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King has always thought Jack Nicholson seems “too crazy” at the very beginning of Kubrick’s “The Shining.” Everything that makes Nicholson’s performance iconic — his grinning, campy, manic nastiness — undermines King’s point, which is that Jack Torrance could be you. We all love Jack Nicholson, but he’s no Everyman. In King’s novel, the Overlook Hotel’s seduction of Jack Torrance is rooted in the nebbishy failed writer’s frustrated desire to be extraordinary, larger than life. It’s impossible to imagine Jack Nicholson wanting to be anyone but himself. In Kubrick’s film, Jack’s madness becomes that of an imperious auteur, convinced of his own importance, running amok and seeking to wipe out the mere human beings whose inconvenient presence muddles his vision. That two such different men as King and Kubrick were able to see themselves in this character indicates what a remarkable creation Jack Torrance is. But while everything in Kubrick’s “The Shining” — especially Nicholson’s suppressed energy — pushes eagerly toward the spectacular release of Jack’s rampage, in King’s novel the man’s disintegration is a tragedy. A key difference between the two versions is the prominence of alcohol, which is more or less incidental in the film. In King’s novel, booze is the key that unlocks the monster inside a regular guy, and the beast’s first victim is the regular guy himself. The most significant thing about any character in King’s fiction is how he or she responds to such monsters, whether they come from within or without. That’s surely the chief reason why he detests Kubrick’s portrayal of Wendy as a gibbering victim; King’s Wendy chooses to be a heroine. King is, essentially, a novelist of morality. The decisions his characters make — whether it’s to confront a pack of vampires or to break 10 years of sobriety — are what matter to him. But in Kubrick’s “The Shining,” the characters are largely in the grip of forces beyond their control. It’s a film in which domestic violence occurs, while King’s novel is about domestic violence as a choice certain men make when they refuse to abandon a delusional, defensive entitlement. As King sees it, Kubrick treats his characters like “insects” because the director doesn’t really consider them capable of shaping their own fates. Everything they do is subordinate to an overweening, irresistible force, which is Kubrick’s highly developed aesthetic; they are its slaves. In King’s “The Shining,” the monster is Jack. In Kubrick’s, the monster is Kubrick.


nobody believes them, part 42


♫ somebody’s gettin fired hey, hey! ♫


 somebody’s gettin fired hey, hey! 

One of the most sinister things about normalized racism is you don’t have to have bad intentions to be racist, you just have to remain ignorant.





and i especially love the idea of his fakey bruce wayne-y acting he has a watch collection he has a wing of japanese art at the Met named after him and he stumbles around at the gala opening smiling benignly and asking people to explain things and then mispronouncing them and acting all embarrassed and being photographed rollerskating (badly) next to a model in the jogging lane of gotham central park and his cars are brightly coloured and difficult to insure and how he’s at a bar and the news flicks over to a story of a breakout at Arkham and he gets all still and whoever’s at his elbow is like ‘hey bruce - what’s with you?’ and idris!bruce just says ‘i have that same shirt as the news anchor - does mine look that bad?? you’d tell me right?’ (all tags from harrietvane)




holy shit.

shit man





I just thought about this for the first time in a while

I’m laughing so hard right now I’m coughing and crying! 



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