One-Liner of the Day
The Dark Knight is, to a surprising degree, a film about politics by other means: Its antagonists wrestle over the public mood like Victorian novelists over the soul of a virgin.
From Christopher Orr's reveiw of The Dark Knight.
Because I like to hear myself talk.
The Dark Knight is, to a surprising degree, a film about politics by other means: Its antagonists wrestle over the public mood like Victorian novelists over the soul of a virgin.
The Dark Knight is, to a surprising degree, a film about politics by other means: Its antagonists wrestle over the public mood like Victorian novelists over the soul of a virgin.
It’s greedy, absurd, and morally indefensible for talented people born in favorable circumstances to be dedicating their lives to accumulating huge sums of money in order to engage in lavish consumption.
As children and teenagers, the ex-jihadis felt Britain was a valueless vacuum, where they were floating free of any identity.
Ed Husain, a former leader of HT, says: "On a basic level, we didn't know who we were. People need a sense of feeling part of a group – but who was our group?" They were lost in liberalism, beached between two unreachable identities – their parents', and their country's. They knew nothing of Pakistan or Saudi Arabia or the other places they were constantly told to "go home" to by racists.
Yet they felt equally shut out of British or democratic identity. From the right, there was the brutal nativist cry of "Go back where you came from!" But from the left, there was its mirror-image: a gooey multicultural sense that immigrants didn't want liberal democratic values and should be exempted from them. Again and again, they described how at school they were treated as "the funny foreign child", and told to "explain their customs" to the class. It patronised them into alienation....
Without an identity, they created their own. It was fierce and pure and violent, and it admitted no doubt.