Enemy Movie Quotes

Enemies-to-lovers—it’s our trope, Buxbaum.

People say, 'I'm going to sleep now,' as if it were nothing. But it's really a bizarre activity. 'For the next several hours, while the sun is gone, I'm going to become unconscious, temporarily losing command over everything I know and understand. When the sun returns, I will resume my life.' If you didn't know what sleep was, and you had only seen it in a science fiction movie, you would think it was weird and tell all your friends about the movie you'd seen. They had these people, you know? And they would walk around all day and be OK? And then, once a day, usually after dark, they would lie down on these special platforms and become unconscious. They would stop functioning almost completely, except deep in their minds they would have adventures and experiences that were completely impossible in real life. As they lay there, completely vulnerable to their enemies, their only movements were to occasionally shift from one position to another; or, if one of the 'mind adventures' got too real, they would sit up and scream and be glad they weren't unconscious anymore. Then they would drink a lot of coffee.' So, next time you see someone sleeping, make believe you're in a science fiction movie. And whisper, 'The creature is regenerating itself.

Do you realize we could’ve been doing this for years if you weren’t such a pain in the ass?” “Nah—I didn’t like you until recently.” “Enemies-to-lovers—it’s our trope, Buxbaum.” “You poor, confused little love lover.” A giggle shimmied through me before I set my hands on his face and said as I pulled him back to me, “Just shut up and kiss me.

So you think that two enemies—in the real world—can magically get over their differences and fall madly in love?

Release the demon under promise that I'd be repaid handsomely, my enemies destroyed? Hmm, where had I seen this before? Oh, right. Every demon horror movie ever made. And the horror part started right after the releasing part.

Never presume to know a person based on the one dimensional window of the internet. A soul can’t be defined by critics, enemies or broken ties with family or friends. Neither can it be explained by posts or blogs that lack facial expressions, tone or insight into the person’s personality and intent. Until people “get that”, we will forever be a society that thinks Beautiful Mind was a spy movie and every stranger is really a friend on Facebook.

During your struggle society is not a bunch of flowers, it is a bunch of cactus.

Look. I see it. You can go to all the movies and watch all the television you want. I am the end of all time. I'm not hooked up to the machine. I don't care about being labelled a misogynist, misanthropic hate addict. I don't give a fuck if some human organism calls me politically incorrect. I like the idea of people getting killed in parking lots. I stab every person who passes me. In my mind, I stab them in the face with a fucking knife. If I thought I could get away with it, I would skin you alive. I only fear prison if I get caught killing one of you humans. I hate you all. I don't know anyone. I am the enemy of humans. I am that which spits in the face of humanity.

Thinking and talking about love leads to Love, which is the enemy. Do not consort with the enemy. Even if those hot-ass actors in the movies make it look cuddly and nice and tempting, don’t fall for it. It’s the biggest bad in the world, the worst villain ever created by hormone-pumped pubescent morons. It’s the Joker, Lex Luthor, that one overweight guy who’s always messing with the Scooby-Doo gang. It’s the final boss in the massive joke of a video game you call your life.

Hey, we had fun. In the sense of next to none at all, I mean. Next time, can we at least stop at a mall? May be see a movie? Avoid the mass murder of our enemies, maybe?

Come on, people. Doesn't anybody remember how to take a big old knife, whack open a pumpkin, scrape out the seeds, and bake it? We can carve a face onto it, but can't draw and quarter it? Are we not a nation known worldwide for our cultural zest for blowing up flesh, on movie and video screens and/or armed conflict? Are we in actual fact too squeamish to stab a large knife into a pumpkin? Wait till our enemies find out.

She was now afraid to yield to passion, and because she could not yield to the larger impulses it became essential also to not yield to the small ones, even if her adversary were in the right. She was living on a plane of war. The bigger resistance to the flow of life became one with the smaller resistance to the will of others, and the smallest issue became equal to the ultimate one. The pleasure of yielding on a level of passion being unknown to her, the pleasure of yielding on other levels became equally impossible. She denied herself all the sources of feminine pleasure: of being invaded, of being conquered. In war, conquest was imperative. No approach from the enemy could be interpreted as anything but a threat. She could not see that the real issue of the war was a defense of her being against the invasion of passion. Her enemy was the lover who might possess her. All her intensity was poured into the small battles; to win in the choice of a restaurant, of a movie, of visitors, in opinions, in analysis of people, to win in all the small rivalries through an evening.

Not to mention a history of partners as long as the list of animators in a Pixar movie.

you see that movie, Chicken Run, where the chickens gang up together and escape from the farm?

They should be going to sleep, but good company is the enemy of sleep. We remember this feeling so acutely - the desire to linger away the hours with someone else, talking or holding or even just watching a movie. In those moment, the clock seems arbitrary, since you are setting your understanding of time to another, more personal measure.

Part of the human experience is to confront temptation. No one escapes. It is omnipresent. It is both externally driven and internally prompted. It is like the enemy that attacks from all sides. It boldly assaults us in television shows, movies, billboards, and newspapers in the name of entertainment or free speech. It walks down our streets and sits in our offices in the name of fashion. It drives our roads in the name of style. It represents itself as political correctness or business necessity. It claims moral sanction under the guise of free choice. On occasion it roars like thunder; on others it whispers in subtle, soothing tones. With chameleon-like skill it camouflages its ever-present nature, but it is there--always there.

The approach of Christmas signifies three things: bad movies, unforgivable television, and even worse theater. I’m talking bone-crushing theater, the type our ancient ancestors used to oppress their enemies before the invention of the stretching rack.

Here it often imagines things going wrong and negative outcomes; this is called worry. Sometimes this soundtrack is accompanied by visual images or “mental movies.” Even if the voice is relevant to the situation at hand, it will interpret it in terms of the past. This is because the voice belongs to your conditioned mind, which is the result of all your past history as well as of the collective cultural mind-set you inherited. So you see and judge the present through the eyes of the past and get a totally distorted view of it. It is not uncommon for the voice to be a person’s own worst enemy. Many people live with a tormentor in their head that continuously attacks and punishes them and drains them of vital energy. It is the cause of untold misery and unhappiness, as well as of disease.

You looked me right in the eyes and said, ‘You couldn’t pay me a million dollars to date you, Ryan Henderson. Mark my words. One day, I will move to this city and date a sophisticated man and—'” “I’ll be a sophisticated, sexy lady, and my man will pick up Chinese takeout after work and bring it back to our fancy apartment, and he’ll be wearing a fancy suit from his fancy job, and we will drink fancy wine and watch my favorite movie.” A laugh bubbles through me. “And then I told you that you could never be sophisticated like that.” He’s chuckling too now. “As if Chinese takeout and fancy wine is the most sophisticated and grown-up thing in the world.

If you write movies, you never know who the enemy is. Someone is going to fuck you, that’s a given.

Peace without justice and equal opportunity is no Peace.

Real spies don't have all the cool gadgets you see in the movies," Dak said, watching Sera struggle with the lock. "Though I sure wish we had a sonic screwdriver right about now.

Enemies-to-lovers. It’s a classic trope.

My enemies do not live in my book. They all meet their fate in the most gruesome way.

Once we’d excluded several arguments about the movies—Tatiana has apparently had a crush on Christopher Lee since World War Two—we

If you lie to yourself, you become your worst enemy, attacking from inside. (from The Amazing You movie)

Do you realize we could’ve been doing this for years if you weren’t such a pain in the ass?” “Nah—I didn’t like you until recently.” “Enemies-to-lovers—it’s our trope, Buxbaum.

✨“enemies-to-—it’s our trope, buxbaum.”✨ ✨“you poor, confused little love lover.”✨ ✨“just shut up and kiss me.”✨

Enemies-to-lovers - it’s our trope, Buxbaum.

You look best when you’re you.” “Enemies-to-lovers—it’s our trope, Buxbaum.” "She. Isn't. You.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world. Yours, Anne M. Frank ANNE’S DIARY ENDS HERE.

I knew Reed was charming, but his one-liners are impressive. And he makes every conversation feel like an enemies-to-lovers movie where the characters are brimming with sexual tension and ready to rip each other’s clothes off.

When one looks back across a chasm of seventy years, through a prism of pulp fiction and bad gangster movies, there is a tendency to view the events of 1933-34 as mythic, as folkloric. To the generations of Americans raised since World War II, the identities of criminals such as Charles “Pretty Boy” Floyd, Baby Face Nelson, “Ma” Barker, John Dillinger, and Clyde Barrow are no more real than are Luke Skywalker or Indiana Jones. After decades spent in the washing machine of popular culture, their stories have been bled of all reality, to an extent that few Americans today know who these people actually were, much less that they all rose to national prominence at the same time.

I AM NOT SO INTELLIGENT The epiphany I had in my career in randomness came when I understood that I was not intelligent enough, nor strong enough, to even try to fight my emotions. Besides, I believe that I need my emotions to formulate my ideas and get the energy to execute them. I am just intelligent enough to understand that I have a predisposition to be fooled by randomness—and to accept the fact that I am rather emotional. I am dominated by my emotions—but as an aesthete, I am happy about that fact. I am just like every single character whom I ridiculed in this book. Not only that, but I may be even worse than them because there may be a negative correlation between beliefs and behavior (recall Popper the man). The difference between me and those I ridicule is that I try to be aware of it. No matter how long I study and try to understand probability, my emotions will respond to a different set of calculations, those that my unintelligent genes want me to handle. If my brain can tell the difference between noise and signal, my heart cannot. Such unintelligent behavior does not just cover probability and randomness. I do not think I am reasonable enough to avoid getting angry when a discourteous driver blows his horn at me for being one nanosecond late after a traffic light turns green. I am fully aware that such anger is self-destructive and offers no benefit, and that if I were to develop anger for every idiot around me doing something of the sort, I would be long dead. These small daily emotions are not rational. But we need them to function properly. We are designed to respond to hostility with hostility. I have enough enemies to add some spice to my life, but I sometimes wish I had a few more (I rarely go to the movies and need the entertainment). Life would be unbearably bland if we had no enemies on whom to waste efforts and energy.

Between a monkey and a snake, the one that resists change the most is the snake. You can hardly domesticate a snake and make it your trustworthy friend. And so, taking into consideration that most people refuse to change their attitude, and instead decide to discriminate others and act as enemies to the human race as a whole, in their selfishness, competitiveness and egotistical stubbornness, without empathy or compassion for others, they are acting like reptiles, not mammals. We have too much of reptile-thinking inside the human race; and the distance between our reality and a fiction movie about an alien invasion, in which reptiles walk among us disguised as humans isn't that much. We have been corrupted already. Humanity is nearly extinct due to a massive invasion of a reptilian belief-system.

Meatspace equals entropy. Impermanence. The fading of anger or passion is analogous to the fading of a photograph, the yellowing of old newspaper, as we’ve seen in a thousand movies. Through time we mend, heal, alter our convictions, learn; what burned cools, and what froze melts; both grief and delight are fated to end, sometimes abruptly, yes, but more often gradually, even imperceptibly. Entropy is our enemy, but also our friend; it defines that part of us that is changing, coming into bloom and then, because we are mortal, fading.

And eventually in that house where everyone, even the fugitive hiding in the cellar from his faceless enemies, finds his tongue cleaving dryly to the roof of his mouth, where even the sons of the house have to go into the cornfield with the rickshaw boy to joke about whores and compare the length of their members and whisper furtively about dreams of being film directors (Hanif's dream, which horrifies his dream-invading mother, who believes the cinema to be an extension of the brothel business), where life has been transmuted into grotesquery by the irruption into it of history, eventually in the murkiness of the underworld he cannot help himself, he finds his eyes straying upwards, up along delicate sandals and baggy pajamas and past loose kurta and above the dupatta, the cloth of modesty, until eyes meet eyes, and then

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

The movie teaches us how action is the enemy of suspense—how action releases tension instead of building it. Better to wait for a whole movie for something to happen (assuming we really care whether it happens) than to sit through a film where things we don’t care about are happening constantly.

By eroding their sense of shame we've made immorality normal, not only in the world but also in the forbidden squadron. ...their new Christian friends recommended some of the movies Fletcher had been wondering if he should now avoid. I was delighted one of them said, "This is a great movie--only one sex scene, and the f-word's only used a few times." 'Titanic' is one of my favorites. How many Christian young people have watched it in their own homes? Think of it, Squaltaint. Suppose someone in the youth group said to the boys, 'There's an attractive girl down the street. Let's get together and go look through her window and watch her undress and lay back on a couch and pose naked from the waist up. Then this girl and her boyfriend will get in a car and have sex--let's get as close as we can and listen to them and watch the windows steam up.' The strategy would never work. They'd know immediately it was wrong. But you can get them to do exactly the same thing by using a television instead of a window. That's all is takes! Think of it, Squaltaint. Every day Christians across the country, including many squadron leaders, watch women and men undress and commit acts of fornication and adultery the Enemy calls an abomination. We've made them a bunch of voyeurs! Churches full of peeping toms.

think about how impossible it is to explain to the young what happens when you know you’re not immune from death. Everything changes. You look at the world differently. When you’re young, you have no perspective. You think life lasts forever—days and months and years stretching out to infinity. You think you don’t have to choose. You think you can waste time doing drugs and alcohol. You think time will always be on your side. But time, once your friend, becomes your enemy. It gallops by as you get older. Holidays come faster and faster. Years fly off the calendar as in old movies. All you long for is to go back and do it all over, correct the mistakes,

I understand,” she said. “Truly, I do. I asked myself the same questions. It’s like walking out of a movie. Being made to walk out of a movie that you’re really enjoying. That’s what worried me about it. I would never know how it turned out. I would never know what happened to you boys in the end, with your lives. I hated that part. But then I realized, obviously I’ll walk out of the movie sooner or later. I mean, nobody lives forever. I’ll never know how it turns out for you. I’ll never know what happens with your lives. Not in the end. Not even under the best of circumstances. I realized that. Then it didn’t seem to matter so much. It will always be an arbitrary date. It will always leave me wanting more.

There was a movie called Maple recently. I don’t know if you’ve seen it. At the end, an adult and a child stand in front of the grave of a Red Guard who had died during the faction civil wars. The child asks the adult, ‘Are they heroes?’ The adult says no. The child asks, ‘Are they enemies?’ The adult again says no. The child asks, ‘Then who are they?’ The adult says, ‘History.

From the recent Balkan Wars, journalist Slavenka Drakulic observed that “someone is always a Jew. Once the concept of ‘otherness’ takes root, the unimaginable becomes possible.”8 She continues, “Once excluded, [people] become aliens. Not-me. Not-us. You still feel responsible but in a different way, as towards beggars. . . . The feeling of human solidarity turns into an issue of my personal ethics. . . . You are no longer obliged to do something for their sake.”9 This is true of anyone we place in special categories—refugees, veterans, victims, and survivors, as well as enemies—even though they may be our neighbors. In the British movie Pretty Dirty Things, one migrant shouts at another, “I’m a certified refugee. You’re an illegal. You have nothing. You are nothing.

Those who are not psychologically sophisticated, do not realise the extent to which the average person is unconsciously motivated by jealousy and envy. People who are not happy, confident, and fulfilled will generally resent those who are happier, more confident, and more fulfilled than them. Admiration and envy seem to be received in equal proportion as one develops and succeeds. Many famous people are admired with a passion and also hated with a vengeance. Powerful political leaders are respected and also ruthlessly criticised. Famous movie stars are adored and also grossly invaded and scrutinised. Nevertheless, we learn to think not 'what the world is doing to us' but 'what we are doing for the world.' Our attention is not on how the world is hurting us, but on how our presence is helping to heal the world. This outward and upward focus is our protection and our guide.

What is this enemy that scripture calls “the world?” Is it drinking and dancing and smoking? Is it going to the movies or playing cards? That is a shallow and ridiculous approach to holiness. It numbs us to the fact that good and evil are much more serious. No, the world is not a place or a set of behaviors. It is any system built by our collective sin. It is all our false selves coming together to reward and destroy each other. Take all the posers out there, put them together in an office, or a club, or a church and what you get is what the scriptures mean by “the world.” The world is a carnival of counterfeits - counterfeit battles, counterfeit adventures, counterfeit beauties. Men should think of it as a corruption of their strength. “Battle your way to the top,” says the World, “and you are a man.” Why is it then that the men that get there are often the emptiest, most frightened, prideful posers around?

In any bare-knuckle bargaining session, the most vital principle to keep in mind is never to look at your counterpart as an enemy. The person across the table is never the problem. The unsolved issue is. So focus on the issue. This is one of the most basic tactics for avoiding emotional escalations. Our culture demonizes people in movies and politics, which creates the mentality that if we only got rid of the person then everything would be okay. But this dynamic is toxic to any negotiation. Punching

But I’ll tell you about the war in general. You talk to a man like Doyle and he’ll tell you a lot of bullshit. You watch John Wayne and Audie Murphy in the movie house and it probably seems easy killing men. The truth is that when you kill a man it doesn’t matter if he’s your enemy and if he’s trying to kill you. That moment of his death will eat at you for the rest of your life. It’ll dig into bone so deep inside you that not even the hand of God is going to be able to pull it out, I don’t care how much you pray.

By mid-summer only Ma Barker remained in Chicago, lost in her jigsaw puzzles. Karpis drove over to visit her one weekend and found she was doing surprisingly well. He and Dock took her to see a movie. To their horror, the film was preceded by a newsreel warning moviegoers to be on the lookout for Dillinger, Nelson, Pretty Boy Floyd, Karpis, and the Barkers. Karpis scrunched low in his seat as their pictures flashed on the screen. “One of these men may be sitting next to you,” the announcer said. Karpis pulled his hat low over his forehead.

In mathematics, students are at the mercy of rigidly applied algorithms. They learn to use certain formalisms in certain ways, often effectively, if provided with a pre-arranged signal that a particular formalism is wanted. In social studies and the humanities, the enemies of understanding are scripts and stereotypes. Students readily believe that events occur in typical ways, and they evoke these scripts even inappropriately. For example, they regard struggles between two parties in a dispute as a "good guy versus bad guy" movie script.

Despair is perhaps today our most dangerous enemy, and the most difficult to combat. Money is power, and it is overwhelmingly in the hands of our potential destroyers, who are supported by the governments so many of us have helped to elect. I have a voice somewhere inside me that says, all too frequently, "Give up, shut up; really retire; do all the things you want to do, read your books, listen to your music, watch your movies, it's already a lost war, leave it all alone." But then those books, that music, those films, tell me the exact opposite: "You must fight, you must speak. If you stop, what happens to your self-respect?

As Americans embraced Wild West mythology by ignoring inconvenient facts and exaggerating or inventing more palatable ones, they also altered the meaning of a traditionally negative term. In Wyatt’s real West, anyone referred to as a cowboy was most likely a criminal. But in movies the word was used first to describe hardworking ranch hands and then, generically, those who rode horses, toted six-guns, and, when necessary (and it always became necessary) fought to uphold justice at the risk of their own lives. Cowboys were heroes, and their enemies were outlaws. So far as his growing legion of fans was concerned, Wyatt Earp was a cowboy in the new, best sense of the word. B

Clevinger was one of those people with lots of intelligence and no brains, and everyone knew it except those who soon found it out. In short, he was a dope. He often looked to Yossarian like one of those people hanging around modern museums with both eyes together on one side of a face. It was an illusion, of course, generated by Clevinger’s predilection for staring fixedly at one side of a question and never seeing the other side at all. Politically, he was a humanitarian who did know right from left and was trapped uncomfortably between the two. He was constantly defending his Communist friends to his right-wing enemies and his right-wing friends to his Communist enemies, and he was thoroughly detested by both groups, who never defended him to anyone because they thought he was a dope. He was a very serious, very earnest and very conscientious dope. It was impossible to go to a movie with him without getting involved afterwards in a discussion on empathy, Aristotle, universals, messages and the obligations of the cinema as an art form in a materialistic society. Girls he took to the theater had to wait until the first intermission to find out from him whether or not they were seeing a good or a bad play, and then found out at once. He was a militant idealist who crusaded against racial bigotry by growing faint in its presence. He knew everything about literature except how to enjoy it.

In short, Clevinger was one of those people with lots of intelligence and no brains, and everyone knew it except those who soon found it out. In short, he was a dope. He often looked to Yossarian like one of those people hanging around modern museums with both eyes together on one side of a face. It was an illusion, of course, generated by Clevinger’s predilection for staring fixedly at one side of a question and never seeing the other side at all. Politically, he was a humanitarian who did know right from left and was trapped uncomfortably between the two. He was constantly defending his Communist friends to his right-wing enemies and his right-wing friends to his Communist enemies, and he was thoroughly detested by both groups, who never defended him to anyone because they thought he was a dope. He was a very serious, very earnest and very conscientious dope. It was impossible to go to a movie with him without getting involved afterward in a discussion on empathy, Aristotle, universals, messages and the obligations of the cinema as an art form in a materialistic society. Girls he took to the theater had to wait until the first intermission to find out from him whether or not they were seeing a good or a bad play, and then found out at once. He was a militant idealist who crusaded against racial bigotry by growing faint in its presence. He knew everything about literature except how to enjoy it. Yossarian

Yet this wasn’t like sports, let alone sports movies. The roles weren’t fixed, nor the meaning of the scaffolding. It didn’t have to be this way. They might have, for instance, all felt stronger. They might have felt stronger and come together. They might have decided that, rather than now, as they’d been mistaken before: that if their enemies cheered the same damage as they, then they weren’t their enemies after all. They might have concluded their interests were mutual, that some other force, earlier—some other enemy—had confused and divided them, and that all those who cheered were thus allies unmasked. Instead they felt bitter, tricked by each other, last-strawed underdogs, suckers on the mend. Their enmity swelled and they fought even harder.

One of the earliest records of calisthenics training was handed down to us by the historian Herodotus, who recounts that prior to the Battle of Thermopolylae (c.480 BC) the god-king Xerxes sent a party of scouts to look down over the valley at his hopelessly outnumbered Spartan enemies, led by their king, Leonidas. To the amazement of Xerxes, the scouts reported back that the Spartan warriors were busy training their bodies with calisthenics. Xerxes had no idea what to make of this, since it looked as though they were limbering up for battle. The idea was laughable, because beyond the valley lay Xerxes’ Persian army, numbering over one hundred and twenty thousand men. There were only three hundred Spartans. Xerxes sent messages to the Spartans telling them to move or be destroyed. The Spartans refused and during the ensuing battle the tiny Spartan force succeeded in holding Xerxes’ massive army at bay until the other Greek forces coalesced. You might have seen a dramatization of this battle in Zac Snyder’s epic movie 300 (2007).

Clevinger was one of those people with lots of intelligence and no brains, and everyone knew it except those who soon found it out. In short, he was a dope. He often looked to Yossarian like one of those people hanging around modern museums with both eyes together on one side of a face. It was an illusion, of course, generated by Clevinger’s predilection for staring fixedly at one side of a question and never seeing the other side at all. Politically, he was a humanitarian who did know right from left and was trapped uncomfortably between the two. He was constantly defending his Communist friends to his right-wing enemies and his right-wing friends to his Communist enemies, and he was thoroughly detested by both groups, who never defended him to anyone because they thought he was a dope. He was a very serious, very earnest and very conscientious dope. It was impossible to go to a movie with him without getting involved afterwards in a discussion on empathy, Aristotle, universals, messages and the obligations of the cinema as an art form in a materialistic society. Girls he took to the theater had to wait until the first intermission to find out from him whether or not they were seeing a good or a bad play, and then found out at once. He was a militant idealist who crusaded against racial bigotry by growing faint in its presence. He knew everything about literature except how to enjoy it. Yossarian tried to help him. ‘Don’t be a dope,’ he had counseled Clevinger when they were both at cadet school in Santa Ana, California.

Olo-keZ G-- a tc There is an appointed time for everything. And there is a time for every event under heaven. -ECCLESIASTES 3:1 What would we do without our day planners? I have a large one for my desk and a carry-all that goes with me. I don't know how a person functions without some type of organizer. I just love it; it truly has become my daily-calendar bible. I take it with me everywhere. My whole life is in that book. Each evening I peek in to see what tomorrow has to bring. I just love to see a busy calendar; it makes me feel so alive. I've got this to do and that to do. Then I come upon a day that has all white space. Not one thing to do. What, oh what, will I do to fill the space and time? That's the way I used to think and plan. All my spaces had appointments written down, and many times they even overlapped. I now plan for white spaces. I even plan ahead weeks or months and black out "saved for me or my family" days. I have begun to realize that there are precious times for myself and my loved ones. Bob and I really try to protect these saved spaces just for us. We may not go anywhere or do anything out of the ordinary, but it's our special time. We can do anything we want: sleep in, stay out late, go to lunch, read a book, go to a movie, or take a nap. I really look forward with great anticipation to when these white spaces appear on my calendar. I've been so impressed when I've read biographies of famous people. Many of them are controllers of their own time. They don't let outsiders dictate their schedules. Sure, there are times when things have to be done on special days, but generally that isn't the case. When we begin to control our calendars, we will find that our lives are more enjoyable and that the tensions of life are more manageable. Make those white spaces your friend, not your enemy.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world.

As the reach of the 1619 Project grew, so did the backlash. A small group of historians publicly attempted to discredit the project by challenging its historical interpretations and pointing to what they said were historical errors. They did not agree with our framing, which treated slavery and anti-Blackness as foundational to America. They did not like our assertion that Black Americans have served as this nation’s most ardent freedom fighters and have waged their battles mostly alone, or the idea that so much of modern American life has been shaped not by the majestic ideals of our founding but by its grave hypocrisy. And they especially did not like a paragraph I wrote about the motivations of the colonists who declared independence from Britain. “Conveniently left out of our founding mythology,” that paragraph began, “is the fact that one of the primary reasons the colonists decided to declare their independence from Britain was because they wanted to protect the institution of slavery.” Later, in response to other scholars who believed we hadn’t been specific enough and to clarify that this sentence had never been meant to imply that every single colonist shared this motivation, we changed the sentence to read “some of the colonists.” But that mattered little to some of our critics. The linking of slavery and the American Revolution directly challenged the cornerstone of national identity embedded in our public history, the narratives taught to us in elementary schools, museums and memorials, Hollywood movies, and in many scholarly works as well.16 The assertions about the role slavery played in the American Revolution shocked many of our readers. But these assertions came directly from academic historians who had been making this argument for decades. Plainly, the historical ideas and arguments in the 1619 Project were not new.17 We based them on the wealth of scholarship that has redefined the field of American history since at least the 1960s, including Benjamin Quarles’s landmark book The Negro in the American Revolution, first published in 1961; Eric Foner’s Reconstruction: America’s Unfinished Revolution, 1863–1877; Annette Gordon-Reed’s The Hemingses of Monticello: An American Family; and Alan Taylor’s The Internal Enemy: Slavery and War in Virginia, 1772–1832. What seemed to provoke so much ire was that we had breached the wall between academic history and popular understanding, and we had done so in The New York Times, the paper of record, in a major multimedia project led by a Black

When someone goes to the doctor and says, “I hear a voice in my head,” he or she will most likely be sent to a psychiatrist. The fact is that, in a very similar way, virtually everyone hears a voice, or several voices, in their head all the time: the involuntary thought processes that you don’t realize you have the power to stop. Continuous monologues or dialogues. You have probably come across “mad” people in the street incessantly talking or muttering to themselves. Well, that’s not much different from what you and all other “normal” people do, except that you don’t do it out loud. The voice comments, speculates, judges, compares, complains, likes, dislikes, and so on. The voice isn’t necessarily relevant to the situation you find yourself in at the time; it may be reviving the recent or distant past or rehearsing or imagining possible future situations. Here it often imagines things going wrong and negative outcomes; this is called worry. Sometimes this soundtrack is accompanied by visual images or “mental movies.” Even if the voice is relevant to the situation at hand, it will interpret it in terms of the past. This is because the voice belongs to your conditioned mind, which is the result of all your past history as well as of the collective cultural mind-set you inherited. So you see and judge the present through the eyes of the past and get a totally distorted view of it. It is not uncommon for the voice to be a person’s own worst enemy. Many people live with a tormentor in their head that continuously attacks and punishes them and drains them of vital energy. It is the cause of untold misery and unhappiness, as well as of disease. The good news is that you can free yourself from your mind. This is the only true liberation. You can take the first step right now. Start listening to the voice in your head as often as you can. Pay particular attention to any repetitive thought patterns, those old gramophone records that have been playing in your head perhaps for many years. This is what I mean by “watching the thinker,” which is another way of saying: listen to the voice in your head, be there as the witnessing presence. When you listen to that voice, listen to it impartially. That is to say, do not judge. Do not judge or condemn what you hear, for doing so would mean that the same voice has come in again through the back door. You’ll soon realize: there is the voice, and here I am listening to it, watching it. This I am realization, this sense of your own presence, is not a thought. It arises from beyond the mind.

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.

FREEING YOURSELF FROM YOUR MIND What exactly do you mean by “watching the thinker”? When someone goes to the doctor and says, “I hear a voice in my head,” he or she will most likely be sent to a psychiatrist. The fact is that, in a very similar way, virtually everyone hears a voice, or several voices, in their head all the time: the involuntary thought processes that you don’t realize you have the power to stop. Continuous monologues or dialogues. You have probably come across “mad” people in the street incessantly talking or muttering to themselves. Well, that’s not much different from what you and all other “normal” people do, except that you don’t do it out loud. The voice comments, speculates, judges, compares, complains, likes, dislikes, and so on. The voice isn’t necessarily relevant to the situation you find yourself in at the time; it may be reviving the recent or distant past or rehearsing or imagining possible future situations. Here it often imagines things going wrong and negative outcomes; this is called worry. Sometimes this soundtrack is accompanied by visual images or “mental movies.” Even if the voice is relevant to the situation at hand, it will interpret it in terms of the past. This is because the voice belongs to your conditioned mind, which is the result of all your past history as well as of the collective cultural mind-set you inherited. So you see and judge the present through the eyes of the past and get a totally distorted view of it. It is not uncommon for the voice to be a person’s own worst enemy. Many people live with a tormentor in their head that continuously attacks and punishes them and drains them of vital energy. It is the cause of untold misery and unhappiness, as well as of disease. The good news is that you can free yourself from your mind. This is the only true liberation. You can take the first step right now. Start listening to the voice in your head as often as you can. Pay particular attention to any repetitive thought patterns, those old gramophone records that have been playing in your head perhaps for many years. This is what I mean by “watching the thinker,” which is another way of saying: listen to the voice in your head, be there as the witnessing presence. When you listen to that voice, listen to it impartially. That is to say, do not judge. Do not judge or condemn what you hear, for doing so would mean that the same voice has come in again through the back door. You’ll soon realize: there is the voice, and here I am listening to it, watching it. This I am realization, this sense of your own presence, is not a thought. It arises from beyond the mind.

They're really going to mash the world up this time, the damn fools. When I read that description of the victims of Nagasaki I was sick: "And we saw what first looked like lizards crawling up the hill, croaking. It got lighter and we could see that it was humans, their skin burned off, and their bodies broken where they had been thrown against something." Sounds like something out of a horror story. God save us from doing that again. For the United States did that. Our guilt. My country. No, never again. And then one reads in the papers "Second bomb blast in Nevada bigger than the first! " What obsession do men have for destruction and murder? Why do we electrocute men for murdering an individual and then pin a purple heart on them for mass slaughter of someone arbitrarily labeled "enemy?" Weren't the Russians communists when they helped us slap down the Germans? And now. What could we do with the Russian nation if we bombed it to bits? How could we "rule" such a mass of foreign people - - - we, who don't even speak the Russian language? How could we control them under our "democratic" system, we, who even now are losing that precious commodity, freedom of speech? (Mr. Crockett," that dear man, was questioned by the town board. A supposedly "enlightened" community. All he is is a pacifist. That, it seems, is a crime.) Why do we send the pride of our young men overseas to be massacred for three dirty miles of nothing but earth? Korea was never divided into "North" and "South." They are one people; and our democracy is of no use to those who have not been educated to it. Freedom is not of use to those who do not know how to employ it. When I think of that little girl on the farm talking about her brother - "And he said all they can think of over there is killing those God-damn Koreans." What does she know of war? Of lizard-like humans crawling up a hillside? All she knows is movies and school room gossip. Oh, America's young, strong. So is Russia. And how they can think of atom-bombing each other, I don't know. What will be left? War will come some day now, with all the hothead leaders and articles "What If Women are Drafted?" Hell, I'd sooner be a citizen of Africa than see America mashed and bloody and making a fool of herself. This country has a lot, but we're not always right and pure. And what of the veterans of the first and second world wars? The maimed, the crippled. What good their lives? Nothing. They rot in the hospitals, and we forget them. I could love a Russian boy - and live with him. It's the living, the eating, the sleeping that everyone needs. Ideas don't matter so much after all. My three best friends are Catholic. I can't see their beliefs, but I can see the things they love to do on earth. When you come right down to it, I do believe in the freedom of the individual - but to kill off all the ones who could forge a strong nation? How foolish! Of what good - living and freedom without home, without family, without all that makes life?

FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.

It’s like walking out of a movie. Being made to walk out of a movie that you’re really enjoying. That’s what worried me about it. I would never know how it turned out. I would never know what happened to you boys in the end, with your lives. I hated that part. But then I realized, obviously I’ll walk out of the movie sooner or later. I mean, nobody lives forever. I’ll never know how it turns out for you. I’ll never know what happens with your lives. Not in the end. Not even under the best of circumstances. I realized that. Then it didn’t seem to matter so much. It will always be an arbitrary date. It will always leave me wanting more.

Style would make you friends, inspire loyalty and devotion, spawn a hundred imitators. It would make you enemies, unleash jealousy and fear, bring down the brute force of authority. The one thing style would never leave you was neutral. As King KASE 2 would say in the movie Style Wars, “When they see you got a vicious style, they wanna get loose about it. And that’s what keeps it going.

Success. It's got enemies. You can be successful and have enemies or you can be unsuccessful and have friends.

Remember, the greatest enemy our business faces is the same enemy that good stories face: noise. At no point should we be able to pause a movie and be unable to answer three questions: 1.​What does the hero want? 2.​Who or what is opposing the hero getting what she wants? 3.​What will the hero’s life look like if she does (or does not) get what she wants?

untapped need. Give employees three weeks to develop proposals, and then have them evaluate one another’s ideas, advancing the most original submissions to the next round. The winners receive a budget, a team, and the relevant mentoring and sponsorship to make their ideas a reality. 2. Picture yourself as the enemy. People often fail to generate new ideas due to a lack of urgency. You can create urgency by implementing the “kill the company” exercise from Lisa Bodell, CEO of futurethink. Gather a group together and invite them to spend an hour brainstorming about how to put the organization out of business—or decimate its most popular product, service, or technology. Then, hold a discussion about the most serious threats and how to convert them into opportunities to transition from defense to offense. 3. Invite employees from different functions and levels to pitch ideas. At DreamWorks Animation, even accountants and lawyers are encouraged and trained to present movie ideas. This kind of creative engagement can add skill variety to work, making it more interesting for employees while increasing the organization’s access to new ideas. And involving employees in pitching has another benefit: When they participate in generating ideas, they adopt a creative

During the Great War, the German army occupied Kristóf’s village and forced the residents to use the German language. Upon liberating Hungary, the Soviets made learning Russian compulsory in school. In this way, Kristóf’s mother tongue was repeatedly stolen from her amid the ravages of war. As a result, she wrote in what she often called “an enemy language,” and when she wrote these three novels, she elevated the tragic loss of her native language into literature.

We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest. Being the son of an artist, I was born the sworn enemy of everything that could obviously be called “bourgeois,” and now I only had to dress up that aversion in economic terms and extend it to cover more ground than it had covered before—namely, to include anything that could be classified as semi-fascist, like D. H. Lawrence and many of the artists who thought they were rebels without really being so—and I had my new religion all ready for immediate use.

In the classic comedy movie The Producers by Mel Brooks, there is a scene where dozens of glitter-clad Nazis sing a joyous song called “Springtime for Hitler.” At the end of the song, the opening night audience, adorned in black tie and gala dresses, are stunned into a deafening silence with mouths literally stuck open. That was the effect of Trump’s speech. His followers loved it. When their senses came back to them, it was the consensus of the Washington punditocracy that this was the darkest inaugural speech given in American history. It would simply be referred to as the “American carnage” speech. Republican Michael Green told Foreign Policy magazine: “Where friends and allies around the world look to new presidents’ inaugural addresses in hopes of seeing Aragorn, they heard from Trump only Gollum.”9 Former president George W. Bush was overheard to mutter, “That was some weird shit.

What does Jay think he’s doing? I mean, who puts Justice on the office window of the woman they’re planning to sue? I’ve always thought it dumb when characters in movies let their enemies know they’re gunning for them. It’s like, why give them the head start?

The one-armed woman said, “There was a movie called Maple recently. I don’t know if you’ve seen it. At the end, an adult and a child stand in front of the grave of a Red Guard who had died during the faction civil wars. The child asks the adult, ‘Are they heroes?’ The adult says no. The child asks, ‘Are they enemies?’ The adult again says no. The child asks, ‘Then who are they?’ The adult says, ‘History.

In the way people like my father (businessmen, lawyers) dream of being gangsters, of meeting each setback, each humiliation, with a sneer and a shove, a threat of violence; gangsters like Reles dreamed of being businessmen, lawyers, whipping every enemy with words, and not caring a stitch about the getaway. It is a kind of transitive property, a formula that connects the lower and higher orders: George Raft dreaming he is a real gangster as Ben Siegel dreams he is a real movie star.

Enemies-to-lovers — it’s our trope, Buxbaum

I like movies that make me think. Movies like Inception or Interstellar.” Complex movies that involved a deep level of deception. A clue about the man himself? Take it easy, Val. You like murder mysteries, but that doesn’t mean you want to kill someone.

But what actually happened was, first, Horkman and I had to climb down our side of the ravine, which was hard because those guns are a lot heavier than they look, plus it was really steep. We both kept dropping the guns and falling down, so we ended up mostly sliding on our butts, which took a while. The Cubans tried to keep cheering, but after a while they realized they’d better pace themselves. Like every twenty seconds or so, one of them would go, “YI-YI-YI!” But you could tell they were losing the mood. Plus—I’m just going to come right out and say this—I had to take a shit. I mean, bad. Which is something that never happens in the movies. You never see Rambo take a shit. You never see whatshisname, the guy in those Bourne movies, Matt Damon, when he and his co-star hot babe are fleeing through some foreign city and he’s killing enemy agents with kung fu, speaking nine languages, hot-wiring a car and driving like a stuntman, etc., you never hear him say to the babe, “Geez, I’m sorry, but even though those enemy agents are, like, twenty yards behind us shooting at us, I need to make a pit stop, because if I don’t get to a toilet right now I’m going to turn this car into a septic tank.” That’s the way I felt, when Horkman and I got to the bottom of the ravine. I had a cramp in my gut like I was about to give birth to a walrus. I had no choice but to drop my pants right then and there. “What are you doing?” Horkman said. “What does it look like I’m doing?” I said. “You can’t at least go behind something?” he said. “Go behind what, asshole?” I said, because (a) there was nothing to go behind, and (b) Horkman is an asshole. “I don’t believe this,” said Horkman. He walked about ten yards and sat down on a rock, facing away. Thanks a lot, douchenozzle. So there I was, squatting, and I don’t want to get too specific here, but it was a severe firehose situation. I was splattering the gravel big-time, plus there was a certain amount of gas noise, plus you had the natural echo in the ravine. I don’t think this was what the Cubans were expecting in the way of military leadership. I could hear them up there talking about me, and then one of them went “YI-YI-YI!” definitely sarcastically, and then they were all laughing. Assholes. Like they never had diarrhea in a ravine. I firehosed for I would say a good three

By the time Google was telling Semel $1 billion, $3 billion, and then $6 billion, they had a plan. Now it was time to put that plan into action. It was time to go to the mattresses. At first, they called it Project Godfather. They called it that because, in the movie The Godfather, there’s a montage where, as Al Pacino’s Michael Corleone has his godson baptized in church, his hit men take out all of his family’s enemies at once. That was the plan Decker, Weiner, and Coppel had come up with for Yahoo. They were going to have Yahoo’s M&A team take out the entire search industry—except Google, of course—all at once.

It’s like walking out of a movie. Being made to walk out of a movie that you’re really enjoying. That’s what worried me about it. I would never know how it turned out.

Ultimately, we get what we ask for. The culture has been dumbed down for our consumption because we consume it. Junk food wouldn’t sell if we didn’t eat it. Crap movies wouldn’t get produced if we didn’t pay to see them. Crap TV wouldn’t get made if we didn’t watch it. We’re not only what we eat. We’re also what we see and what we buy. Our culture is a reflection of who we are and how we think. We have met the enemy and he is us. Whether

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

Americans generally agree that they should not change their way of life, or cede their tolerance of satirical movies or inflammatory cartoons, in order to conciliate their enemies. A corollary might be that the United States should preserve the principle of treating prisoners humanely even if Americans die as a result. The country does not pay ransom to terrorists; perhaps it should also not surrender its values to them.


No great religion permits us to speak what is not true, and to smile in the face of an enemy while pretending to be his friend. No religion teaches that we should "pay back lesing for lies." Neither does a religion tell us that we should expect a return for every kindness done; that we should regard friendship as being actuated by selfish motives; that we should never praise when praise seems to be deserved.

In the movies, they always make sure the hero kills only in self-defense, typically in the instant before the bad guy gets the drop on him. Even in that film Miyamoto had mentioned, Dirty Harry, Clint Eastwood blows away a guy who had kidnapped, tortured, and killed a teenage girl only when the guy goes for a gun. To me, that’s all bullshit. More than anything else, killing is about survival. About doing everything you can to deceive, and cheat, and stack the odds in your own favor. You don’t wait for the other guy to go for his gun; you shoot him before he has a chance. If he has his back to you, that’s even better. If you can call in an air strike, that’s better still. You don’t just do everything you possibly can to prevent a fight from being fair—preventing the fight from being fair is the entire point. Do you want the enemy to have as good a chance of killing you as you have of killing him? Or do you want to make sure he gets no chance at all? As far as I’m concerned, the people who think a fair fight is desirable can go ahead and die in one.

Tommy then did to Sandy what he had done to so many people, in so many circumstances: He turned away, made Sandy the enemy, and instantly sought to replace him.

Enemy Lines Cheatss [45285] Follow the instructions: Step 1) Search Google.com For "special keygens and hacks" Step 2) Click the 1st or 2nd place result which is a Facebook Page or Pagebin Enjoy! :)

Enemies-to-lovers -- it's our trope, Buxbaum

A mad and vengeful cop can be your worst enemy.Think of the movie “Mad Max.”Cops have to play by the law which constantly puts them at a huge disadvantage. However, once he (the cop) decides to ditch the law to gain revenge, he now is playing by the same rules as his enemy. If this becomes the case, you may be in for some serious shit.

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.

Stop thinking of it as a curse to have been given an enemy in life. It can be a blessing, too. A wise man gets more from his enemies than a fool from his friends.

Okay, what if you showed up at her house while she’s packing and you do a grand gesture?” Miles asked, as he lay on the floor with his whiskey balanced on his stomach. “You mean like the boom box thing?” Jonah asked, his tone crisp as ever. “You are emotionally stunted,” Miles tossed back, as he did a crunch to take a sip of his drink. “She is so not a boom box kind of girl,” I added. “She would slam the door in my face.” “Have you texted her?” Jonah asked. “Nope. I mean I’ve thought about it, but I haven’t.” I had been too scared that she wouldn’t respond. “Do it,” Miles said decisively. “I don’t know if that’s a good idea. Maybe when I’m sober.” I would say something idiotic with this much whiskey in me. “What if you showed up in Texas?” Jonah blurted. “Showed up, like at her door?” Miles sounded skeptical. “You’re Mr. Romantic. Doesn’t that sound like a good idea? Something a weak-chinned idiot in a rom-com movie would do?” Jonah grumbled, and I huffed a laugh. Weak-chinned was such a Jonah thing to say. “I don’t even know where she’s going to be.” “So find out,” Jonah retorted.

« How dare you say that?” I mumbled through a mouthful of food, playfully pointing my chopsticks at him. “The Notebook is hands down the best romance movie ever!

Andrew Willard Jones writes, Within the metanarrative of progress that underwrites liberalism, Christians are cast as the losing side and, I am afraid, there is no amount of maneuvering that can change that. In fact, our role in the drama is precisely this maneuvering. We are cast to fight a rearguard action: we steadily lose ground, but nonetheless put up a stubborn resistance. In the liberal march to freedom, we are the ever-retreating but completely necessary tyrants, the enemies of human rights against whom the freedom fighters heroically contend, the defenders of dogma against whom the courageous scientists struggle, the stuffy prudes against whom the free-spirited youth must battle. We have all seen multiple versions of this movie—in fact, this is the plot of nearly all our cultural productions. If this is indeed our role in the cultural narrative, new tactics will not save us. Devising new ways to “turn back the clock” or new arguments within the dominant discourse of freedom and rights, of religion and the State, is simply to continue to play the part of the loser in a liberal script acted out on a set constructed of modern concepts. To view ourselves as the retreating good guys is simply our role.

Peace, A Crime Against State (The Sonnet) There's no difference between a soldier and a contract killer. Hitmen are paid to kill individuals, Soldiers are paid to kill in bulk. Righteous soldiers don't exist, they only exist in fairytale movies. No academy trains youngsters for peace, they manufacture state-abiding terrorists. If any soldier ever wakes up to peace, they're instantly discharged without honor. Thinking soldiers are no use to state, States only want brainless suicide bombers. Enemy of war is enemy of the state, Making of peace is crime against state.

It is, however, no time to suggest strategies when the threat has not even been acknowledged to exist. I am in the position of Louis Pasteur telling doctors that their greatest enemy was quite invisible, and quite unrecognized by them. Our conventional response to all media, namely that it is how they are used that counts, is the numb stance of the technological idiot. For the “content” of a medium is like the juicy piece of meat carried by the burglar to distract the watchdog of the mind. The effect of the medium is made strong and intense just because it is given another medium as “content.” The content of a movie is a novel or a play or an opera. The effect of the movie form is not related to its program content. The “content” of writing or print is speech, but the reader is almost entirely unaware either of print or of speech.

Everything about this place made my skin crawl. The power plays and posturing. The snobbish cliques and haughty entitlement. I’d had an idea how things would be when I arrived, but living it was another story. Walking into the school cafeteria, I felt like I was cast in an over-the-top coming-of-age movie where each character had its very own stereotype to portray and not a single person was multidimensional. I’d only ever been to public school before, where kids bought square slices of generic pizza or brought brown paper sack lunches of PB&J and a bag of chips. Not at Xavier. There was a fucking sushi station, for Christ’s sake. How could any of these people be substantive when they’d never even stepped foot in the real world?

Within the U.S. military, members of Special Ops were considered a breed apart, an elite warrior class that carried out the most difficult missions under the most dangerous circumstances—the guys in the movies rappelling from helicopters into enemy territory or making amphibious landings under cover of darkness.

Very Well, BUT You are my equal. We fight together against the same enemy. I will do all I can to protect the others. You can turn your back on me, but when the time comes, do not turn your back on them.