Justin Guthrie

"The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that particular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters—there is no alternative but to fill the screen; otherwise there would be an irremediable void…. That’s why the slightest technical hitch, the slightest slip on the part of the presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window" - Jean Baudrillard


"Life under IS control : French woman in Raqqa/ Syria." (France 24)


Behind the scenes of Sesame Street with the Muppets.

Der Tag wird kommen (an dem Marcus Wiebuschs Video auf allen Kanälen läuft)!

“We shouldn’t stick too close to everyday reality but give room to the reality of the heart, of the mind, and of the imagination”
— Hayao Miyazaki (via love-electricity)


Hayao Miyazaki talking about his passion for animation while seeing the world through his fascinating career. From the documentary: The Kingdom of Dreams and Madness (2013)

(via thesoviette)

“I was starting to realize what on some level I must have known all along: Fantasy was offering me something I needed, something I couldn’t get anywhere else, not even from literary fiction. That’s when I stopped reading fantasy and started writing it.”


I have long contemplated getting a tattoo of this exact frame. I don’t do a lot of eulogizing but this scene is so massive for me: the truck heading down the highway, Sally unable to stop laughing because she is free: she thought she was going to die, but she’s free, she has escaped, the night was long and incomprehensibly awful but now it’s light outside

thank you Marilyn Burns for giving voice to that feeling 

Der Musiker und Dichter John Darnielle über die allegorisch-therapeutische-humanistische Kraft von “The Texas Chain Saw Massacre”. Um Darnielles Aussage noch besser zu verstehen, reicht es aus, sich seine Lieder anzuhören. 

“This false hierarchy has continued to be a problem: shows that look fantastic, like “House of Cards,” get unearned prestige, even when they’re empty suits. Shows made on a budget, or collaboratively, or on off-brand channels, or on channels for teen-agers, get the side eye. Far too often, people conflate looks with class. For example, there’s a foolish assumption that “Modern Family”—a network sitcom about a well-off family, filmed in the mockumentary style of “The Office,” with a single-cam looseness and confessional closeups—is sophisticated, while “The Middle” (also a single-cam show, but with harsh musical stings and more linear editing, more closely resembling older sitcoms) is dumber and simpler. As “30 Rock” ’s Liz Lemon would say, “Opposite!” “The Middle” is the better, smarter, more original show. This conflation of economic class and TV genre, and visual sophistication and over-all worthiness, is an ongoing problem in television criticism, and while it is important for critics—as Seitz suggests—to raise our game in describing how a show looks and sounds (and how it is made to sound and look that way), it’s also important not to fall into the adjacent trap: to mistake beauty for substance or, really, for anything other than beauty.”
"Cahiers du Buffy" von Emily Nussbaum (03/2014 - The New Yorker)