Word: flashlight
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Dates: during 2000-2009
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...ceremony—which has become an object of cultish delight for audience members—showcases a dizzying sequence of mock tributes and absurd skits, monitored by its mascot Ig: a bespectacled, nearly nude bald man painted silver from head to toe who wandered around carrying a flashlight. The evening also featured genuine Nobel Laureates. Harvard chemistry laureates Dudley R. Herschbach and William N. Lipscomb, as well as physiology or medicine laureate Richard Roberts, presided over the ceremony, leading everything from a can-can dance to a Karaoke rendition of “Can’t Take...
...sight around the rocks and into the harbor; the goal was to be able to navigate entirely by the charts and compass. It was not young John who was "blindfolded" that day in the boat, but Richard; he sat covered by a tarp reading his maps and instruments by flashlight and calling out a course for John, at the helm, to follow. Every now and then he offered to switch places, and John guided the vessel by what sailors call dead reckoning...
...woman's voice in the dark, a voice that meant death. That is what they talk about, the children who survived, even as the decades pass and their hair grays. Not just about the two famous killers with a flashlight and a gun wresting a boy from his bed 49 years ago, but about those who helped them. Simeon Wright, who was lying next to his cousin Emmett Till that fateful Mississippi night, remembers the intruders well enough. But, he tells TIME, he also recalls a third man out on the porch. And he repeats his deceased father Mose...
...otherwise vapid (and very cool) Vol. 1, which should never have existed as a separate film. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around a flashlight, the degrading image is worth more than any moment in the first volume. Here Tarantino employs the same technique as in Reservoir Dogs, where he subtly focused on his characters’ ears before slicing one off in the end. It’s a cruel trick, but a crafty...
...worked best as a single entity, the second half imbuing the first with a certain weight. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around a flashlight, the degrading image is worth more than any moment in the first volume. Here Tarantino employs the same technique as in Reservoir Dogs, where he subtly focused on his characters’ ears before slicing one off in the end. It’s a cruel trick, but a crafty...