>since some of you think it says "nothing'
>
>1. The stories of the characters in Pulp Fiction overlap with
>each other, though they are separate; they are "anchored" by
>the central figure of crime boss Marsallus who's involved in
>all the stories. Analogous with this, people in America are
>separated by race/class etc, but their lives still overlap -
>everyone has pop culture (pulp fiction) as an anchor. Pop
>culture has all sorts of racial overlaps. It also has looming
>figures like the wealthy godfather/crime-boss that we're all
>familiar with but few of us ever meet.

So Marsellus = pulp fiction? I don't understand the point of this point, or why QT would try to convey this (which I don't get from the film).

>
>2. Pop culture gives us sentiments like Scarface's bravura
>("I'll execute every last motherfucking one of you"),
>Corleone's ruthlessness in the name of honor ("I will strike
>down upon thee with great vengence"), contempt for authorities
>("The manager doesn't want to get shot, he knows he's
>insured"), casual attitude towards drugs, guns (everyone who
>owns a gun in PF ends up worse for it), disregard for the law.
>Most of us are entertained BY these ideas, but for the
>criminal mind they facilitate evil. Serious wrong doing can be
>brushed off lightly ("Just cops." Any real people?" "Just
>cops.")

This is obvious. Saying "Pop culture affects our social mindset" is like saying "Our government affects the politics of our country." This is not nearly exclusive to the work of QT. You can see the affects of pop culture everywhere in cinema.

>
>3. Mia didn't reckon her lifestyle would nearly kill her;
>diners didn't reckon on getting robbed; amateur robbers didn't
>bragain on coming up against professional hitmen (neither did
>small time fraudsters); their boss (Marsallus) didn't reckon
>on coming up against sexual perverts/predators; perverts
>didn't reckon on coming up against torturers. There are
>different "arenas" of evil in the film, but from the
>intertwining storylines we can see that no one is that far
>apart.
>

That's what great about movies. The unexpected happens to characters, creating conflict. THIS HAPPENS ALL THE TIME.

>4. The inhabitants of each arena of evil, in their comfort
>zone, are casual/flippant/callous/narcissistic towards crime.
>Confronted with deeper evil or sheer misfortune, only
>compassion, loyalty and other positive elements of human
>spirituality can save them. Bruce Willis rescued Marsallus out
>of pity (he may not have wanted to kill Vince either); Jules
>spared Pumpkin&HoneyBunny because he wanted to give them the
>same chance that had been granted him; Pumpkin&HoneyBunny let
>themselves be spared because their concern for each other was
>greater than their concern for a successful robbery; Mia
>survived because Vince cared about her.
>

Character persevere only through morality. Again, THIS IS NOT EXCLUSIVE TO PULP FICTION.

>5. We needn't think that Pulp Fiction isn't true to life...
>the simultaneous stories make it seem remarkable, but it's not
>surreal, it's real.

Unless a movie is sci-fi or fantasy, I always view it as if it's real. Who goes to a drama or comedy, murmuring to themselves over and over, "This movie isn't real, this movie isn't real..."? Not to mention Pulp Fiction doesn't have many remarkable "coincidences", except that Bruce Willis and Marsellus run into each other.

>
>6. The paragraph about "black and white form the central
>motif" and the "Jocyean sense of here-comes-everybody"... i
>THINK it's reinforcing the idea of everything being
>intertwined ("reality tumbles into reality, race into race"),
>even contrasting elements. Underclass couple with an upper
>class lifestyle, black man with white wife, and vice versa,
>white man working alongside black man, employed by black boss,
>jewish man arriving to solve the problems.
>

This is a babbling brook of bullshit. The issue of race is never brought up in Pulp Fiction. Ever. QT says the N-word, but no one talks about it. And NOTHING is intertwined in Pulp Fiction! It's ONE story, with a couple of stories about the characters IN the main story tacked on in order to flesh them out.


>7. The characters have depth because they all love to talk.
>None of them are cartoons with just a few stereotypical lines
>

I don't even know what this means. Talking gives a character depth? What the FUCK?