Obviously this was far from an "exhaustive list" of examples. Let us know in the comments of other cinematic or literary candidates for the Big Flip that have interested or affected you, for whatever reason.
Another brilliant piece, Mark, weaving together disparate storylines with a common — and strong — thread: The power of love.
When I watched "Pulp Fiction" the first time back in like 2005 (I was out of the tv/movie-watching loop for many years), I recognized Jules' spiritual transformation, so it was fun to watch the clips you embedded (despite the violent depictions of death and chaos😭). Jules felt the power of love in the "miracle" that saved his and Vincent's lives, and he knew instinctively to embrace that, which is what a true "Big Flip" is: Our Divine Design breaking through the insanity and depravity to experience GRACE.
I would say that the power of love IS the creative spark we are designed with and is therefore all that matters in the end. Oh, and in the NOW. So now is when we should light up. Which you do so well in your writing.
The power of love is the *je ne sais quoi* that and will always defeat evil, because evil is incapable of UNDER-STANDING love, and therefore must return to entropy in its presence, as in the Xander clip.
It's like when a cop says, "Do you understand your rights as I have read them"? and I say "NO, I do not" because *I don't stand under my rights*! I skillfully wield my rights like a fucking light saber, because they are my gift from the Divine Creator.
There’s much more flipping in art than in life. It makes for good drama.
And although you’re right about so many things, I very much doubt you’re right about Musk. He would not have gotten where he is without embracing transhumanism and sucking at the tit of the deep state. The minute he flips, he’s dead. He’s been very useful in pretending oppose to tyranny, while assembling its architecture.
To be fair, I'm talking about a fictionalized, potential version of Musk (who I named "Musket"), not the man himself (who I do not know). The real figure could very well be as diabolical as some suggest.
That said, I disagree with the assumption that "the minute he flips, he's dead." While our globalist enemies have no moral compunction against murder, they seem to wield this solution quite strategically and rarely when it comes to public figures. Timing is important; to kill a rogue Musk at this particular moment would draw a great deal of suspicion, for one thing. For another, in a world of lies, blackmail and double-triple-and-quadruple agents, it often takes time for their various internal factions to distinguish a true rogue who's fled the reservation from a deeper operation in progress.
Even those allies of ours who suspect that's exactly what's happening with Musk might agree; the fog of war is thick on that side, and its Game of Thrones-style palace intrigue means that the players can't move as freely as they could under the banner of truth. Otherwise, I suspect we'd all be dead by now.
Jan 1, 2023·edited Jan 1, 2023Liked by Mark Bisone
💬 The sword is inside Xander’s heart, and the power he wields is greater than that of any demon or dragon.
A reminder we all badly need, again and then again again 🔥
--
To lighten the mood an eensy tad,
💬 ↓↓ “I don’t want to die on any hill,” I told him.
🗨 ↑↑ I don't want to achieve immortality through my work; I want to achieve immortality through not dying. I don't want to live on in the hearts of my countrymen; I want to live on in my apartment. ~~Woody Allen
Very funny line. And very telling; not so much the embrace of life as the fear of death as oblivion (or judgment, though Allen himself would likely never admit to that).
Jan 1, 2023·edited Jan 1, 2023Liked by Mark Bisone
The iconic Biblical Pulp Fiction monologue reminds me of Annie Baker’s Pulitzer Prize winning play “The Flick”, wherein the monologue plays a key role at the climax and end of the play. The Flick isn’t a redemptive story per se, but it is a play where evil is explicitly called out at the end. The hero of the story, who, now, come to think of it, functions as sort of a Christ figure in that he is offered up as sacrifice (within the mundane context of the play). Through the course of the play, he is known for his flawless delivery of movie monologues, his purported masterpiece being the very Pulp Fiction monologue featured here (the scary weaponized one, not the redemptive one). Throughout the play he rebuffs requests to deliver that monologue. At the end of the play, after he has “returned from the dead” (again within the mundane context of the play, here “dead” means “fired”) he delivers the Pulp Fiction monologue, but now it functions as an utterly devastating judgment of the other characters’ evil. He walks off the stage and the play ends.
EDIT: no, actually I just looked at the play script, the full monologue is delivered at the end, including the redemptive bits. And there is one more short scene afterwards, but it reinforces the potentially spiritual underpinnings of the play: Avery, the Christ figure, has a life after being fired, the other characters are still stuck in dead end jobs, essentially “dead souls”.
I've never heard of the play, but it's interesting that Jules' reading of Ezekiel has already found its way into the market of general creative touchstones/idioms for fellow dramatists. The passage itself is artistic/poetic, and so we can basically say that its poetry is echoing down through time in a variety of forms.
I definitely recommend seeing it if there is ever a production in your area. It is a long play (3 hours I think) and kind of a slow burn. It takes awhile for the "sacrifice" to develop, but early on you know something isn't morally right with the older characters.
The 'turn' or 'flip' happens more often than I expected, once I started thinking about it. It can be subtle, like Peter Quill's turn in Guardians of the Galaxy (when he saves Gamora), or it can be more clear as when Bud White turns in L. A. Confidential.
Happy New Year, Mr. Edwards. Replied at the coffee-house, but I'll just repeat that I'm encouraged by your comments as well. I agree that art is flush with these transformations, bug and small, subtle and showy. Proves that its an essential part of what we are (at least, to me it does).
Midnight Mass was awesome. And boy did they nail the fake "holier than though" religious person who manages to *precisely* invert spiritual teachings to justify pure evil, using the exact same words.
Obviously this was far from an "exhaustive list" of examples. Let us know in the comments of other cinematic or literary candidates for the Big Flip that have interested or affected you, for whatever reason.
Another brilliant piece, Mark, weaving together disparate storylines with a common — and strong — thread: The power of love.
When I watched "Pulp Fiction" the first time back in like 2005 (I was out of the tv/movie-watching loop for many years), I recognized Jules' spiritual transformation, so it was fun to watch the clips you embedded (despite the violent depictions of death and chaos😭). Jules felt the power of love in the "miracle" that saved his and Vincent's lives, and he knew instinctively to embrace that, which is what a true "Big Flip" is: Our Divine Design breaking through the insanity and depravity to experience GRACE.
I would say that the power of love IS the creative spark we are designed with and is therefore all that matters in the end. Oh, and in the NOW. So now is when we should light up. Which you do so well in your writing.
The power of love is the *je ne sais quoi* that and will always defeat evil, because evil is incapable of UNDER-STANDING love, and therefore must return to entropy in its presence, as in the Xander clip.
It's like when a cop says, "Do you understand your rights as I have read them"? and I say "NO, I do not" because *I don't stand under my rights*! I skillfully wield my rights like a fucking light saber, because they are my gift from the Divine Creator.
Wield on, man.
"I would say that the power of love IS the creative spark we are designed with and is therefore all that matters in the end. Oh, and in the NOW."
Absolutely. At the very least I think it serves to sweep away the mists and fog, and allow us to observe reality as it is more clearly.
(And I like your formulation of understanding as "standing under." Very good!
There’s much more flipping in art than in life. It makes for good drama.
And although you’re right about so many things, I very much doubt you’re right about Musk. He would not have gotten where he is without embracing transhumanism and sucking at the tit of the deep state. The minute he flips, he’s dead. He’s been very useful in pretending oppose to tyranny, while assembling its architecture.
https://maajidnawaz.substack.com/p/alt-saviour-elon-musk-hints-at-buying?utm_source=%2Finbox&utm_medium=reader2
To be fair, I'm talking about a fictionalized, potential version of Musk (who I named "Musket"), not the man himself (who I do not know). The real figure could very well be as diabolical as some suggest.
That said, I disagree with the assumption that "the minute he flips, he's dead." While our globalist enemies have no moral compunction against murder, they seem to wield this solution quite strategically and rarely when it comes to public figures. Timing is important; to kill a rogue Musk at this particular moment would draw a great deal of suspicion, for one thing. For another, in a world of lies, blackmail and double-triple-and-quadruple agents, it often takes time for their various internal factions to distinguish a true rogue who's fled the reservation from a deeper operation in progress.
Even those allies of ours who suspect that's exactly what's happening with Musk might agree; the fog of war is thick on that side, and its Game of Thrones-style palace intrigue means that the players can't move as freely as they could under the banner of truth. Otherwise, I suspect we'd all be dead by now.
💬 The sword is inside Xander’s heart, and the power he wields is greater than that of any demon or dragon.
A reminder we all badly need, again and then again again 🔥
--
To lighten the mood an eensy tad,
💬 ↓↓ “I don’t want to die on any hill,” I told him.
🗨 ↑↑ I don't want to achieve immortality through my work; I want to achieve immortality through not dying. I don't want to live on in the hearts of my countrymen; I want to live on in my apartment. ~~Woody Allen
Very funny line. And very telling; not so much the embrace of life as the fear of death as oblivion (or judgment, though Allen himself would likely never admit to that).
Well that's Woody for you: all about Woody.
The iconic Biblical Pulp Fiction monologue reminds me of Annie Baker’s Pulitzer Prize winning play “The Flick”, wherein the monologue plays a key role at the climax and end of the play. The Flick isn’t a redemptive story per se, but it is a play where evil is explicitly called out at the end. The hero of the story, who, now, come to think of it, functions as sort of a Christ figure in that he is offered up as sacrifice (within the mundane context of the play). Through the course of the play, he is known for his flawless delivery of movie monologues, his purported masterpiece being the very Pulp Fiction monologue featured here (the scary weaponized one, not the redemptive one). Throughout the play he rebuffs requests to deliver that monologue. At the end of the play, after he has “returned from the dead” (again within the mundane context of the play, here “dead” means “fired”) he delivers the Pulp Fiction monologue, but now it functions as an utterly devastating judgment of the other characters’ evil. He walks off the stage and the play ends.
EDIT: no, actually I just looked at the play script, the full monologue is delivered at the end, including the redemptive bits. And there is one more short scene afterwards, but it reinforces the potentially spiritual underpinnings of the play: Avery, the Christ figure, has a life after being fired, the other characters are still stuck in dead end jobs, essentially “dead souls”.
Anyway, hope you have a Happy New Year!
I've never heard of the play, but it's interesting that Jules' reading of Ezekiel has already found its way into the market of general creative touchstones/idioms for fellow dramatists. The passage itself is artistic/poetic, and so we can basically say that its poetry is echoing down through time in a variety of forms.
I definitely recommend seeing it if there is ever a production in your area. It is a long play (3 hours I think) and kind of a slow burn. It takes awhile for the "sacrifice" to develop, but early on you know something isn't morally right with the older characters.
This was a really good one.
The 'turn' or 'flip' happens more often than I expected, once I started thinking about it. It can be subtle, like Peter Quill's turn in Guardians of the Galaxy (when he saves Gamora), or it can be more clear as when Bud White turns in L. A. Confidential.
Happy New Years. Have some cheddar.
Happy New Year, Mr. Edwards. Replied at the coffee-house, but I'll just repeat that I'm encouraged by your comments as well. I agree that art is flush with these transformations, bug and small, subtle and showy. Proves that its an essential part of what we are (at least, to me it does).
To a discovery leads the cursorily mentioned ‘Christ’s conversation with the thieves’ 😊 Behold Luke(!) 23:43:
🗨 Verily I say unto thee today, thou shalt be with me in paradise. --vs-- 🗨 Verily I say unto thee, today thou shalt be with me in paradise.
The fashion to 'aerate' texts with spaces between words emerged many centuries after Christ’s time; the punctuation as we know it dates even later 🤷
How about "12 Angry Men", where each of the jurors are "flipped" one by one.
I think you could make a good case for that (pun intended).
Enjoyed all the epiphany references, and thanks for the “Midnight Mass” suggestion-I had never heard of it before.
Thanks, Scott. I wholeheartedly recommend it, with the caveat that its "horror" elements may not be for all tastes.
Midnight Mass was awesome. And boy did they nail the fake "holier than though" religious person who manages to *precisely* invert spiritual teachings to justify pure evil, using the exact same words.
Hi Luc! I presume you're referring to Bev Keane? Marvelous character, in my estimation (and brilliantly acted).
Oh BTW, I recently watched The Sound of Music for the first time (I posted about it too), another very interesting transformation story.
Exactly. Great performance indeed!
Thanks brother. Happy New Year to you too.