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What is the difference between the many cop deaths shown on TV and a snuff film? This paper is for Elijah McClain, George Floyd, Trayvon Martin, Daunte Wright, Kurt Reinhold, Tamir Rice, Breonna Taylor, Alton Sterling, Eric Garner, Sandra Bland, Jacob Blake, Michael Brown, Kristiana Coignard (White), Terence Crutcher, Philando Castile, Botham Jean, Amadou Diallo, Rayshard Brooks, Sean Monterrosa (Latinx), Walter Scott, Samuel DuBose, Manuel Ellis, Zachary Hammond (White), Ricardo Hayes, Aiyana Stanley Jones, Michael Lee Marshall, Marc Ramos, Kathryn Johnston, Rayshard Brooks, Atatiana Jefferson, Isiah Murrietta-Golding, Sureshbhai Patel (Asian – Indian Subcontinent) etc. These names include black, white, AAPI, and Hispanic but there are too many names to mention.
Who would have thought that the lyrics of the band Tool would be a great way to analyze racial injustice? Or, who would have thought that the sheer terror presented in Pulp Fiction’s pawn shop scene would be a microcosm of the terror that underlies our very feet within the real world – both past and present?
Tool released their album, Undertow in 1993. I remember being a kid during the ,glorious” days of the 1990s watching MTV, maybe it was on Beavis and Butthead, and seeing Tool’s music video for Prison Sex. It did not terrify me surprisingly, but it did leave a lasting mark as far as Tool’s ability to take things into realms that are dreamlike or nightmarish, or later what I would learn would be called the Jungian. Music at this point was taking on more of a darker sensibility post-Nirvana with bands like the Smashing Pumpkins, Nine Inch Nails, etc. Tool was my first introduction to Industrial-type metal, which was later reinforced by my discovery of Nine Inch Nails, especially with their music video Closer around 1996. The next year after Tool’s Undertow was released, I remember being a kid and overhearing Entertainment Tonight and they were talking about Spike Lee having issue with Quentin Tarantino’s new film, called Pulp Fiction, largely for the liberal use of n-word. I was aware of Spike Lee of course since my parents were film fans and I was alive in the late-80s to early 90s Black Revival of the arts (It’s a Different World, Roc, Do the Right Thing, the works of Robert Townsend, etc.), i.e., we had plenty of Jet magazines stashed around the house.
I did not know much about Tarantino and never really considered him a big director in the early to mid-nineties, because this was at a point where a director was simply a director, i.e., I didn’t see things as art yet since I was just a child. The only film that reminded me of Tarantino up to that point (I may have seen snippets of True Romance at my grandmother’s house in Miami), was the film Swingers by Jon Favreau, in which Tarantino is only referenced. The film by Favreau depicts a crew of young white horny males in Los Angeles searching for action, work, love, etc. They all party and live in apartments, but there is a poster of Reservoir Dogs within one of them, and one of the main characters who gets into a parking lot altercation draws a gun to the rebuke of his friends played by Favreau and Vince Vaughn. Essentially, early Tarantino represented film for angry white boys. A type of power fantasy for white males to envision themselves as hustlers, heist man, crooks, not taking junk. Fantasy about liberally dropping n-bombs and making dirty jokes in midnight diners about the color of this or that waitresses’ pubic hair. We have to remember that Tarantino did come on the scene as gangster rap had already won popularity, so with black males of rough backgrounds now seen as in vogue, and it’s almost as if Tarantino knew he had a market in the alternative. Masculinity wasn’t simply The Marlboro Man or Arnold Schwarzenegger but men like Tupac where Tupac in our racist past would be called a “mouthy n-word” or Denzel Washington would’ve been called an “uppity n-word” or a black dandy for simply breaking boundaries. Hell, even up to this day we see students busted For blackface, NBA owners caught dropping n-bombs, etc. Yet, in the film Swingers by Favreau, one of the men who attempt to fight Patrick Van Horn’s character (named Sue) is depicted as a white hip hop poser, insinuating that white adoption of black culture was prominent which it was, but to many it was seen as odd or out of place.
However, in recent times, well, the early 2000s, Tarantino has actively tried to eradicate his older perception as the “angry white boy director” with his Revenge Trilogy such as Kill Bill featuring a female lead, Django Unchained featuring an African American lead, and Inglorious Bastards featuring Jewish men in roles of strength and strong, developed, non-sexualized female characters. Including Jackie Brown with Pam Grier and even Randy Brooks as Holdaway in Reservoir Dogs, one can see an admiration that Tarantino has for black actors within American cinema, despite the truth that most black actors up until recent times were often caricature or side-pieces. It was not that Tarantino was racist per se, but rather he was recycling tropes of American cinema which were regressive (a nice word), yet, his defenses to his earlier works did display a lack in his understanding of why people reacted which is arguably a sign of…privilege. But, to get that out of the way, in this piece in no way am I considering Tarantino to be racist at all and he is not the central focus. He simply had growing to do, which we all do.
I didn’t see Pulp Fiction which was released in 1994 until way later in high school around 2003, and only because a girl I sat next to in chemistry class, stated she saw it on TV and it was crazy. Curious, I saw it, and it was crazy. This was before I would later fall into a fascination with postmodernism be it Don DeLillo, the works of Cronenberg, etc. After seeing Pulp Fiction, I saw the infamous scene of the rape in the pawn shop by Zed on Marsellus Wallace. But, now in 2020, seeing George Floyd call for his mother, while this smaller white male sits on his neck, instantly recalled Tool’s song Prison Sex. “Shit, blood and cum on my hands”, “Do unto others what has been done to me. Do unto others what has been done to you”, “I’ve got my hands bound. My head down, my eyes closed”, “You look so precious”, “Released in this sodomy”, “You’re breathing so I guess you’re still alive”. A white male cop taking pleasure in exerting his power over a black male while the black male calls for his mother. Effectively, the cops took the notion of calling a black man “boy” to the next level and all for the public to see.
Even in George’s death, the sadness that people felt when they saw the scene but also heard those words, effectively stripped George of his honor, his masculinity, and forever left the image of him as a helpless victim with no means of fighting back legally, which makes something already tragic into something even more sinister. For example, when it comes Nazis, the terrifying thing is not simply how they came to be and all the atrocities they did, but rather how in a sense…they got away with it. Even in death, their power lingered as people tried to cope with their humanity. White supremacy in all its forms sees the world though a clinical, materialist, Darwinist struggle to survive, and it realizes that time is the greatest alibi, so the more damage or assault it can do, the more legacy it can leave. They do not want to just kill; they want to haunt. That is where their power comes from. The ability to make “sexy” their cruelty by turning it into legend which therefore time and time again will be analyzed in literature, film, TV, etc. This concept was explored by Don DeLillo in his 1986 National Book Award winner, White Noise, in which the protagonist, Jack Gladney, is a professor of Hitler Studies at a small liberal arts school in a pop culture department, which was done by DeLillo to explore how we assign objects (people, events, etc.), different meanings over time. DeLillo was right. Think about it. All one must do is turn on History Channel or History Channel 2 and find a documentary on Hitler such as Hitler’s Mega Weapons, Nazis and the Occult, or Hitler’s Sex Life. Essentially, we have turned a monster into an immortal pop culture celebrity, thus, it should not surprise you that decade after decade, a few people take his atrocities not as atrocities but rather as achievements. As a black man, I have heard at parties, “Hitler was a bad guy but…he had some good ideas”.
There are many similarities between the Pawn Shop scene in Quentin Tarantino’s Pulp Fiction and the death of George Floyd in Minneapolis, Minnesota in 2020. First off, George Floyd and Ving Rhames, obviously are two large muscular black males, thus they can create a sense of fear in others, which is unfair, but unfortunately how the iconography of the black male has been presented within American, Western, and even Asian societies. Secondly, both men suffered assaults with one obviously in reality and the other on film, yet, both men’s assailants were white males with Derek Michael Chauvin as a real life police officer whereas Zed in Pulp Fiction played by Peter Greene is a security guard. They instantly have positions of power, with Chauvin having real power and protection based on the law, whereas Zed has power in an almost pathetic way, yet, his “mall cop status” is still symbolic of the quest to dominate. Zed represents the angry white male, typically blue collar or low-income who fear what they perceive as competition. If Zed were a real person, he would vote for Donald Trump.
Both men, one real and one fictional, both represent power, with Derek Chauvin representing power through the notion of law and order, whereas Zed’s sense of power comes from sex and domination. But is there a difference? A white male cop dominating what he might perceive as his sexual threat. Cops are people. They watch CNN, Tucker Carlson on Fox News, were conditioned to vote Republican or Democrat, surf sub-Reddits, leave comments we might regret on social media, show up to work drunk, watch pornography (gauging penis sizes since masculinity has been reduced to nothing more than this in our postmodernist world or getting angry if they stumble on the “interracial” section), scroll through Instagram, etc.
It is my personal belief that the failures of our society are largely because we simply do not call out the reasons for the actions underlying the atrocities. Simple: fear, sex, power, needing attention, etc. That would be too easy to simply call it like it is. What am I about to say next is in no way meant to shame female sexuality, agency, and/or power. Rather, I am simply pointing to how sex and fascism are correlated and how it hides in our midst. For example, if you are familiar with Instagram it is not hard to find the hundreds of thousands if not millions (as it seems) models which post daily. Hyper-sexual, out of reach, depictions stimulating sexual desires for the droves of bored males equally as lost regarding purpose in our postmodern landscape which has now been defined by gender dynamics, intersectionality, the pressures of globalism, wealth disparity in a society fueled by conspicuous consumption, etc. However, within this category there is what I call the Freulein industry, i.e., sexually provocative women who are conservative and simply seem to be there to promote sexual stimulation for the support of supremacy. The reality is that the USA is of Germanic origins with German’s accounting for many of the white population, but Anglo-Saxon culture (English) is a branch of Germanic culture, thus, it seems safe to say that our white culture has many roots within the Germanic frame of thought, its aesthetics, etc. Something that would be interesting to explore another time. Regardless, these models use a mix of conservatism, country music, militarism, guns, Pro-Trump rhetoric, doses of cultural appropriation (sexually charged hip hop music), but all of this, to them at least, is justified by simply leaving a Biblical quote underneath their OnlyFans link. This sort of sexual stimulation is meant to embolden the “white knight mentality”, i.e., to breed for and defend the Western “white” race, and women simply are there to serve men by offering a type of reward for good and noble service. It is also an attempt at winning the race for being the most desired, because the most desired in theory becomes the most protected. This mythology making linked to sexuality is nothing new, and arguably has been deployed by groups such as the Nazis, who in turn were appropriating dark age and medieval notions of masculinity and femininity as they revolted against the modern age (while ironically using modernist practices to assault people). Yet, it is 2020, which just goes to prove that human nature has changed but hasn’t, and despite these people operating in code through the concept of sexually stimulating content, they are in fact aware of their intended audiences and overall “agenda”.
I am no Freudian scholar but based on “pop cultural and academic osmosis”, I feel it is safe to say that Freud simply reduced our activity to sexual behavior, or, rather sex was central to his analysis. From what I know of the time in which Freud existed, the Austrian intellectual scene in which he inhabited, gave us many pre-modernist or modernist thinkers who foresaw the sexual undertones and tension soon to come within the unfolding complex landscape of early democratic experiments, the consequences of industrialization, the liberation of females, and the permeation of the Scientific Method into all facets of life. I mean, Leopold von Sacher-Masoch, whose last name the term Masochism comes from was active during the times of Freud, Richard Freiherr von Krafft-Ebing and Isidor Isaak Sadger (with the later compounding the terms of sadism and masochism utilized by Krafft into the term S&M). Masoch interestingly wrote Venus in Furs (1870), which interestingly inspired the song by the Velvet Underground & Nico (Fact: Nico was a racist), whom were under the tutelage of Andy Warhol, who in turn popularized “pop art”, which is a trope within postmodernism, where postmodernism – despite what a neoconservative will argue – is a consequence of capitalism as it bled into its post-capitalist phase. Masosch was alive during the time of Freud, Jung, etc., but this Austrian Renaissance also produced later thinkers such as Otto Weininger who wrote Sex and Character (1903) which speaks about the Madonna-Whore complex (adding in some self-hating Anti-Semitism and plenty of misogyny), Franz Kafka, Stefan Zweig, etc. As far the S is S&M it comes from the infamous Marquis de Sade, who was a libertine writer before the French Revolution. As a noble of the French nobility he was able to use his position of power to engage in sexual debauchery including reported kidnapping, rape, molestation, drugging, etc. Ironically, de Sade despite being imprison at the Bastille was later a member of France’s National Convention as a delegate, and some could say Sade’s writings were existentialism before existentialism and taken to its sexual extremes, and themes such as this were explored by modern horror and LGBT author, Clive Barker, in his novel, The Hellbound Heart (1986), later adapted into the film Hellraiser (1987).
Back to Pulp Fiction and the George Floyd death, both Derek’s and Zed’s power overlap with Zed simply being the hyperreal avatar of the white supremacist police state of a waning capitalist society where the underlying anima of such a state is a harsh hierarchical order built upon ideologies that promote domination and submission (patriarchy, racial segregation, worker exploitation, militarism for the benefit of economic elites, etc.). Regardless of politics or sex, the underlying notion is power and this Darwinist viewpoint is exemplified in the notion of policing in the United States which itself was built upon a racial caste system, or, what I like to call a psycho-sexual-racial caste system. I insert the “psycho-sexual” into the term because fear of the black male in a white male dominated society, often dealt with sexuality such fear of the black male “violating” white purity, fear of miscegenation or racial mixing, etc.
Basically, it is all about competition and monopolizing resources to make survival easier under this racial Darwinist viewpoint, but the underlying reason is arguably insecurity and fear, which ironically is not superior at all.
Pulp Fiction is a key example of postmodern fiction. It employs an irregular plot structure, distorts our notions of time, blurs high art with low art such as infusing dialogue and world-building with pop culture references (almost to the point where it could be argued all the characters are simply inhabiting a comic book, i.e., pulp is a genre of comic), distorts the viewers notion of stability by mixing seemingly safe environments with very dangerous criminal underbellies creating a feeling where the characters are mere mortals under the cruel games of “the gods” (something I notice when watching Cohen Brothers’ films, e.g., Fargo or Burn After Reading, or a similar concept such as that of H.P. Lovecraft’s notion of cosmic horror, e.g., humans are insignificant players in a larger cosmic game), and plays with psychoanalysis relating to power dynamics in a relativistic or nihilistic universe typically through depictions of sexual fetishism, e.g., in the novel, White Noise (1987), where the main character, Jack Gladney, has a fetish for his wife’s leggings which makes him fantasize about masculinity in antiquity, or, the protagonist in Vladimir Nabokov’s Lolita (1955) – an example work of the cracking of modernity into postmodernity – who has an obsession with prepubescent females, or, the infamous scene of coprophagia in Thomas Pynchon’s Gravity’s Rainbow (just one of the many types of fetishes depicted in the novel, e.g., sex slaves, orgies, etc.).
Postmodernism is basically what it sounds like, i.e., “after modernity”, which, in other words, is a study of when humanity reaches its apex after the successes of modernity (and its failures). Society finds itself at the end of its logical conclusion, thus becoming consumed by a reality which ceases taking on an objective truth(s) and takes on a subjective, multi-dimensional, relativistic sentiment. There is no truth. This is not an original point I am making, but the show Seinfeld in a lite sense is a nihilist show, i.e., it is a show about nothing filled with characters, in an advanced civilization, lost in some comedic tragedy getting into random adventures. Postmodernity is when a machine becomes so efficient and reaches an apex that it starts to make copies of itself and people can’t distinguish between what is real or what is not, or what is original or what is a knock-off, which is a theme explored in Philip K. Dick’s The Man in the High Castle (1962), or even the film, The Matrix by the Wachowski Sisters, which in itself was influenced by real-life French thinker Jean Baudrillard’s Simulacra and Simulation (1981).
Other common notions, tropes, or pastiches of postmodernism is a sense of transgression, a tendency to merge things such as in “postmodernist era science fiction” with the notion of cyborgs or mutants (Robocop by Paul Verohoeven – released 1987), punk (anarchy, dystopia), cynicism, pseudo-science posing as hard sciences since what is science? (aliens, mind reading, tabloids, conspiracy theories), cyberpunk which is a punk sentiment in a technologically advanced world dominated by corporations (Neuromancer by William Gibson – published 1984), informational overload, things that are nuclear (we’re so advanced we created weapons that can destroy us ten times over), and the deification of symbols largely from capitalist systems (Mickey Mouse is arguably as revered as Jesus on the Cross as far as recognizability), etc. Symbols and semiotics are an important part of the postmodernist condition and could be argued as the key signifier of a society entering or being within a postmodern epoch. For example, the concept of memes, can only be understood in theory if one has a reference of what is being shown, thus a meme requires a deep level of understanding and juxtaposition against other objects, but there’s so many worldviews that the symbol can take on multiple meanings, or, if someone were to unearth a meme somehow in the far future they wouldn’t be able to properly understand it without reference to something else. A meme is not simply a picture, but really an agglomeration of multiple reference points, often only understood or with significance at a given moment in time.
Since postmodernism rejects objective truth claims thus making it relativistic and/or nihilistic in nature, postmodernism arguably falls under existential philosophy of the Continental School (Descartes, Spinoza, Schopenhauer, Kierkegaard, Heidegger, Sartre, Camus, etc.). Existential philosophy itself doubts an objective view of reality, such as Sartre’s statement that existence precedes essence, and this existential umbrella of thought might deal with simplistic notions of doubt or angst, whereas extreme versions bleed into solipsism. People inhabiting postmodern societies are effectively bots reduced to Darwinist power dynamics inhabiting a reality of simulations, so because we’re so far removed from our natures, despite our advancements, we end up transgressing simply to reattach to nature, hence the propensity of “hardcore” content within our current landscape albeit pornography, blood sport, empirical managerial sciences which are simply fancy ways of saying the strongest survives, etc. Further, since there is no soul, humans instead are reliant alone upon their cognition, i.e., their egos, but since reality has no truth, the general sense of the zeitgeist ceases being solid but rather takes on something neurotic, jittery, or schizophrenic. In a postmodernist world, we are nothing more than base material without free will languishing under illusions, who can be evolved or forged into new objects, and are reduced to simply fulfilling our base desires of keeping our material in existence, but lacking any real explanation of why we exists since any truth is beyond our cognitive capabilities.
My whole breakdown of postmodernism, at least to the degree I can understand it (a true postmodernist would reject any claim of definition), is important to the Pawn Shop scene in Pulp Fiction. A Pawn Shop is a heap of collected artifacts (nostalgia) but also currently valuable things (technology, equipment, etc.) so it contains an anachronistic element, i.e., it has objects from different decades and eras, and the value of such goods are relative to whomever wishes to buy them, or even the seller of said objects who can create value in an ad hoc fashion by simply gouging the price to create the perception of a higher intrinsic value. Objects are disregarded, dreams are sold away, and value is created on whim. Pawn Shops are also predatory in nature in that people give up their items for loans, but many people are already suffering from economic hardship. So, when one is entering into a Pawn Shop, they are really entering into a capitalist space with postmodern potential. It is like how in the Man in the High Castle (1962) by Philip K. Dick, the character Robert Childan has an antique shop full of American regalia but some of his items are forgeries, but to the buyer they can’t differentiate.
The Pawn Shop is the orphanage or burial ground of capitalism. Capitalism creates the simulation by glossing its existence over with empirical data, but underneath the surface is nothing more than Precambrian desire to survive or dominate. It reduces humanity into material chasing material to make more material, and since material is separate from the concepts of the spiritual, capitalism, similarly to Marxism both reduce humanity to concepts such as power, dynamics, intersections, etc. We are mere material within the flux of time and space without any real understanding of why we are here, but capitalism romantically dolls up Darwinism to promote the individual, whereas Marxism romantically dolls up Darwinism to promote the collective.
The Pawn Shop in Pulp Fiction is a microcosm of the USA which produces capitalist junk, but the owner and Zed represent the white supremacist underbelly of this ideology, hence, it is not a surprise that Zed picks Marsellus to be assaulted. Zed himself craves power but the power he was able to obtain as a security guard is basically a knock-off of real power, so not having power, he’s wired to dominate to compensate, and his identity being central, which is his race, gender, position, and etc., attempts to dominate any antithesis to his identity whenever it presents itself. To me the fact that Zed picked Marsellus first to be raped means that race of course plays a larger role in his insecurity relating to power, but since one gets physical gratification from sex, Zed also represents a desire for what it is he is not. It is no different than a tribal chieftain wanting the head of a worthy enemy or how a cannibal wants to consume a person to obtain their symbolic power or essence. Interestingly, Bruce Willis’ character was not actually sparred from assault, but rather he simply got away, but despite Zed’s meaningless game of “einy meeny miny moe”, Bruce was spared most likely because of his privilege, but only temporarily. Butch (Bruce Willis) easily could’ve left the Pawn Shop after killing the Gimp, by reducing Marsellus’ fate to the strongest survives, but instead finds honor in himself and a common humanity with Marsellus to save him. Butch thus was not a bystander but an active participant in fighting against the injustices of Zed and Maynard (white supremacy in a capitalist wasteland obsessed with power, domination, and race). Butch did his part by challenging this “system” which gave Marsellus enough time to avenge himself.
So, let us relate this to our world with police and the general population. Marcellus and Butch are both under threat by Zed and Maynard, similarly to how both the white and black populations are subject to police abuse, yet, the disproportionate level of abuse that Marsellus experienced over Butch, to me is similar to the disproportionate levels of violence against black Americans when dealing with police. Zed representing police and Maynard represents the white supremacy that enables Zed (the Confederate Flag in the shop), and the place of the assaults – the Pawn Shop – is symbolic of a capitalist wasteland which seems to be the fate of the USA as disparity and tensions rise. Maynard’s sexual gratification by watching Zed assault Marsellus is symbolic of how people watch police murders on TV. Many people support the police under the concept of law and order, or in Zed terms… BDSM. For example, during the Ferguson Riots, I vividly remember the police flaunting their power, wearing eerie paramilitary uniforms – faces covered – as they posed for closeups and rolled MRAPs (tanks) down streets. It was like the postmodern equivalent of putting down a “slave revolt” as millions of white eyes watched in fear from suburbia as their “boys in blue” kept them, their property, their money, etc., safe. What is the difference between the many cop deaths shown on TV and a snuff film? Further, white supremacy often displays hyper-masculinity, often most of the time as being homophobic, yet, Zed and Maynard’s closeted homosexuality is expunged through their violence. Their very acts seems to mean that besides being hypocrites (and rapists), that supremacy poses as one thing, denying certain elements, but deeply desires what is rejects on the surface.
Butch and Marsellus are in the same dilemma but Marsellus suffers because of his identity, and instead Butch chooses not to save himself, in which the opportunity to save himself was afforded by his privilege. This is like white protestors or activists assisting African Americans, Hispanics, etc., in standing up against the embedded underlying domination of the USA. For our world, white supremacy sustains itself because of pure selfishness. The “silent majority”, code word for the white majority, sees racial dynamics simply as such. They see it as teams acquiring points of injustice to justify acquiring power or equity. However, they claim this is what minorities are obsessed with, but minorities did not make this game. While the right-wing lambast the left or progressives or liberal democrats for playing what they perceive to be “identity politics” or the “victim Olympics”, ironically, they are the main purveyors of these concepts – they just have a different strategy for playing it.
If Butch left the Pawn Shop leaving Marsellus he would have been no different than Zed. Butch’s actions would have been no different than the “silent majority’s” safe cozy nostalgia-ridden middle class existence, which might not associate with the KKK or Neo Nazis but their indifference to these groups enables these groups by reducing the severity of their actions, or even if acknowledging them, they are quick to normalize things thereafter without any systemic fixes. The reason this happens is because this “white proletariat and bourgeoisie class” subconsciously do fear losing the economic benefits and the iconography of supremacy.
In conclusion, the pawn shop scene of Pulp Fiction is analogous to the USA (nostalgia, capitalism, etc.) in which Maynard represents white supremacy (adorning his shop with a Confederate Flag) holding onto the dying dream of capitalism, and both he and Zed, represent white supremacy’s attempt to hold onto that power by exerting the most humiliating of acts onto a person of color (e.g., Derek Chauvin’s murder of George Floyd as he called for his mother, is similar to Zed’s rape of Marsellus), yet, Butch (Bruce Willis) whom was spared temporarily because of his privilege as a white man, used his privilege to save Marsellus in the end instead of walking away, i.e., refusing to be indifferent like the “silent majority” or gimps of our actual reality. The pawn shop in Pulp Fiction is where capitalism, white supremacy, fascism, Darwinism, and power all collide to create a horror analogous to that which underlies our surface in the real world. By killing the Gimp, which is symbolic of those who comply with the authority of supremacy, and later killing Maynard who sees himself as a level above the Gimp but subservient to Zed, Butch is similar to non-black BLM protestors in our reality who disregarded their privilege to save the humanity of others despite their external differences. The fact that Maynard and Zed are hyper-real representations of white supremacy holding onto their fading sense of power, thus overcompensating with their depravity, makes me reflect on the quote by DeLillo (1987) which states:
“Nostalgia is a product of dissatisfaction and rage. It´s a settling of grievances between the present and the past. The more powerful the nostalgia, the closer you come to violence.”
#film #toolband #pscyhology #pscyhoanalysis