So Mad Max: Fury Road is a reboot of the Mad Max franchise of the good old days - Tina Turner in the Thunderdome, and all - starring Tom Hardy and Charlize Theron in a post-apocalyptic Australian hellscape home to family friendly places like the Bullet Farm. And, before it’s release, a bunch of Mens Rights Activists got really angry and said its destroying men’s self worth and they totally ruined the franchise and Mel Gibson’s cinematic legacy has been totally stomped on by the evil Feminist shadow cabal. So of course, I had to see it at some point.

And then the Feminist Frequency twitter account came out and declared that it’s not feminist, because it’s violent, and violence is apparently inherently masculine (MARGARET THATCHER. THE NIGHT WITCHES OF WORLD WAR 2. JOAN OF ARC. AYE I BE HERE ALL NIGHT.) and we’re bad people who need to redefine our values and stop supporting films that fetishize violence and the apocalypse, because we’re only allowed to enjoy fictional media that, well, I don’t really want to know. 

Then to make things worse, the white dude producer of Feminist Frequency, Jonathan McIntosh, self-proclaimed “Transformative Media Maker,” (used to be “Culture Hacker,” I’m not joking) declared that he has coined the term “Filmic dissonance,” applying the same logic being the comically overused and abused “Ludonarrative dissonance” from games criticism, arguing that because Fury Road has scenes of violence and the apocalypse in a compelling and entertaining fashion, it’s fetishing these bad things and conflicts with the film saying violence and the apocalypse is bad.

Also if you disagree with the intellectual powerhouses of Feminist Frequency you’re apparently “filmically illiterate,” and well, considering the century of film criticism, and the endless critics that know the art of cinema and how it works like the back of their hand, well - I don’t think I’ve ever seen someone’s half-baked attempts at being Man In Charge Of Feminism ripped to shreds so fast since the Hugo Schwyzer days of yonder. 

I’m not going to waste your time with extensive deconstructions of the plot and subtext when there’s far better posts about this out there than what I can write, and frankly, on that matter alone, it’s a pretty clear open and shut case of The Emperor McIntosh Has No Clothes, or more specifically, No Tools To Do The Work Of Comprehending The Complexities of Art. I mean, hell, you should have seen the guy try to declare Pacific Rim sexist and racist even after multiple extensive posts by women of color decrying the rather imperialist nature of a great deal of feminist critique surrounding the film.

There’s a few core takeaways from this whole shitshow, however, I feel need to be touched on and are getting lost in this entire digital kerfluffle - largely the fact that we live in a space where a white guy has the platform (the @femfreq account retweeted his spiel, none of the patient criticisms of their ludicrous tag team diatribe) and the following to think that he gets to decide what is or isn’t feminist based on an archaic and frankly quite condescending set of standards - instead of, you know, shutting up and listening to what actual women of all kinds have to say on the matter, and boosting their voices - which is what a man’s role in a feminist movement is. Not talking over women and telling them they’re fucking illiterate for not subscribing to your ideology - how in the hell is this the producer for one of the most mainstream feminist criticism series in the culture right now?

Just as important I strongly feel we need to take a stronger look at how we define a film as “feminist” (good) or “not feminist” (bad) and if that’s even an argument worth making on a website designed to push corporate advertisements with gamified mechanics and a 140 character limit that discourages context and patient, well-reasoned thought. Sure, if you sat down and thematically deconstructed Mad Max: Fury Road you could certainly make a well reasoned criticism challenging it’s feminist value, easily. Nobody’s denying that.

But this is Hollywood, damnit. Films like this - fresh, intense, heart-pumping, innovative, subversive, impactful, brutal genre fiction with an unyielding assault of visual storytelling and worldbuilding with almost entirely practical effects - don’t get to star women in these roles as action-capable hardasses. Off the top of my head the closest thing I can think of is Gina Carano in Haywire or the Judge Anderson character in the 2012 reboot Dredd - and neither of those films got the recognition or love Mad Max: Fury Road is getting right now. Tom Hardy’s role as Max could have been the star of the show and it still would have been a phenomenal film, but he tacks a back seat to Charlize Theron’s Furiosa and holy shit, does this do the film favors - and elevates it to the level of an instant classic. 

What else is there to say? It’s about a disabled female amputee with a prosthetic arm who refuses to let this get in the way of accomplishing her heroic goals against a fucking army of monstrous men headed by a terrifyingly scary tyrant. She runs the fucking gamut of challenges and obstacles, accomplishing a great deal - even convincing her male compatriot Max to stop wasting precious ammunition and let her use his body as an object to stable the final shot which saves the day.

This is the same Hollywood, mind you, where just this week Maggie Gyllenhall, a fantastic 37 year old actress was told she’s “too old” to be the romantic counterpart to a 55 year old male actor. The same Hollywood that permits Joss Whedon’s pseudo-feminist drivel, the same Hollywood that made a film out of abusive relationship fantasy 50 Shades of Grey. And this isn’t even beginning to detail the amount of shit Lexi Alexander (director of Green Street Hooligans, Punisher: War Zone) has brought to light on her Twitter account, @Lexialex - mainly the brutal lack of female directors in Hollywood today.

The fact that an instant fucking classic on the level of John Carpenter’s classics like They Live and The Thing, or Paul Verhoven’s Robocop and Starship Troopers, or the Battlestar Galactica reboot - stars a woman who goes above and beyond as a take-no-prisoners amputee hero who delivers a better spear than the vast majority of professional wrestlers working today - is a feminist work in and of itself by simply existing in a media environment so toxic and destructive. People are going to actually remember this film 20 and 30 years down the line, it goes so above and beyond it’s arguably fucking timeless.

And don’t even get me started on how much Fury Road’s very existence infuriates Men’s Rights Activists left and right. It pulls a brutal cinematic trick in its opening moments to shift the protagonist focus to Theron’s character and toss the rose-tinted nostalgia in a fucking bin, lights it on fire, then tosses it in a dumb hole so Fury Road can stand on its own two legs and define its own path, and apparently this is some sort of horrific, unspoken crime to take a classic and elevate it into the stratosphere.

Criticism that refuses to consider context will always find itself a home as entirely irrelevant and ineffective at contributing to a larger, more important conversation. And when we are reducing discourse to classifying something as feminist or not feminist as an indicator of cultural value, there is no constructive victory to be had.

Which frankly, is why there a lot of issue with the Feminist Frequency (mostly McIntosh’s authoritative drivel that comes off as Look At Me, Mr. Male Feminist Man, I’m Here To Save You) method of discourse. The larger goal of feminist media criticism is arguably to elevate women’s voices to be heard, just as prominent and effective as men’s - to have a full spectrum of female Roger Eberts all the way to female Armond Whites. It’s not to be an authority, and if that’s honestly your goal, being a man calling women “filmically illiterate” for disagreeing with you on issues directly affecting their lives is, well, a number of things: spineless, pathetic, cowardice, but mainly - a goddamn betrayal of the very ideals you claim to support, and to try and make up a term such as “filmic dissonance” when film criticism has been dealing with these sorts of issues a hell of a lot longer than the time it took for you to stick your thumb up your ass and pull that empty excuse for a thought out of it.

And frankly, you’re never going to see the duo ever come down and admit they might have gotten it wrong, or that they don’t have the critical toolset (as they’ve so clearly demonstrated) to approach anything beyond a basic 101-level understanding of feminism, or that feminism is a movement that involves the empowerment of women and if a great number of women are empowered by a film like Fury Road, that alone makes it a feminist work, regardless of your irrelevant inability to see the difference between enjoying violent art and enjoying violent acts in real life.

To close, let me just get this simple fact off my chest: none of us will ever get to have a name as cool as Imperator Furiosa, and this is a goddamn shame.

The opening scene of the Star Trek reboot where Thor gets destroyed by the Hulk’s ship still gives me chills.

Title: The Gold Motel: Broken

Summary:  Rumbelle AU inspired by the movie Psycho - Norman spends a bit of time with his new son and so does Robert. Belle makes the mistake of calling Dr. Hopper.

Rating: NC-17 (Smut)

Note: This shit is getting more intense and I like it. Please enjoy and happy reading.

Links to the full verse [ao3 link]

The Gold Motel: Reboot
The Gold Motel: part 2
The Gold Motel: part 3
The Gold Motel: Fatherhood
The Gold Motel: Soul Mates
The Gold Motel: Closet Skeletons
The Gold Motel: Awake

Belle Gold awakes the morning after one of the most emotional days of her life and finds her husband still fast asleep. She isn’t sure which man is laying next to her, but whoever awakes, she’s going to have a talk with them. She rolls out of bed, checks on the baby in the nursery and finds her sitting up. “Good morning, sweetie.” Belle paces to the crib and Baelee’s face lights up with the sight of her mother. “You look just as bright as the sun,” she coos at her daughter. Belle picks up the baby girl and holds on tightly to the only sanity in her life at the moment. She kisses her cheek and carries Baelee back to the bedroom. 

Belle enters the room she shares with her husband and finds him sitting up in the bed, almost the same way she found Baelee, but the look on Norman’s face isn’t as welcoming. “Norman?”

He doesn’t move an inch. He just stares at Belle as if he’s looking through her. His eyes are cold and glazed over, like the two personalities inside have left the body.

Belle has seen him this way before, but he hasn’t zoned out in the morning like this, ever since their first year together. “Norman?” She speaks his name again and stands by the bed. The first time she’s seen him in this state, she slapped him out of it, but this time, she isn’t sure if that’s such a good idea. Especially after hearing about the kind of childhood he lived, she doesn’t want Norman to ever be hit again. So sits on the edge of the bed and waits for him to come out of it.

Norman stares off into the void for nearly twenty minutes before coming back into reality. He takes a deep breath and blinks his eyes, looking around the room like he’s never been here before. His eyes fall on his beautiful family and they instantly fill with joy. It’s like the life inside returned to him. “Good morning, d-d-dearie.” He gives his wife a peck on the lips and takes Baelee from her arms. He acts as if nothing has happened.

Belle checks Norman’s body temperature by placing the back of her hand on his cheek. “How are you feeling?”

He moves away from her hand and buries his face in the baby’s warm neck, taking in her scent. He kisses his daughter and pretends like he’s biting her, making her giggle uncontrollably.


“What?” He looks up at her, a little annoyed that she took his attention.

“Are you feeling alright?”

“Yes, I’m f-f-fine. Why wouldn’t I be?” He goes back to playing with the baby.

“Because you’ve just been sitting there for nearly twenty minutes staring at me.”

“No I haven’t.”

“Yes you have. Why don’t you believe me?”

Norman looks away from her, takes in a deep breath and sighs out heavily. He licks his lips, kisses the crown of Baelee’s head and answers Belle’s question honestly. “It’s hard to b-b-believe someone that’s telling you something that you’ve done.” He cuts his eyes at Belle and stands from the bed. “After th-th-they’ve kept secrets of the things that you’ve d-d-done.”

“Norman, that isn’t fair.” She stands in front of him, angry at his words.

“Th-th-that’s just how I feel right now.”

“I apologized for that.”

“I know, b-b-but it just makes me wonder if you’ve d-d-done it before.”

Belle doesn’t say a word. She rather stay silent than to lie to him again.

Norman shakes his head at her and walks past.

“What was that for?” She quickly turns to him.

He stops in the doorway, but doesn’t face her. “Nothing,” he mumbles.

She has a feeling that he’s lying, but she chooses not to address it. “I’m going to call the doctor.”

“But I don’t want to talk to the doctor.”

She can’t see his face, but the tone in his voice and the loss of his stutter is telling her that he’s getting upset. “I think that you should talk to him.”

“What did I just say, Belle? P-p-please, just leave me alone about it.”

Belle’s heart drops to the pit of her stomach and a lonely tear falls from her face. “Alright, but where are you taking her?”

“I’m g-g-giving her a bath.”

“I gave her one last night.”

“I’m giving her another one.” He steps out of the room.

Keep reading

Of all the remakes, reboots and adaptations on the horizon, one that I was actually looking forward to was Stephen King’s It. The sole reason for that is because True Detective director Cary Fukunaga was at the helm.

Unfortunately, that’s no longer the case. Fukunaga has left the project after ongoing differences with New Line. He did not want to compromise his vision due to the studio’s budget cuts. The Wrap reports: 

Fukunaga repeatedly clashed with the studio and did not want to compromise his artistic vision in the wake of budget cuts that were recently demanded by New Line, which greenlit the first film at $30 million. The situation came to a head over Memorial Day weekend, leading to Fukunaga’s abrupt exit from the ambitious project.

“It” was originally set up at Warner Bros. before moving to New Line in recent weeks, which was one reason behind the unfortunate split. Shooting locations were another issue at the heart of the departure, with Fukunaga expressing a strong desire to film in New York, which is more expensive than other locales. Another source indicated that New Line was getting cold feet about the project in the wake of the less-than-stellar opening of “Poltergeist,” which featured a clown in its marketing materials.

Keep reading

So I know a guy from Mattel and he told me they’re turning all of the MH characters into monster ponies to compete with the success of MLP, not sure when this will happen but it’ll probably be in the next few years or so!

See how easy it is to come in the tag and say something ridiculous like that? Try not to worry about this sudden reboot rumor, there’s no proof of this at all and it just makes zero sense.

[Fatal Error has occured]

[Code: B.O.O.M - H.I.A.T.U.S]

[Attempt to reboot system?]


[Saving data…]

[Eating evil ham…]

[Reviving Tails…]

[Checking follower count…]


[Organizing post tags…]

[Adding sidebar buttons…]

[Adjusting banner…]

[Restoring data…]


[Restoration is complete. Sonic-Nyoom.exe has been rebooted.]


Hey there guys!

I’ve been mulling over this for a few weeks and I’ve finally decided this weekend that I’m going to give Tiff a reboot. When I first joined the Bossville RP community I threw my newest Boss who I knew the least about, Tiff, in just for fun. That… Was probably a mistake. I know so much more about her now and have developed her so much further than I had when I first started over a year ago. Yeah, it’s actually been that long. That, and I’ve really been slacking off with logging on her account daily and keeping RPs going. I really only ever logged on when I had art of her to post. I miss actually being able to RP.

So, along with this reboot, I’m going to really work towards getting on Tiff’s account more often and keeping up with my RPs.

With this reboot, there are a few changes for Tiff and her background as I’ve been developing both Tiff and the Sochai.

First, in the reboot both Tiff and Vaughn survived the escape from their home planet to Earth. The Zin still attacked and destroyed their home, literally the only difference is that both Tiff and Vaughn made it to Earth.

This is probably the biggest difference in the reboot. Both siblings went through the games together. I will have a longer write-up on exactly what happened for the two of them that I will post as a page for easy viewing on this blog.

This blog is going to be just for Tiff, for now. I want to make sure I can handle keeping up with one little active alien before burdening myself with two. The explanation for just Tiff being around is that they haven’t found Vaughn yet. They know that Zinyak abducted him on Earth, but he was placed in a separate pod from Tiff, probably for the exact reason of being harder to find. Kinzie has an algorithm running, but it’s mostly geared towards humans and has been adjusted to find something with DNA similar to Tiff’s. Sadly, that throws a lot of false positives.

Important stuff! Tiff is going to be completely rebooted, as in just found a rift that leads to Bossville. She will not remember anyone she has had past encounters with. HOWEVER, if you would like your Boss to remember her, that’s totally cool! If you want, you can either message me here or on my Steam/Skype if you have it and we can talk about how the old Tiff got replaced by the new Tiff. If you just want to do something generic, it was probably caused by the rifts. My favorite little loophole. I’m also willing to RP this scenario if you’d like.


Tiff is getting rebooted, any RP beyond this point is from a new Tiff standpoint. Your Boss can still know her as she was or not, it is your decision.