Can someone please explain to me how Haru going pro makes any sense for his character and isn’t completely contrived? Can someone explain how this has any verisimilitude WITHOUT using shipping reasons?

I’d like to see someone try and give a thoughtful, character-driven reason as to why, after two full seasons of wanting to be “free” and actively opposing the idea of going pro, some gay ass Aussie can say “SUP MATE! G’DAAAY” and suddenly Haru’s like


Please explain this to me. 

With the recent build-up to Swift’s upcoming album 1989, the question on everyone’s mind seems to be, “Who is the (un)lucky guy now?” In her Rolling Stone cover interview, Swift revealed a plot twist that nobody expected: She was going to be dedicating her next revenge song, “Bad Blood,” to a woman.

“She did something so horrible,” she said, “I was like, ‘Oh, we’re just straight-up enemies.’ And it wasn’t even about a guy! It had to do with business.”

This has led to speculation on the identity of the woman who got on Swift’s bad side — Katy Perry and Selena Gomez have been thrown around, and everyone is getting in on figuring out who crossed the line.

But there’s a problem: The whole thing seems very contrived. And it’s contrived around a horribly outdated image of what it means to be a woman. The most troubling part is not that Swift turned this into a PR stunt — a kind of “you do you, Taylor” — but that she’s feeding into the public’s obsession with pitting women against each other.

What My Kid is Reading Wednesday

This week, eager to channel the “creativity” vibe, I have decided to pre-empt my own feature and encourage YOU, dear reader, to go out and obtain a book for the sole purpose of destroying it.

Yep, you read that right.

This bibliophile highly suggests Keri Smith’s “Wreck This Journal" as an outstanding way to a. get out of your own head for a bit, b. open yourself up to new creative endeavors, and c. adjust your perspective on what art is, could be, and how it doesn’t have to be the least bit perfect, contrived, organized, or even very hygienic, for that matter. Consider it adult play therapy.

The pictures above are from my own journal (I chose the brown paper bag cover but there are several others available) and I have not, admittedly, completed it yet. I have, however, completed pages that have asked me to:

  • write my name six different ways,
  • poke holes in the page several times,
  • scratch a black page up with a sharp object,
  • make a tongue painting with colorful candy, 
  • write one word over and over,
  • collect grocery lists, and
  • doodle over text.

I have yet to bring the book into the shower or sew a page yet, nor have I felt comfortable leaving it somewhere public for others to draw in it. I haven’t yet summoned the courage to bury a page in my neighbor’s yard nor have I figured out a way to wear the journal. But this should give you a pretty good idea of the way the journal challenges you. It also asks you to deface a photo of yourself you don’t like, to journal what your inner critic tells you (I *really* like to confront this page), and to “lose a page” simply to confront the loss.

Keri Smith has other odd and intriguing books out and several are even designed with kids in mind—quite a few for girls, in fact. Teachers have reported using “Wreck This Journal” in the classroom to encourage creativity and courageousness in their students, which is pretty cool in my humble opinion. And, yes, it turns out there’s an app for it too.

You can even search Tumblr and find some really amazing “Wreck This Journal” creations via the book’s title hash tag. If you have one, we’d love to see some of YOUR pages!

Happy creating, friends.

~Marci aka Mamamusement

Please feel free to pass along YOUR favorite creative reads by tagging your posts #whatmykidisreadingwednesday to participate, #growinguplast if we can re-blog, or (even better) using the submit function to send your recommendations directly to the blog


The Deserters: The film’s strongest asset by far is Robert Pattinson. He takes the role of a mentally disabled man (which can so easily slip into offensive nonsense) and imbues it with physical subtlety and emotional complexity. He nails the character’s specificities and plays them in a way that never feels contrived.

You have to admire Pattinson’s willingness to take on roles like this in such tiny, offbeat films after having achieved such massive mainstream success. He’s a very talented actor who doesn’t get nearly enough credit for his abilities.

The same can’t be said for Guy Pearce, at least not in this role. If you’ve seen one “tortured grizzled white dude,” you’ve seen him in The Rover. The script’s refusal to flesh out his backstory is laudable, but it also doesn’t give Pearce much to work with. He sells the character’s barely-restrained rage and deeply buried sensitivity, but you’re left wishing that Pattinson was the protagonist.

Full review

oh my god i found the lulziest review of a lovecraft anthology ever written:

"If, when people speak of writing for the lowest common denominator, you are the person they’re writing for, or if your idea of great fiction is the stuff that appeals to your basest emotions of lust, blood and action in the most shallow, contrived, and superficial manner possible, then this book is not for you, unless of course you’re trying to atone for your literary sins. With the exception of "The Dunwich Horror" and "The Thing on the Doorstep", this collection of stories is among the greatest _literary_ outputs of horror fiction…Lovecraft has been called wordy, long, boring…but if you are truly an intelligent reader, you will, at the very least, realise that even if personally you don’t like Lovecraft, this volume is still something extremely special, and very rare in the modern era. Lovecraft writes leisurely at first, he builds up the atmosphere convincingly, establishes a sense of not just the surroundings, but of cosmic outerness, and then slowly, he begins to shatter the reader’s preconceptions about the nature of the universe, gradually building, actually describing and intimating the very nature and detail of the violation of natural law, until you can sense it, feel the cosmic forces pushing against you, and the final climax opens the gateway to the outer realms fully. Lovecraft does not write about people, and he does not write what was in his time pulp junk and which in our time is considered great writing; his task was to describe and reveal cosmic forces and outer hideousness, and his style reflects this, and fully complements his ideological position. If you find yourself best captivated by something deeper than Koontz or King, and are a sensitive mind, open to a world where anthropocentrism is dead and morality is a local phenomenon, where vast forces are depicted crushing down upon those who unwittingly have become aware of their presence….then this book is for you."


captain-rinsrins said:

Now, now, now I'm so frustrated. That hotel-bed thing! I understand that RinHaru shippers are pissing their pants and good for them. I have nothing against those moments since we have all kinds of shpping-moments in this show, like ReiGisa or SouRin but seriously. "We have a wrong kind of bed!" "Sorry, ALL other beds are taken." Best ship-moments are honest ones and that one is such a forced and cliched thing that it makes me want to pull my hair out.

Yeah, it was disgustingly contrived and forced and nothing even came of it. It’s the second-to-last episode. Rin awkwardly admits to not being interested in any girls. He then goes on to share a bed with Haru and have an intimate nighttime conversation with him. And it’s apparently not romantic or sexual at all. 

Which doesn’t seem realistic to me? It was hinted earlier that Rin isn’t interested in women, he admits that he admires and needs Haru, and then lies next to him and just is like BRUH. 

Why include all of this content if it doesn’t mean anything. It contributed nothing to the plot or to Haru’s decision. It didn’t develop their characters. It just made for a HAHA THAT’S GAY-ISH moment. Which I’m honestly fucking tired of. 

I don’t necessarily get why anyone would be excited about this scene. I personally feel cheated. It’s fanservice, meant to get people riled up and wanting more without giving any care for the characters’ desires. I don’t believe it for a second.

It’s homophobic.

pipistrellus said:


  • my “FOREVER” pairing: vicky hugh x x shakespeare
  • my “sometimes” pairing (if i’m in the mood): ghost courfeyrac/marius/cosette
  • my “friends-with-benefits” pairing: friends with spare mattresses
  • my “adele” pairing (“WE COULD HAVE HAD IT AAAAAALL”): eponine and cosette kind of. fantine/favourite. enjolras and patria??
  • my “hate sex” pairing: hahaha… i feel like this is the valvert slot without actually describing any of the weird contrived resentment and compassion cocktail that would have to go into them so much as shaking hands
  • my “working on it” pairing: “javert/valjean, fun dads au”
  • my favorite threesome / poly ship: i guess i blew my wad with Hot Ghost Courfeyrac…
  • my platonic “their friendship is too precious to mess it up with romance” ship: i… probably some extraction of the amis that i have since lost track of …
  • my “i love it but don’t want it to happen” pairing: enjolras/grantaire is sort of the definition of this, esp in fic
  • my “it started out crack but now it’s serious and i regret everything” pairing: i like that fanfic where grantaire resurrects enjolras post-barricades using time travel or whatever and it’s very intense and enjolras says, who’s kevin
  • my endgame pairing: “marius/cosette” both in the sense that i am a very literal person and because i genuinely enjoy their book five continued romance
  • my “across time and space they will always find each other” pairing: er…. valjean and javert. … ONCE AGAIN TRAGICALLY ONE-SIDED ……… across time and bread
  • my “settling for second choice” pairing: UH. JEEZ. I DON’T KNOW. COSETTE AND VALJEAN DAD QUADRANT
  • my “I don’t want to ship it but I do” pairing: cosette and valjean in the the-movie-made-this-open-shirt-scene-weird quadrant. NO. I RESISTED THAT LURE. i just couldn’t think of a joke here.

omg this script is so dumb like the guidelines are that it has to be at a bus station bench with 2 characters, one of the characters can only have one line and one of the characters has to have a backpack and pull a prop out at some point but the prop can’t be a weapon and like idk how to do that without making it sound really contrived like my first instinct is to make it funny but when i try to do that its really obvious i’m trying to make it funny and its just not and idk how i would go dramatic without it being like too much or even make sense 

hxuntcd, gospvl, hxlyshitx

discovering that your kids weren’t your creation after all daggers right through your cardiac organ and you’re just so lost. they were your home. your happiness. your world. your reason for living and your first pair of kids always being happy they were contrived by your semen. well, that’s the harsh slicing pain blade was surfacing and he couldn’t take the news as it weighed heavily on his shoulders. his caramel pools were dark as a sheet of tears rested over them. how could this happen to him? he was nothing but good to them. his quivering frame expeditiously strolled out of the large cubicle and immediately with the first wall his eyes spotted, fists were being thrown into the pigmented wood. that was until the CEO wound up around his presence and his heavy breathing hitched. 


but what if secret snugglebug enjolras

Watch on

RB 511 - The Big Gay Distraction Edit


edited to add: That’s really their only scene and how it ends. I’m not holding out anything, honest!

Listen, at it’s core, works because it’s fitting for Clara’s character. With someone else, it would have felt contrived, but with Clara, the examination of fear felt genuine. Because not only did it build on her previously shown ability to relate to children, but also on how she herself deals with fear. She was not merely parroting the Doctor’s words - it’s clear that these are her words. The words of someone who faced down the Old God, who confronted the Ice Warrior, who explored a haunted house… who held her ground against the Half-face Man with tears in her eyes. Clara knows, intimately, that fear doesn’t make you weak, that you can be strong with it. Because she herself is.

Fear can be a superpower. And Clara has it.


Walter Frier

Portrait of the Princess of Zanzibar with an African Attendant

Oil on Canvas

Scotland (Oterston-John Henderson)

18th Century reproduction of 17th Century Original

An inscription on the back reads:

John Henderson of Fordell Travelling in his youth thro Several parts of Asia and Africa from ye 1618 to ye 1628 was delivered unto Slavery by a Barbari Prince in Zanquebar on the Cost of Africa where a Princess of that Countrie contrived to the mians of both their Escape and getting aboard a ship trading up ye Red Sea landed and cam to Alexandrea where she died whose Picture Mr Henderson cauised take with her black Maid after their own country habit. From ye original picture at Oterston by W Frier, 1731.

[x] [x] [x]

The demise of Klaine had the best build-up and the best individual ideas. Since they’ve both been at the forefront of Season 4, we’ve seen Kurt and Blaine slowly drifting apart, and everything fell into place for a moving and honest break-up story. Blaine channeling all the conflicted emotions of cheating on someone you love into his “Teenage Dream” reprise was a poignant concept, moderately well executed. It was also smart to acknowledge that Blaine had been tempted before (by Sebastian) but it took crippling loneliness, not just lust, to make him unfaithful. And Chris Colfer’s portrayal of Kurt’s anger, betrayal, guilt and sadness stood out even in a generally well acted episode.

So why did this split feel so calculated? Aside from how ridiculous it was to see Kurt manning Isabelle’s phones (he couldn’t be busy in other ways?), I think this is the storyline that was hurt the most by being part of a larger “Break-Up” theme episode. Instead of Kurt and Blaine making their own painful choices, their decision was swept up in a cynical haze of “Everybody else is breaking up, so why shouldn’t we?” fever. For Kurt and Blaine’s sake, I wish “The Break Up” had been as tightly focused as Season 3’s “The First Time.” If this hour had stayed primarily in New York with Rachel, Kurt, Finn and a visiting Blaine, it might have played more genuine and less contrived.
—  HitFix review of 4.04, “The Break-up”