Chinese students “love” Suburban Express; better than Amtrak’s scheduled delays

With all the recent controversy surrounding Suburban Express, international students have chosen to speak out in support of the transportation company.

Many students have commented on the “wonderful work ethic” that Suburban Express adheres to. In fact, Chinese students said it reminds them of home (Communist China).

“They may be racist, but at least they’re always on time, and I can appreciate that. We all have busy schedules, so it’s great that they are so reliable,” said Hai Shang, international student from Shanghai, China and junior in Political Science.

Shang said that out of all the transportation companies he’s ridden with, Amtrak has by far “been the worst.”

“Say what you will about the conservative gentlemen managing Suburban Express, but I have never had to wait an hour for the bus to get here, unlike Amtrak and their horrible work ethic.”

Shang even went on to say that he did not find the ad offensive because he doesn’t like Chinese people either.

“I know that as a social justice warrior, I should be deeply offended, but as a PETA supporter, I don’t want to be anywhere around those cat eaters,” Shang said.

news.madmansweekly@gmail.com

Comments

We're All Voyeurs: A Review of Hitchcock's "Rear Window"

Photo Credit: Film Forever Rear Window is a film about watching. We watch the protagonist, L.B.Jeffries, be forced to lead a life of mundanity as his cast confines him to the four walls of his apartment. We watch his neighbors, Ms. Lonelyhearts, Ms. Torso, and Thorwald, each cope with their loneliness in sad, distinct ways. We watch Jeffries’ girlfriend, Lisa, wholeheartedly commit to a man who is afraid of commitment. And most importantly, we watch Jeffries do the watching. The film begins with the camera panning over the apartment complexes in Greenwich Village, New York, focusing through every rear window in the vicinity. The audience is introduced to Jeff’s neighbors, and even though we, nor Jeff, ever meet most of his neighbors, Jeff forms intricate backstories for them, finding entertainment in the seemingly mundane lives of those around him: Ms. Torso practices ballet every morning, stretching her legs on her kitchen counter and bending forward, her short-shorts on ...

Refuting Gender Roles: An Independent Female Lead in "Silence of the Lambs"

Photo Credit: gamesradar+ Although Silence of the Lambs is profoundly disturbing in both its transphobic undertones and in its portrayal of a cannibalistic serial killer as a compelling, empathetic character, it’s innovation lies in its ability to transcend binary gender roles, allowing a female lead to possess agency, intelligence, and a completely bad-assed personality. The film begins with the protagonist, Clarice Starling, hurtling through an obstacle course alone, climbing over nets, and jumping over logs. Before she is able to complete the course, Special Agent-in-Charge, Jack Crawford, summons her to his office, and she runs back, bolting passed a tree with the motto, “Hurt, Agony, Pain―Love it.…or die” nailed into the bark. These words foreshadow the final scenes of the film, where Starling comes close to death in her encounter with the sinister Buffalo Bill. As she runs, the camera pans over the rest of her class training together. Already, the dichotomy between Clari...

Classic Hitchcockian Misogyny in "Rebecca"

Photo credit: Moma Hitchcock’s Rebecca , like classic Hitchcock, induces anxiety in the viewer from the very first line of the film: “Last night I dreamt I went to Manderley again.” Beginning the film with a recollection prompts the viewer to wonder not only what Manderley is, but also why the nameless female protagonist can only visit it in her dreams. Already, Manderley establishes a ghostly, indelible presence, haunting both the memories of the speaker in the beginning of the film and the audience’s perception of her, as we witness the speaker being thrown into living in a home overshadowed by the late Rebecca. The film is deeply imbedded in patriarchal values, and the notion that a woman must be complacent to her male counterparts, as seen through the sheepish representation of the “good” Mrs. de Winter. She lacks agency, and her unauthoritative personality proves ideal to Maxim, as he wants a wife he can control. The film’s focus on depicting women with indomitable ...

Madman's Weekly

Search This Blog