trying to plant his flag or lay his seed or whatever.” “Jealous?” Farah asked and Tawny fake glared at her. “Sometimes, my sister irritates me too,” I said and they both laughed. “I’m going to brush the baby’s hair,” Bailey announced to no one in particular. “When she’s old enough, I’m going to put those little barrettes in her hair and make her wear headbands and turn her into a doll. Then when she cries, I’m giving her back to Maddy.” “Yeah for me,” Maddy whispered with her eyes closed. “Are you suffering?” Bailey asked. “Like should I do more for you to ease away the horror of how huge you’ve become?” Opening her eyes a crack, Maddy muttered, “Stop charming me.” Bailey grinned. “Seriously, you look pretty miserable today.” “I’ve been having those Braxton Hicks contractions since yesterday.” “Is that bad?” Sawyer asked, looking up from her meticulous work on Maddy’s toes. “Is it like hemorrhoids?” When we laughed, Sawyer beamed, even though she likely had no idea what was funny. “They’re like practice contractions,” Maddy explained. “They don’t hurt much, but they’re uncomfortable.” Bailey frowned. “How do you know all this stuff?” “I read a book.” “Yeah, I did that once. Not a fan.” “You guys don’t have to hang out here,” Maddy said. “The guys are out having fun and you’re pampering me. You could go to the movies if you want.” “No,” Bailey said quickly. “I need to be super nice because I had a dream that being nice will lead to a handsome awesome guy who is the fucker. I want that guy. He belongs to me and I’m sick of waiting, so shut up and let me be nice to you.” “Sure,” Maddy said, sighing. “This is nice, but I’m going to have to pee soon.” “Do you need me to carry you?” Bailey asked. “Maybe. Ask me in a few minutes.

dustpan that he emptied into a larger trash can. If I were him, picking up after people who carelessly dropped stuff on the ground, I’d be nothing but angry. They call it littering when you carelessly drop things. They call the careless folks who drop things by a cute name: litterbug. There’s nothing cute about dropping things carelessly. Dropping garbage and having puppies shouldn’t be called the same thing. “Litter.” I had a mind to write to Miss Webster about that. Puppies don’t deserve to be called a litter like they had been dropped carelessly like garbage. And people who litter shouldn’t be given a cute name for what they do. And at least the mother of a litter sticks around and nurses her pups no matter how sharp their teeth are. Merriam Webster was falling down on the job. How could she have gotten this wrong? Vonetta asked me again. Not because she was anxious to meet Cecile. Vonetta asked again so she could have her routine rehearsed in her head—her curtsy, smile, and greeting—leaving Fern and me to stand around like dumb dodos. She was practicing her role as the cute, bouncy pup in the litter and asked yet again, “Delphine, what do we call her?” A large white woman came and stood before us, clapping her hands like we were on display at the Bronx Zoo. “Oh, my. What adorable dolls you are. My, my.” She warbled like an opera singer. Her face was moon full and jelly soft, the cheeks and jaw framed by white whiskers. We said nothing. “And so well behaved.” Vonetta perked up to out-pretty and out-behave us. I did as Big Ma had told me in our many talks on how to act around white people. I said, “Thank you,” but I didn’t add the “ma’am,” for the whole “Thank you, ma’am.” I’d never heard anyone else say it in Brooklyn. Only in old movies on TV. And when we drove down to Alabama. People say “Yes, ma’am,” and “No, ma’am” in Alabama all the time. That old word was perfectly fine for Big Ma. It just wasn’t perfectly fine for me.

There once lived, at a series of temporary addresses across the United States of America, a travelling man of Indian origin, advancing years and retreating mental powers, who, on account of his love for mindless television, had spent far too much of his life in the yellow light of tawdry motel rooms watching an excess of it, and had suffered a peculiar form of brain damage as a result. He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

I tracked down a vegan baker and had this cake special ordered for tonight. It’s a vanilla cake made with almond milk and maple syrup, glazed with cocoa icing. The damn thing smells delicious, yet my mouth is as dry as the Sahara Desert. That’s probably because of the message. Or, I should say, question iced on top of the cake. Walking up to the kitchen, I see her shaking her booty as she sings to the loud music blasting through the apartment. In her hand, she has a knife and is cutting up a banana. On the stove, I can see a small pot of melted dark chocolate and what looks like toasted and chopped walnuts on a plate. “Hey, babe! You’re home too early.” She gives me a fake pout. “I wanted to surprise you.” Setting my chin on her shoulder, I place my hands on her hips and watch as she starts cutting up another banana. “Surprise me with what, Pixie?” “Something sweet for us to eat while we watch the movie tonight.” Kissing the side of her neck, I murmur into her skin, “I’ve got your sweet covered.” She looks at the box with curious eyes. “Oh? And what do you have there, Trevor Blake?” Lifting the lid, I push the now visible cake with its question closer to her, and she gasps. Her hands start to tremble, and I watch the hand holding the knife with a wary eye. Perhaps I should have asked her to put that down first. I watch her face as her eyes tear up at the question in red icing. Will You Marry Me? The ring is the dot at the bottom of the question mark, shiny and blinking at her. Standing here, I wait for an answer. And I wait more. Thing is, it’s too quiet. There are silent tears running down her face, but she’s not said a single word. Fuck. What if she isn’t ready for this? I open my mouth to try to fix this, but suddenly my little sprite is squealing loudly, jumping up and down. I should be fucking thrilled that she’s happy, but all I can see is that knife bouncing up and down with her little body. She’s talking so fast I can barely understand what she’s saying. “Oh-my-gosh-Trevor-are-you-serious-right-now!” “Babe, happy as hell that you’re excited, but can you do me a favor really quick?” Paisley stops jumping up and down and nods her head repeatedly like a bobble head doll. I have to stop myself from laughing at her. She smiles brightly at me. “If you wanna know my answer, it’s yes!” “Well, that, too. But, Pixie, can you please put down the knife? Would really fucking hate it if one of us got accidentally stabbed on the night that I’m asking you to become my wife.

When I stepped out into the bright sunlight from the darkness of the movie house, I had only two things on my mind: Paul Newman and a ride home.…’” Cath closed the book and let it fall on Levi’s chest, not sure what happened next. Not sure she was awake, all things considered. The moment it fell, he pulled her into him. Onto him. With both arms. Her chest pressed against his, and the paperback slid between their stomachs. Cath’s eyes were half closed, and so were Levi’s—and his lips only looked small from afar, she realized, because of their doll-like pucker. They were perfectly big, really, now that she had a good look at them. Perfectly something. He nudged his nose against hers, and their mouths fell sleepily together, already soft and open. When Cath’s eyes closed, her eyelids stuck. She wanted to open them. She wanted to get a better look at Levi’s too-dark eyebrows, she wanted to admire his crazy, vampire hairline—she had a feeling this was never going to happen again and that it might even ruin what was left of her life, so she wanted to open her eyes and bear some witness. But she was so tired. And his mouth was so soft. And nobody had ever kissed Cath like this before. Only Abel had kissed her before, and that was like getting pushed squarely on the mouth and pushing back. Levi’s kisses were all taking. Like he was drawing something out of her with soft little jabs of his chin. She brought her fingers up to his hair, and she couldn’t open her eyes. Eventually, she couldn’t stay awake. “I’m sorry, Penelope.” “Don’t waste my time with sorries, Simon. If we stop to apologize and forgive each other every time we step on each other’s toes, we’ll never have time to be friends.

King knows what scares us. He has proven this a thousand times over. I think the secret to this is that he knows what makes us feel safe, happy, and secure; he knows our comfort zones and he turns them into completely unexpected nightmares. He takes a dog, a car, a doll, a hotel—countless things that we know and love—and then he scares the hell out of us with those very same things. Deep down, we love to be scared. We crave those moments of fear-inspired adrenaline, but then once it’s over we feel safe again. King’s work generates that adrenaline and keeps it pumping. Before King, we really didn’t have too many notables in the world of horror writers. Poe and Lovecraft led the pack, but when King came along, he broke the mold. He improved with age just like a fine wine and readers quickly became addicted, and inestimable numbers morphed into hard-core fans. People can’t wait to see what he’ll do next. What innocent, commonplace “thing” will he come up with and turn into a nightmare? I mean, think about it…do any of us look at clowns, crows, cars, or corn fields the same way after we’ve read King’s works? SS: How did your outstanding Facebook group “All Things King” come into being? AN: About five years ago, I was fairly new to Facebook and the whole social media world. I’m a very “old soul” (I’ve been told that many times throughout my life: I miss records and VHS tapes), so Facebook was very different for me. My wife and friends showed me how to do things and find fan pages and so forth. I found a Stephen King fan page and really had a fun time. I posted a lot of very cool things, and people loved my posts. So, several Stephen King fans suggested I do my own fan page. It took some convincing, but I finally did it. Since then, I have had some great co-administrators, wonderful members, and it has opened some amazing doors for me, including hosting the Stephen King Dollar Baby Film fest twice at Crypticon Horror Con in Minnesota. I have scored interviews with actors, writers, and directors who worked on Stephen King films or wrote about King; I help promote any movie, or book, and many other things that are King related, and I’ve been blessed to meet some wonderful people. I have some great friends thanks to “All Things King.” I also like to teach our members about King (his unpublished stories, lesser-known short stories, and really deep facts and trivia about his books, films, and the man himself—info the average or new fan might not know). Our page is full of fun facts, trivia, games, contests, Breaking News, and conversations about all things Stephen King. We have been doing it for five years now as of August 19th—and yes, I picked that date on purpose.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests. (He

He was disgracefully handsome, the flight attendant decided, with the kind of face you saw in old black-and-white Hollywood movies. And, oh, that British accent! Even better. Nadia loved British accents. He was so courteous, such a gentleman, that she wondered if he might somehow be connected to the royal family. Just thinking about it made her pizda tingle. "Then perhaps I can fetch you a blanket." "A glass of wine, if you have it." "Of course, sir. Red or white?" "Always red." Safe watched the shapely bottom swing pertly away toward the galley. With blue baby-doll eyes and wide pouty lips, she was an adolescent wet dream of a sexy stewardess, long-legged and busty, extravagantly curvy in all the right places under the snug red Aeroflot uniform.

He was disgracefully handsome, the flight attendant decided, with the kind of face you saw in old black-and-white Hollywood movies. And, oh, that British accent! Even better. Nadia loved British accents. He was so courteous, such a gentleman, that she wondered if he might somehow be connected to the royal family. Just thinking about it made her pizda tingle. "Then perhaps I can fetch you a blanket." "A glass of wine, if you have it." "Of course, sir. Red or white?" "Always red." Rafe watched the shapely bottom swing pertly away toward the galley. With blue baby-doll eyes and wide pouty lips, she was an adolescent wet dream of a sexy stewardess, long-legged and busty, extravagantly curvy in all the right places under the snug red Aeroflot uniform.

The doll had blonde hair and a purple dress and as Monique worked her magic, the doll began to walk. It was the stuff of nightmares and Don Mancini movies.

The world of Shindana—of top Mattel brass working side by side with the founders of Operation Bootstrap, the Watts-based job training program under whose auspices the toy company was formed—was a far cry from the way the thirtieth-anniversary issue of Barbie magazine depicted Barbie's world in 1966. "Our inner cities burned but the pot roast couldn't," the caption says under a picture of Barbie at a Tupperware party. "Mom and Dad and the leaders they elected tried to keep a lid on things." As I said in this book's opening chapter, studying Barbie sometimes requires the ability to hold contradictory ideas in one's head at the same time. When it comes to Mattel and representations of racial diversity, this is especially true. Although the Handlers have not been part of Mattel for twenty years, the company can still be viewed as a cousin to the Hollywood studios. Mattel actually did get into the movie business in the seventies, when its Radnitz Productions produced the Academy Award-winning Sounder, another multicultural product that predated the multicultural vogue.

In Barbie's early years, Mattel struggled to make its doll look like a real-life movie star. Today, however, real-life celebrities—as well as common folk—are emulating her. The postsurgical Dolly Parton looks like the post-surgical Ivana Trump looks like the postsurgical Michael Jackson looks like the postsurgical Joan Rivers looks like

To look at Mattel as a relative of the Hollywood studios is to make sense of some of its contradictions. The daughter of a Polish Jewish immigrant, Ruth Handler coded with her fashion dolls the same sort of phantasmic "America" that Louis B. Mayer had coded in his movies. Barbie was, in fact, better suited than a human actress to exemplify an impossible ideal. There was no tribal taint in her plastic flesh, no baggage to betray an immigrant past. She had no navel; no parents; no heritage.

In An Empire of Their Own: How the Jews Invented Hollywood, Neal Gabler tells how the studio moguls—all immigrants and outsiders—created an "America" that was more "American" than the country ever could be. They formed a "cluster of images and ideas—so powerful that, in a sense, they colonized the American imagination." And Americans, aping those images, ultimately became them. "As a result, the paradox—that the movies were quintessentially American while the men who made them were not— doubled back on itself," Gabler writes. "By creating their idealized America on the screen, the Jews reinvented the country in the image of their fiction.

Traditionally, the needs of ethnically diverse consumers had been met by smaller companies—the equivalent, in movie terms, of independent filmmakers. In the seventies, Shindana introduced two Barbie-like fashion dolls: Malaika, taller and stouter than Barbie; and Career Girl Wanda, about three-quarters as tall as Barbie and as proportionately svelte. But in 1991, when Mattel brought out its "Shani" line—three Barbie-sized African-American dolls available with mahogany, tawny, or beige complexions— there could be no doubt that "politically correct" was profitable. "For six years, I had been preaching these demographics—showing pie charts of black kids under ten representing eighteen percent of the under-ten population and Hispanic kids representing sixteen percent—and nobody was interested," said Yla Eason, an African-American graduate of Harvard Business School who in 1985 founded Olmec Corporation, which makes dolls and action figures of color. "But when Mattel came out with those same demographics and said, 'Ethnically correct is the way,' it legitimatized our business." Some say that the toy industry's idea of "ethnically correct" doesn't go far enough, however. Ann duCille, chairman of the African-American Studies Program and an associate professor of English at Wesleyan University, is a severe critic. After studying representations of race in fashion dolls for over a year, she feels that the dolls reflect a sort of "easy pluralism." "I'm not sure I'd go so far as to say I'd rather see no black dolls than see something like Shani or Black Barbie," she told me, "but I would hope for something more—which is not about to happen." Nor is she wholly enamored of Imani and Melenik, Olmec's equivalent of Barbie and Ken. "Supposedly these are dolls for black kids to play with that look like them, when in fact they don't look like them. That's a problematic statement, of course, because there's no 'generic black kid.' But those dolls look too like Barbie for me. They have the same body type, the same long, straight hair—and I think it sends a problematic message to kids. It's about marketing, about business—so don't try to pass it off as being about the welfare of black children." Lisa Jones, an African-American writer who chronicled the introduction of Mattel's Shani dolls for the Village Voice, is less harsh. Too old to have played with Christie—Barbie's black friend, born in 1968—Jones recalls as a child having expressed annoyance with her white classmates by ripping the heads and arms off her two white Barbie dolls. Any fashion doll of color, she thinks, would have been better for her than those blondes. "Having been a little girl who grew up without the images," she told me, "I realize that however they fail to reach the Utopian mark, they're still useful.

Morrison: The master narrative, I mean, the whole notion of what is ugliness, what is worthlessness, what is contempt. She got it from her family, she got it from school, she got it from the movies, she got it everywhere. Moyers: The master narrative. What is—that’s life? Morrison: No, it’s white male life. The master narrative is whatever ideological script that is being imposed by the people in authority on everybody else. The master fiction. History. It has a certain point of view. So, when these little girls see that the most prized gift that they can get at Christmastime is this little white doll, that’s the master narrative speaking. “This is beautiful, this is lovely, and you’re not it.” . . . She is so needful, so completely needful, has so little, needs so much, she becomes the perfect victim.