#papillon soo soo

[the80s]

Full Metal Jacket (1987) - then and now

#80s movies #1987 #full metal jacket #stanley kubrick #matthew modine #papillon soo soo

[yeahiwasintheshit]

Icon*

*Not matthew modine

#matthew modine #papillon soo soo #full metal jacket

[papillon-stories]

Masterlist

Eunhyuk / Eunhyeok :

𖥸 Series Papillon x oc

𖥸 General Boyfriend Headcanons x reader

𖥸 Prank smau : I’m breaking up with you x reader

𖥸 Argument with Eunhyuk (new)

Dohwa :

𖥸 Prank smau : I’m breaking up with you x reader

Su-ae / Soo-ae :

𖥸 Prank smau : I’m breaking up with you x reader

#masterlist #operation true love #pure love operation #operation pure love #Operation Name Pure Love #operation true love x reader #go eunhyuk x reader #go eunhyeok #baek dohwa x reader #Baek Dohwa #shim sooAe #shim su ae

[70s80sandbeyond]

Alison Doody, Grace Jones and Papillon Soo Soo in "A View to a Kill" (1985)

[rizumuj]

HiroGaru PreCure: Cure Names Speculation

So the new PreCure logo was just released today, and while we don't know much besides what the logo is giving visually, the name of the new season, and that "hirogaru" is translated to spreading, stretching, expanding or transcending— ONE of those four– I thought it'd be fun to speculate what the Cure names will be until we get more news. So this is a list of 12 potential Cure names that I think we may see on the upcoming PreCure season:

Cure Halo - Angelic Cure

Cure Hallelujah/Alleluia - Prayerful Cure

Cure Stratus - Cloud/Atmosphere Cure

Cure Celestial - Sky themed Cure

Cure Destiny - Something about this season name gives me the impression a theme of fate will occur

Cure Fantasia - Fantasy/Musical Cure

Cure Epiphany - A possible mid-season cure, like the villain turned cure

Cure Breeze - Wind-themed Cure

Cure Faith - A Cure of Hope

Cure Papillon - Butterfly Cure

Cure Feather/Siren - Winged/Birdlike Cure; Sirens were flying creatures in Greek mythology

Cure Eternal - the Forever Cure. Since this season will be the 20th anniversary season, perhaps a Cure Eternal will express how PreCure is forever!!

This is just me speculating, so please don't take this as facts! We shall see when the cure designs and the official names come out later! But I'm soo excited!!

#hirogaru sky precure #hirogaru sky pretty cure #PreCure speculation #pretty cure speculation #possible precure names #just making assumptions #I could definitely be wrong #I probably am way off too lmaoo

[double-croche1]

[CANNES 2023] NOTRE TOP

Le Festival de Cannes est désormais terminé. On a vu pas moins de 85 films (dont 19 sur les 21 de la Compétition), toutes catégories confondues ! Le classement de nos films préférés parmi ceux-ci, avec les dates annoncées de sortie en salles, ci-dessous :  1. ‘Eureka’ de Lisandro Alonso (CPR) 2. ‘Le Procès Goldman’ de Cédric Kahn (QC, 27/09) 3. ‘Anatomie d’une chute’ de Justine Triet (SOC, 23/08) 4. ‘Jeunesse (Le Printemps)’ de Wang Bing (SOC, 03/01/24) 5. ‘L'Enlèvement’ de Marco Bellocchio (SOC, 01/11) 6. ‘Les Feuilles mortes’ d’Aki Kaurismaki (SOC, 20/09) 7. ‘Fermer les yeux’ de Victor Erice (CPR, 16/08)  8. ‘May December’ de Todd Haynes (SOC) 9. ‘La Zone d’intérêt’ de Jonathan Glazer (SOC, 31/01/24) 10. ‘L'Eté dernier’ de Catherine Breillat (SOC, 13/09) 11. ‘The Sweet East’ de Sean Price Williams (QC) 12. ‘Los Delincuentes’ de Rodrigo Moreno (UCR, 27/03/24) 13. ‘La Grâce’ d’Ilya Povolotsky (QC) 14. ‘Only the River Flows’ de Shujun Wei (UCR) 15. ‘Les Herbes sèches’ de Nuri Bilge Ceylan (SOC, 12/07) 16. ‘Conann’ de Bertrand Mandico (QC, 28/11) 17. ‘La Chimère’ d’Alice Rohrwacher (SOC, 06/12) 18. ’La Fille de son père’ d’Erwan Le Duc (SM, 20/12) 19. ’Lost Country’ de Vladimir Perisič (SC, 11/10) 20. ‘Conte de feu’ de Weston Razooli (QC) 21. ‘Mars Express’ de Jérémie Périn (CPL, 22/11) 22. ‘Vers un avenir radieux’ de Nanni Moretti (SOC, 28/06) 23. ‘L’Autre Laurens’ de Claude Schmitz (QC, 04/10) 24. ‘Elémentaire’ de Peter Sohn (HC, 21/06) 25. ‘Banel & Adama’ de Ramata-Toulaye Sy (SOC, 30/08) 26. ‘Anselm, le bruit du temps’ de Wim Wenders (SS, 18/10) 27. ‘Le Règne animal’ de Thomas Cailley (UCR, 04/10) 28. ‘Simple comme Sylvain’ de Monia Chokri (UCR, 08/11) 29. ‘Ama Gloria’ de Marie Amachoukeli (SC, 30/08) 30. ‘Club Zéro’ de Jessica Hausner (SOC, 27/09) 31. ‘Linda veut du poulet !’ de Chiara Malta et Sébastien Laudenbach (ACID, 18/10) 32. ‘Si seulement je pouvais hiberner’ de Zoljargal Purevdash (UCR, 27/12) 33. ‘L’Amour et les forêts’ de Valérie Donzelli (CPR, en salles) 34. ‘La Mère de tous les mensonges’ d’Asmae El Moudir (UCR) 35. ‘Légua’ de Filipa Reis et João Miller Guerra 36. ‘The Feeling That the Time for Doing Something Has Passed’ de Joanna Arnow (QC) 37. ‘Augure’ de Baloji (UCR, 22/11) 38. ‘Les Colons’ de Felipe Galvez (UCR, 20/12) 39. ‘Vincent doit mourir’ de Stéphan Castang (SC, 15/11) 40. ‘De nos jours...’ de Hong Sang-soo (QC, 19/07) 41. ‘Merle merle mûre’ d’Elene Naveriani (QC) 42. ‘Dans la toile’ de Kim Jee-woon (HC, 08/11) 43. ‘The Old Oak’ de Ken Loach (SOC, 25/10) 44. ‘Monster’ de Hirokazu Kore-eda (SOC, 27/12) 45. ’Sleep’ de Jason Yu (SC) 46. ‘Occupied City’ de Steve McQueen (SS) 47. ‘Bonnard, Pierre et Marthe’ de Martin Provost (CPR) 48 ‘Goodbye Julia’ de Mohamed Kordofani (UCR, 08/11) 49. ‘L’Arbre aux papillons d’or’ de Thien An Pham (QC, 13/09) 50. ‘Chambre 999’ de Lubna Playoust (CC) 51. ‘Le Livre des solutions’ de Michel Gondry (QC, 13/09) 52. ‘Les Meutes’ de Kamal Lazraq (UCR, 19/07) 53. ‘Le Ravissement’ d’Iris Kaltenbäck (SC, 11/10) 54. ‘Little Girl Blue’ de Mona Achache (SS, 01/11) 55. ‘Creatura’ d’Elena Martín Gimeno (QC) 56. ‘Perfect Days’ de Wim Wenders (SOC, 29/11) 57. ‘Lost in the Night’ d’Amat Escalante (CPR, 04/10) 58. ‘La Fleur de Buriti’ de João Salaviza et Renée Nader (UCR) 59. ‘Le Syndrome des amours passées’ d’Ann Sirot et Raphaël Balboni (SC, 25/10) 60. ‘Un hiver à Yanji’ d’Anthony Chen (UCR, 22/11) 61. ’Power Alley’ de Lillah Halla (SC, 22/11) 62. ‘Asteroid City’ de Wes Anderson (SOC, 21/06) 63. ‘Une nuit’ d’Alex Lutz (UCR, 05/07) 64. ‘Les Filles d'Olfa’ de Kaouther Ben Hania (SOC, 05/07) 65. ‘Indiana Jones et le cadran de la destinée’ de James Mangold (HC, 28/06) 66. ‘Chroniques de Téhéran’ d’Ali Asgari & Alireza Khatami (UCR, 27/12) 67. ‘Acide’ de Just Philippot (SM, 20/09) 68. ‘Un prince’ de Pierre Creton (QC, 18/10) 69. ‘Déserts’ de Faouzi Bensaïdi (QC, 20/09) 70. ’Il pleut dans la maison’ de Paloma Sermon-Daï (SC) 71. ‘Rien à perdre’ de Delphine Deloget (UCR, 22/11) 72. ‘La Passion de Dodin Bouffant’ de Tran Anh Hung (SOC, 08/11) 73. ‘How to Have Sex’ de Molly Manning Walker (UCR, 15/11) 74. ‘Le Jeu de la reine’ de Karim Aïnouz (SOC, 28/02/24) 75. ‘A Song Sung Blue’ de Zihan Geng (QC, 06/12) 76. ‘Jeanne du Barry’ de Maïwenn (HC, en salles) 77. ‘Rosalie’ de Stéphanie di Giusto (UCR, 24/01/24) 78. ‘In Flames’ de Zarrar Kahn (QC) 79. ‘Hopeless’ de Kim Chang-hoon (UCR) 80. ’Tiger Stripes’ d’Amanda Nell Eu (SC, 13/03/24) 81. ‘The Idol’ (série, épisodes 1 et 2) de Sam Levinson (HC, 05/06) 82. ‘The New Boy’ de Warwick Thornton (UCR) 83. ‘Omar la Fraise’ d’Elias Belkeddar (SM, en salles) 84. ‘Hypnotic’ de Robert Rodriguez (SM, 23/08) 85. ‘Agra’ de Kanu Behl (QC) SOC : Sélection Officielle - Compétition UCR : Un Certain Regard CPR : Cannes Première CPL : Cinéma de la Plage HC : Hors Compétition QC : Quinzaine des Cinéastes SC : Semaine de la Critique SM : Séances de Minuit CC : Cannes Classics ACID : L’ACID Nos chroniques de ces films sont à retrouver dans les articles Daily #1 à #11 sur notre page dédiée.

A&B

#cannes2023

[zeitundraum77]

rememberoldtime Full Metal Jacket (1987) Matthew Modine and Papillon Soo Soo.

[classicfilmfan64]

Then and now, actors Matthew Modine, and Papillon Soo Soo, from FULL METAL JACKET, 1987. They shared about 5 min. of screen time. 'Miso Hawney, me love you long time'. She played a hooker.

[byneddiedingo]

Vincent D'Onofrio in Full Metal Jacket (Stanley Kubrick, 1987) Cast: Matthew Modine, Vincent D'Onofrio, R. Lee Ermey, Adam Baldwin, Dorian Harewood, Kevyn Major Howard, Arliss Howard, Ngoc Lee, Papillon Soo. Screenplay: Stanley Kubrick, Michael Herr, Gustav Hosford, based on a novel by Gustav Hosford. Cinematography: Douglas Milsome. Production design: Anton Furst. Film editing: Martin Hunter. Music: Vivian Kubrick. 

Is Full Metal Jacket one movie or two? That debate continues to rage, with a lot of us preferring the first half of the film, about the Marine boot camp, to the second, which follows some of the trainees into combat in Vietnam. Certainly the first half is dominated by the two most memorable performances in the movie, R. Lee Ermey as the drill sergeant and Vincent D'Onofrio as the private driven to madness by the former's training techniques. That inevitably leads to some dissatisfaction with the more conventional nature of the combat sequences, which, though often shot thrillingly, making use of various locations in, of all places, England, sometimes have a war movie familiarity that even a director like Stanley Kubrick can't overcome. 

#Full Metal Jacket #Stanley Kubrick #Vincent D'Onofrio

[altargrl]

#Papillon Soo Soo

[ljones41]

"A VIEW TO A KILL" (1985) Review

"A VIEW TO A KILL" Review The year 1985 marked a milestone in the history of the Bond franchise. This was the year in which EON Productions released their latest Bond film, "A VIEW TO A KILL". The movie would turn out to be Roger Moore's last turn as the British agent, James Bond. With this movie, Moore would become the only actor who has portrayed Bond for EON Productions more than any other - seven times. Sean Connery would also portray Bond seven times, but his last effort would not be for EON Productions.

But this review is not about Moore's tenure as James Bond. It is about his last movie - namely "A VIEW TO A KILL". The franchise's 14th installment is not what I would call a remarkable film. But I do not consider it a travesty like many other Bond fans do. On the whole, it struck me as a slight remake of the 1964 film, "GOLDFINGER" in regard to one scene and the villain's objective. In "GOLDFINGER", the villain's objective was to destroy the U.S. gold reserve at Fort Knox with a nuclear bomb in order to drive up the value of his own supply of gold. In "A VIEW TO A KILL", the villain's objective was to destroy the U.S. dominant control of the microchip market by causing a "natural disaster" in Silicon Valley. Both movies also feature scenes in which the villain reveals his scheme to potential "investors". But whereas "GOLDFINGER" created a major plot hole in its version of this particular scene, "A VIEW TO A KILL" managed to avoid one. Bond's discovery of a microchip on the body of the dead Agent 003 in Siberia leads to MI-6's investigation of an industrialist named Max Zorin, who now owns the very company that the British government and military have contracts. Bond's investigation leads to his introduction of certain individuals - a former Nazi criminal/scientist named Carl Mortner, an oil geologist named Conley and the movie's leading lady, whose name is Stacy Sutton. In a nutshell, these three characters - especially Sutton - allowed Bond to discover Zorin's past as a KGB agent, his betrayal of his bosses, and his plot to destroy Silicon Valley. Michael G. Wilson and Richard Maibaum's screenplay is not very original, considering its strong similarity to "GOLDFINGER". Fortunately for "A VIEW TO A KILL", director John Glen did what he could with Wilson and Maibaum’s screenplay and did a commendable job in avoiding the major mistakes of the 1964 film. Granted, the movie’s portrayal of the San Francisco Police seemed straight out of the Keystone Cops. Nor I did not care for the writers’ attempt to keep Stacy in the story by allowing her character to reveal the details of Zorin’s plot. It seemed to be stretching things a bit. But in the end, I rather liked the story. And I liked Glen’s direction. I believe that he did better with movies like "FOR YOUR EYES ONLY", "OCTOPUSSY”, "THE LIVING DAYLIGHTS" and even "LICENSE TO KILL". But at least I have nothing major to complain about. The cast’s performance seemed to be pretty solid. The only complaint I have of Roger Moore is that in certain scenes, he looked a little too old and tired to be portraying Bond. Some fans would attribute this to his age (he was 57 when he shot the movie). But from what I had learned, Moore had been suffering from the flu at the time. However, there were scenes in which he looked like a handsome, middle-aged man. Despite his illness, Moore managed to turn in a good performance that had not been marred by the occasional silly joke, as it had in "OCTOPUSSY". Aside from the silly Beach Boys moment and the movie's final scene, the humor in "A VIEW TO A KILL" seemed more restrained and tasteful. Ironically, three of Moore’s best moments featured both humor – which featured Bond’s impersonation as a spoiled and demanding playboy and his reunion with KGB agent Pola Ivanova (Fiona Fullerton) - and also drama – his dislike of Zorin apparent, following the murder of Mr. Howe (Daniel Benzali) of the Department of Conservation. I would never regard Tanya Roberts ("CHARLIE’S ANGELS"/"THAT 70s SHOW") to be a great actress.  But I cannot deny that she gave a solid performance as Stacy Sutton, the California State geologist, whose oil company Zorin wanted to buy. But she did have her moments of wooden acting. Fortunately for Roberts, she can at least claim to be a better actress than either Barbara Bach or Lois Chiles. And despite her acting limitations, she managed to inject a great deal of spirit and moxie into the Stacy character. Oscar winner Christopher Walker, on the other hand, was great. I loved his slightly off-kilter portrayal of the greedy and psychotic Max Zorin – former KBG agent-turned-entrepreneur and industrialist. And considering that Walken was portraying a psychotic, it is a credit to his skills as an actor that he did not ham it up for the screen. He even managed to provide some great moments. But my favorite Walken moment featured Zorin’s reaction to his discovery that Bond’s true identity. And of course there is Grace Jones as Zorin’s equally psychotic henchwoman, May Day. Perhaps she was not as psychotic, considering she was able to mourn the deaths of her two female assistants (Alison Doody and Papillon Soo Soo). But like Walken, she brought a lot of style and verve to her role without going over the top. And for an exhibitionist like Jones, it was a miracle. The regular Bond cast seemed to be their solid selves. I especially enjoyed Moore’s last on-screen interaction with Lois Maxwell (Miss Moneypenny). However, I must confess that the movie’s last scene of Q (Desmond Llewelyn) using a remote controlled "rover" to peep into Bond and Stacy’s shower activities at the end of the movie struck me as distasteful. Included among Bond’s allies is Patrick Macnee, portraying Sir Godfrey Tibbett. Tibbett is a gentleman horse breeder who helps MI-6 investigates the mystery of Zorin’s success on the racetrack (microchips imbedded in the horses’ flesh). Macnee (the fourth ”AVENGERS” cast member to appear in a Bond film) gave a very competent and classy performance and seemed to have produced a good screen chemistry with Moore. It seemed a shame that he was only present in the movie’s first half. Cinematographer Alan Hume did a great job in taking advantage of the elegant settings of Paris, the French countryside and surprisingly, San Francisco. In fact, I believe that ”A VIEW TO A KILL” marked one of those rare times in a Bond movie in which the U.S. locations actually looked tasteful or interesting. I am usually not a fan of Duran Duran, but I must admit that I am a fan of their rendition of the movie’s theme song – "A View to a Kill" (written by Duran Duran and John Barry). I am not surprised that the song ended up second place on the U.K. pop charts and at the top of the charts in the U.S. "A VIEW TO A KILL” will never be considered a top favorite of mine. Aside from the cinematography, the theme song by Duran Duran and Christopher Walken’s performance, there is nothing really remarkable about it. Many Bond fans consider it a travesty that Moore had to end his tenure on such a low. I personally do not regard "A VIEW TO A KILL" as a low note for Moore. In fact, I feel that he was lucky to end his tenure with a good, solid action film of which he had nothing to feel ashamed.

R.I.P. Tanya Roberts (1955-2021)

#james bond #james bond franchise #eon productions #a view to a kill #ian fleming #john glen #roger moore #tanya roberts #christopher walken #patrick macnee #grace jones #patrick bauchau #daniel benzali #dolph lundgren #alison doody #papillon soo soo #willoughby gray #david yip #manning redwood #fiona fullerton #robert brown #lois maxwell #duran duran

[shungieshrieks]

I got a puppy! Her name is Duchess. She’s afraid of everything (fall leaves are the WORST), but she’s also really curious of.. everything. 

She reminds me so much of Princess (hence the name haha). Still trying to get her crate and puppy pad trained. Wish me luck!

#Duchess #Papillon #Papillon dog #Papillon puppy #SOO between work studying for the mcat and caring for a puppy... I ain't gonna have a lot of time to draw haaa #Putting art and gaming to the side #At least until I can rest easy knowing Duchess won't get into anything she shouldn't #She has to wear a lead inside the house #And she still cries in her crate at night #Yesterday was her first night here #I'm so happy to have a dog again #I miss Princess so much

[lafcadiosadventures]

Here’s some interesting things I’ve learnt about french prison tattoos

(My sources are not from the era I’m interested in, they’re too modern. 1880’s onwards and seem to contradict what little I could find about tattooing by inmates in Les mis, (Hugo describes people in the chain gang as heavily tattooed with hearts and cupid motives, while these “scientific” criminal profiling books from the 80’s state that tattooing by forçats themselves became a thing only after the state forbade branding, and a sort of pride in prison culture developed itself with prisoners sort of branding themselves with amateur tattoos that revealed to the connoisseur in which prison they had served time, making it impossible to be respected in certain spaces if you had no tattoos)(curiously balzac also describes a heart motive in blue ink, in the chest of a soldier belonging to a secret society, Vidocq fleetingly mentions a tattoo on an inmate who was an ex soldier). So here’s what I found. The trends described in the books from the 80’s may be too new to be relevant to les mis and la comedie humaine:

-the Papillon motive made famous by Henri Charrière usually came with the inscription “come lui, je vôle” a pun on the word voler that means to fly and to steal. It was apparently a very divulged design and immediately marked the wearer as (wait for it) a robber

-In the hunt for specifically queer culture tattoos mentioned by Lacassagne* in his research, Émile Laurent interviewed an inmate who had a penis drawn in his forearm. Remember the Magritte painting Ceci n’est pas un pipe? Well this guy insisted the penis design *was* a pipe and not a penis. Of course the power imbalance between interviewer and interviewee made him finally admit that yes, it was a penis his cellmate and lover had tattooed on him as a farewell gift. This man also had a heart with a dagger in his chest. Our police researcher thought that was soo gay and asked if that refered to his sexual orientation. An answer couldn’t be forced out of him this time (good for him)

- Some men had the T.F. brand tattooed on them to evoke the legendary forçats of old

There’s a lot more, prostitutes were also frequently tattooed by ex lovers, their pimps or sometimes themselves. The tattoos involved ex lovers/pimps’ names (which was reported as an annoyance to the women, who sometimes had the tattoos removed or covered) others had text tattoos near erogenous zones broadcasting their sexual prowess.

*still haven’t got to the part where he mentions this.

Sources: (also in anyone can point out a more date relevant book on the subject please tell me)(links are nsfw: nudity, drawings of genitals)

https://gallica.bnf.fr/ark:/12148/bpt6k754837/f524.item (chapter on tattoos begins in page 505. This book is incredibly vile in it’s essensialist takes on criminal nature)

https://books.google.com.ar/books?id=PRFQAAAAYAAJ&printsec=frontcover&dq=Les+tatouages:+%C3%A9tude+anthropologique+et+m%C3%A9dico-l%C3%A9gale+alexandre+lacassagne&hl=es&sa=X&redir_esc=y#v=onepage&q&f=false (Lacassagne’s book, apparently the authority on prisoner tattoos)

And finally, here’s a modern day book that collects late 1880 photos of prisoners tattoos (you can download a sample chapter in the link, just click on “télécharger” and then on “extrait”) https://www.lamanufacturedelivres.com/livres/fiche/25/pierrat-jerome-mauvais-garcons

#prison tattoos #late 19th century #culture on the margins #balzac/hugo related #kinda

[blind-rats]

“Me love you long time” is a phrase often used when referring to foreign Asian women and sex. It may or may not be explicitly associated with illicit sex but the clear underlying message is that the Asian woman's role is to sexually serve the man.

Everyone was horrified when Weevil said it during the first episode of Veronica Mars back then. Message boards and forums were discussing whether it was appropriate to have a teenager saying this line, that had a racist undertone. But many dismissed it and saying that it was a reference from the movie Full Metal Jacket.

These words were said by actress Papillon Soo Soo, who portrays a Vietnamese prostitute soliciting American GI-s, in the Stanley Kubrick film Full Metal Jacket that came out in 1987. The line is also a part of Black Eyed Peas song called “Love You A Long Time”. The line is now a part of popular culture, especially in the USA.

Rob Thomas is well known for copy-paste lines or dialogues from other movies. He called it a homage, not a direct copy. As this blog recently mentioned, he liked to “borrowed” or appropriate plots/lines from his favorite movies. So much so, sometimes the meaning from the original movies lost its origins.

Francis Capra often uses it as a signature and iconic greet for the fans: “Remember guys, Weevil love you a long time 💖🤎❣️” It’s doubtful that Francis knew where the line originated from, but he thinks that the dialogue is fun. But where do we draw the sand here?

Many of Veronica Mars fans doesn’t know the origin of the line, because they have never seen the film. Also, arguably that the line of dialogue is to serves a purpose that Veronica was a young woman in a man’s world, and the only man who might be her ally was a leather jacket bad boy, who still treated her at the beginning, as an object.

But Veronica Mars is always been full of controversy with storylines, notably with rape. It’s one thing to write something to highlight those controversies, another thing to write those controversial takes as just part of pop cultures. In this case, it seems Rob Thomas only writes homages.

Many also said that one line quip is harmless (who decides that?). It is considered to be political Western colonization and still physically rampant in the pants of many Americans/Westerners. The desire to sexually possess, conquer, and at times humiliate a subservient Asian woman permeates the pop culture. “If we treat it like it’s nothing, then we are being complacent to racism, sexism, and here most pertinently, the repercussions of cultural imperialism.” According to Northern California Attorney Sunny Woan and author of the abstract, “White Sexual Imperialism,” tells how this is another example of how covert racism appears in mainstream America, even if it’s under the guise of forms of entertainment.

This particular line in Veronica Mars is a homage to one of the most controversial movies of all time that depicting racism and sexism against Asians. In the show, it was said by a Latino male teen character to a female teen character, at the beginning of one of the best first episodes of VMars. But the impact, unknowingly, stays for almost two decades (within the VMars community) when everyone associated this line as Rob Thomas’s smart written dialogue and being used as a part of a likable character. Should people acknowledge that it actually caused harm?

#Anti Asian Racism #Veronica Mars #Full Metal Jacket #Rob Thomas #Stop Asian Hate

[70s80sandbeyond]

Alison Doody, Grace Jones and Papillon Soo Soo in A View to a Kill (1985)

[justforbooks]

Terrence Stephen McQueen, nicknamed the "King of Cool", was born on March 24, 1930. He was an American actor. His antihero persona, emphasized during the height of the counterculture of the 1960s, made him a top box-office draw during the 1960s and 1970s. McQueen received an Academy Award nomination for his role in The Sand Pebbles. His other popular films include The Cincinnati Kid, Love With the Proper Stranger, The Thomas Crown Affair, Le Mans, Bullitt, The Getaway, and Papillon, as well as the all-star ensemble films The Magnificent Seven, The Great Escape, and The Towering Inferno.

In 1974, McQueen became the highest-paid movie star in the world, although he did not act in film for another four years. He was combative with directors and producers, but his popularity placed him in high demand and enabled him to command the largest salaries.

In 1947, after receiving permission from his mother since he was not yet 18 years old, McQueen enlisted in the Marines and was sent to Parris Island for boot camp. He was promoted to private first class and assigned to an armored unit. He initially reverted to his prior rebelliousness and was demoted to private seven times. He took an unauthorized absence by failing to return after a weekend pass expired, staying with a girlfriend for two weeks until the shore patrol caught him. He resisted arrest and spent 41 days in the brig. After this he resolved to focus his energies on self-improvement and embraced the Marines' discipline. He saved the lives of five other Marines during an Arctic exercise, pulling them from a tank before it broke through ice into the sea. He was assigned to the honor guard responsible for guarding the presidential yacht of US President Harry Truman. McQueen served until 1950, when he was honorably discharged. He later said he had enjoyed his time in the Marines. He remembered the Marines as a formative time in his life, saying, "The Marines made a man out of me. I learned how to get along with others, and I had a platform to jump off of."

McQueen owned a number of classic motorcycles, as well as several exotics and vintage cars. In spite of numerous attempts, McQueen was never able to purchase the Ford Mustang GT 390 he drove in Bullitt, which featured a modified drivetrain that suited McQueen's driving style. One of the two Mustangs used in the film was badly damaged, judged beyond repair, and believed to have been scrapped until it surfaced in Mexico in 2017, while the other one, which McQueen attempted to purchase in 1977, is hidden from the public eye. At the 2018 North American International Auto Show the GT 390 was displayed, in its current non-restored condition, with the 2019 Ford Mustang "Bullitt".

McQueen followed a daily two-hour exercise regimen, involving weightlifting and, at one point, running 5 miles (8 km), seven days a week. McQueen learned the martial art Tang Soo Do from ninth-degree black belt Pat E. Johnson.

According to photographer William Claxton, McQueen smoked marijuana almost every day; biographer Marc Eliot stated that McQueen used a large amount of cocaine in the early 1970s. He was also a heavy cigarette smoker. McQueen sometimes drank to excess; he was arrested for driving while intoxicated in Anchorage, Alaska, in 1972.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Steve McQueen #Famous Birthdays