Thelma And Louise Quotes

Anyway, madness and genius. They're the disturbed pals of the human condition. The Bonnie and Clyde, the Thelma and Louise, the baking soda and vinegar. Insanity just walks alongside the brilliant like some creepy, insistent shadow.

Now we screech out of here like Thelma and Louise.

Well, we're not in the middle of nowhere, but we can see it from here.

Here are some lethal combinations: Bonnie and Clyde, Thelma and Louise, the gliadin protein in wheat and LPS endotoxemia.

I don’t need to sow any damn oats. What are you two, the supernatural version of Thelma and Louise?” “Hardly,” Talia scoffed. “This car is a classic. No way would I drive it off a cliff.

Violence against Men As Women’s Liberation Thelma and Louise was widely touted as a film of women’s liberation. (It was, for example, the only film celebrated by the National Organization for Women at its twenty-fifth convention.) Never in American history have two men been celebrated as heroes of men’s liberation after they deserted their wives, met one female jerk after another, and then killed one woman and left another woman stuffed in a trunk in 120-degree desert heat. Male serial killers are condemned—not celebrated—at men’s liberation conventions. The moment a men’s movement calls it a sign of empowerment or brotherhood when men kill women is the moment I will protest it as fascism.

The 1960s ended sadly, as did Bonnie and Clyde, as did Jules and Jim, as did Thelma & Louise, a film they influenced; the movement from comedy to tragedy was all the more powerful for audiences who expected one or the other.

You sit," his mate told him. "No, I stand." "Me Tarzan, you Jane," Sally mumbled. "Snap, you beat me to it. Nice going, Thelma." Jen grinned at Sally. "I learned from the best, Louise." "Damn straight." Jen and Sally bumped fists and turned to look at Jacque who had cleared her throat louder than necessary.

I can think of only two movies with women killers we’re meant to sympathize with, and both because they’d been sexually assaulted—Thelma and Louise and Monster. And to be honest, I don’t imagine anyone would call the women in these films heroes. The popular comic book mercenary Red Sonja is, perhaps, a proper hero, but is, once again, motivated by a sexual assault. Male heroes are heroic because of what’s been done to women in their lives, often—the dead child, the dead wife. Women heroes are also heroic for what’s been done to women … to them. We build our heroes, too often, on terrible things done to women, instead of creating, simply, heroes who do things, who persevere in the face of overwhelming odds because it’s the right thing to do.

For Callie, the journey was about seeking justice in a society where there was no justice. 'It required a certain somnambulism to get through a world that thought so little of you,' she says. She shook those characters fully awake.

I can play the radio.

You can write a true story that never really happened.

You get what you settle for.

Like Thelma and Louise if they hadn't driven themselves off a cliff.

What did you imagine you were doing?” Catherine goes on. “Taking on what sounds like a battalion of thugs?” At a loss for an accurate answer, Shirley says, “Yeah, it’s what Thelma and Louise would have done.” “Well, I’ve no idea who those people are. But if Thelma and Louise drove off a cliff, would you do that too?” Shirley doesn’t know where to start.

In Thelma & Louise, the dramatic need is to escape safely to Mexico; that’s what drives these two characters through the entire story line. In Cold Mountain, Inman’s dramatic need is to return home, and Ada’s is to survive and adapt to the conditions around her. In Lord of the Rings, as mentioned, it’s to carry the ring to Mount Doom and destroy it in the fire that created it.

To me, feminism is such a simple description: it's equal rights, economic rights, political rights, and social rights.

Watching movies (Titanic, Flirting with Disaster, Mannequin, Thelma and Louise, Rushmore, The Goonies, She’s Having a Baby, it mattered very little) was a kind of prayer: She knew the characters as well as she knew herself, as well as she knew anything there was to know, and she could chart and rechart their movements and secrets and misunderstandings endlessly, reflecting in any number of new permutations on all of it, each time. Again and again. They were acquaintances—people she’d known her whole life and understood well, people incapable of letting her down by changing or disappearing or offering up the unexpected. The League of Their Own tears were purely for catharsis. When she was done she would reemerge, reborn. She would make new mistakes. Or maybe none at all. Okay,

When Thelma and Louise came out in 1991, there was a moral panic that feminists were going to go on murderous crime sprees. It was years before I would learn that feminists dimply wanted what everyone wanted: to be loved and respected, to spend some quality time with their best friends, and to maybe fuck Brad Pitt in his prime.

We'd be a force to be reckoned with in jail, queens of the condemned. Like Thelma and Louise if they hadn't driven themselves off a cliff.

What better way to get to know someone than on an epic road trip?” “No way. You’re not Harry, and I’m sure as heck not Sally.” “Obviously. Wrong road trip movie.” Finn splayed a hand on his chest. “Clearly I’m the quick-talking, fast-thinking Louise.” He lifted his palm toward her. “And you’re Thelma.” “Please. If anything, you’re the random drifter who Thelma—” “Bangs?

Anyway, when is my partner in crime moving in?” I groan and rub my forehead, the headache forming again at the thought of all the trouble Maddie and my mother could get into. “Listen, Thelma, keep Louise out of trouble. Do not let her drink.

American girls grow up knowing the intrinsic importance of having female friends; our girlfriends are our bosom buddies, a term that links the girlishly erotic with the emotionally intimate. There is no Emma Woodhouse without Harriet Smith; there is no Beatrice without Hero; there is no Anne Shirley without Diana Barry. Sex and the City, The Group, Gossip Girl, Sisterhood of the Traveling Pants, Thelma & Louise—American popular culture is positively lousy with BFFs (not even death can separate that final pair). Men may come and men may go, but in American culture, at least, a girl’s bosom buddy will always be another woman.

Shut up, all of you, or I swear to God I’ll pull a Thelma and Louise and drive us all into the fucking canyon!

In his book about boys, Dobson found occasion to denounce Hillary Clinton, “bra burners,” political correctness, and the “small but noisy band of feminists” who attacked “the very essence of masculinity.” He praised Phyllis Schlafly and recommended homeschooling as “a means of coping with a hostile culture.” He advised girls not to call boys on the telephone (to do so would usurp the role of initiator) and encouraged fathers to engage in rough-and-tumble games with their sons. He lamented that films presenting moral strength and heroism had given way to “man-hating diatribes” like Thelma & Louise and 9 to 5, and that “lovely, feminine ladies” on the small screen had been replaced by “aggressive and masculine women” like those in Charlie’s Angels. Mel Gibson’s The Patriot, a tale in which Gibson starred as a Revolutionary militia leader who ruthlessly avenged his son’s death, proved the exception to the rule. 10

The transformative nature of road trips: On the Road (Jack Kerouac, 1957): Heralded as quintessentially American, On the Road captures the restless Beat movement and subsequent 1960s counterculture. Blue Highways (William Least Heat-Moon, 1982): Personal anguish sends the author on a three-month soul-searching road trip through the forgotten corners of America. The Devil’s Highway: A True Story (Luis Alberto Urrea, 2004): Socially engaged in a way that Steinbeck would have endorsed, The Devil’s Highway details the trials of twenty-six men who attempt to cross the Mexican border into southern Arizona. “Go Greyhound” (Bob Hicok, 2004): Hicok’s poem speaks to the feelings of loneliness and exhaustion that often plague travelers, as well as the relief that comes with shedding a turbulent past. Easy Rider (1969): In this classic film, Peter Fonda and Dennis Hopper cross America on bikes. Thelma and Louise (1991): Two working women set out on their own, with unexpected consequences. Bombón: El Perro (2004): A struggling mechanic begins to turn his life around when he adopts a dog, who accompanies him on his escapades.