1985 1995


Wilma Pearl Mankiller was the first female chief of the Cherokee Nation. A liberal member of the Democratic Party, she served as principal chief for ten years from 1985 to 1995. She is the author of a national-bestselling autobiography, Mankiller: A Chief and Her People and co-authored Every Day Is a Good Day: Reflections by Contemporary Indigenous Women.

Mankiller’s administration founded the Cherokee Nation Community Development Department and saw a population increase of Cherokee Nation citizens from 55,000 to 156,000


WoT’s Cinephilia #33

I saw that some people didn’t understand why or how The Babadook is being considered a gay icon now. It’s simply a joke that all started with Netflix accidentally categorizing the movie in their gay and lesbian section. Even still, I decided to expand a bit upon my writing from the last page, explaining why I still think he serves a a great inspiration to people, gay or straight really.

I fully welcome The Babadook as an icon.

Also, this was an incredible fun, but tedious, page to do. I won’t look forward to drawing quite this many characters on a single page for awhile, but I had a blast choosing a range of characters and creating, hopefully successful, caricatures of them. I’d be impressed if you can name all of the characters without looking them up.

©2017 William O. Tyler


“We are all aware of time passing and us not being aware of it while it’s passing.”

Nicholas Nixon

▫️Photo ©Nicholas Nixon - The Brown sisters, 1975, 1980, 1985, 1990, 1995, 2000, 2005, 2010 and 2016.▫️

Over a period of 40 years Nicholas Nixon has taken a portrait of his wife Bebe and her three sisters, the only constants being the order in which they appear left to right and the size of the negative.
On the first photo, taken in 1975, left to right, the sisters were twenty-three (Heather), fifteen (Mimi), twenty-five (Bebe) and twenty-one (Laurie).


Fanart stickers of cartoon cats and their process.

Бременские музыканты - Los músicos de Bremen - The Bremen Town Musicians (Inessa Kovalevskaya, 1969). Soviet Union (Russia).

Jeśli ujrzysz kota fruwającego po niebie... - Si ves un gato volando por los cielos - If you see a cat flying in the sky (Daniel Szczechura, 1971). Poland.

Aeg maha - Tiempo fuera - Time out (Priit Pärn, 1985). Soviet Union (Estonia).

Macskafogó - Atrapagatos - Cat city (Béla Ternovszky, 1986). Hungary.

Fantadroms (Janis Rubenis, Aivars Rušmanis, 1985-1995). Latvia.

Malování pro kočku - Pintura para gatos - Painting for Cats (Břetislav Pojar, 1960). Czechoslovakia.

Here be a small list of pirate movies that ARENT PotC
  • Pirates (1986)
  • Captain Blood (1935)
  • Captain Kidd (1945)
  • Treasure Planet (2002)
  • Sinbad: Legend of the Seven Seas (2003)
  • The Goonies (1985)
  • Cutthroat Island (1995)
  • The Pirates (2014)
  • The Island (1980)
  • Jolly Roger: Massacre at Cutters Cove (2005)

I don’t dislike PotC but they be not the only movies about pirates our there. they are, however the only pirate movies doing really well AND pirates arent whats “in” rn. 

MOVIES I LOVE  (in no particular order)

1. Inglourious Basterds (2009)

2. Fight Club (1999)

3. The Social Network (2010)

4. Eternal Sunshine of the Spotless Mind (2004)

5. (500) Days of Summer (2009)

6. Dead Poets Society (1989)

7. American Beauty (1999)

8. American History X (1998)

9. Heathers (1988)

10. The Sixth Sense (1999)

11. 10 Things I Hate About You (1999)

12. Ferris Beuller’s Day Off (1986)

13. Pulp Fiction (1994)

14. Grease (1978)

15. Dirty Dancing (1987)

16. The Breakfast Club (1985)

17. Clueless (1995)

18. Donnie Darko (2001)

19. Juno (2007)

20. Shutter Island (2010)

21. What’s Eating Gilbert Grape (1993)

22. Little Miss Sunshine (2006)

23. Whiplash (2014)

24. Sing Street (2016)

25. Inception (2010)

26. The Shawshank Redemption (1994)

27. A Nightmare on Elm Street (1984)

28. Girl, Interrupted (1999)

29. Memento (2000)

30. Se7en (Seven) (1995)

31. American Psycho (2000)

32. Love Rosie (2014)

33. The Wolf of Wall Street (2013)

34. Bee Movie (2007)

35. The Basketball Diaries (1995)

36. Gone Girl (2014)

37. Zootopia (Zootropolis) (2016)

38. The Silence of the Lambs (1991)

39. Love Actually (2003)

40. Boyhood (2014)

41. Ratatouille (2007)

42. Brokeback Mountain (2005)

43. Romeo + Juliet (1996)

44. Coraline (2009)

45. Room (2015)

46. Nerve (2016)

47. High School Musical (2006)

48. High School Musical 2 (2007)

49. High School Musical 3: Senior Year (2008)

50. The Lovely Bones (2009)

51. The Nightmare Before Christmas (1993)

52. Life of Pi (2012)

53. Misery (1990)

54. The Parent Trap (1998)

55. Requiem for a Dream (2000)

56. Source Code (2011)

57. Back to the Future (1985)

58. Back to the Future Part II (1989)

59. Easy A (2010)

60. Groundhog Day (1993)

61. Mean Girls (2004)

62. Home Alone 2: Lost in New York (1992)

63. E.T. the Extra-Terrestrial (1982)

64. Camp Rock (2008)

65. Camp Rock 2: The Final Jam (2010)

66. The Virgin Suicides (1999)

67. Black Swan (2010)

68. WALL-E (2008)

69. The Neon Demon (2016)

70. Mickey’s Twice Upon a Christmas (2004)

71. Good Will Hunting (1997)

72. Trainspotting (1996)

73. Legally Blonde (2001)

74. The Lobster (2015)

75. Mamma Mia! (2008)

76. We Need to Talk About Kevin (2011)

77. The Truman Show (1998)

78. The Perks of Being a Wallflower (2012)

79. Goodfellas (1990)

80. Django Unchained (2012)

81. Matilda (1996)

82. Titanic (1997)

83. Half Nelson (2006)

84. 10 Cloverfield Lane (2016)

85. Hairspray (2007)

86. Zodiac (2007)

87. La La Land (2016)

88. Fantastic Mr. Fox (2009)

89. Me and Earl and the Dying Girl (2015)

90. Lars and the Real Girl (2007)

91. Ocean’s Eleven (2001)

92. Nightcrawler (2014)

93. Unbroken (2014)

94. The Shining (1980)

95. The Love Witch (2016)

96. Elle (2016)

97. Manchester by the Sea (2016)

98. Hidden Figures (2016)

99. The Help (2011)

100. Moonlight (2016)

101. Arrival (2016)

102. John Wick (2014)

103. Nocturnal Animals (2016)

104. The Edge of Seventeen (2016)

105. Beyoncé: Lemonade (2016)

106. Blue Valentine (2010)

107. Drive (2011)

108. The Nice Guys (2016)

109. 127 Hours (2010)

110. Straight Outta Compton (2015)

111. Spotlight (2015)

112. A Clockwork Orange (1971)

113. Scott Pilgrim vs. the World (2010)

114.The Secret Life of Walter Mitty (2013)

115. The Conjuring 2 (2016)

116. About a Girl (2014)

117. Jackie Brown (1997)

118. Kill Bill Volume 1 (2003)

119. Logan (2017)

120. The Great Gatsby (2013)

121. The Girl on the Train (2016)

122. Get Out (2017)

123. One Flew Over the Cuckoo’s Nest (1975)

124. Paterson (2016)

125. The Graduate (1967)

126. The Sapphires (2012)

127. Brooklyn (2015)

128. Monsters University (2013)

129. Snowden (2016)

130. 2001: A Space Odyssey (1968)

131. Willy Wonka & the Chocolate Factory (1971)

132. The Pursuit of Happyness (2006)

133. Jumanji (1995)

134. Kill Bill: Volume 2 (2004)

135. The Bling Ring (2013)

136. Catch Me If You Can (2002)

137. Enchanted (2007)

138. A Single Man (2009)

139. Bridget Jones’s Diary (2001)

140. Kingsman: The Secret Service (2014)

141. Heavenly Creatures (1994)

142. Alien (1979)

143. Aliens (1986)

144. Shame (2011)

145. Birdman or (The Unexpected Virtue of Ignorance) (2014)

146. There Will Be Blood (2007)

147. The Babadook (2014)

148. Donnie Brasco (1997)

149. Okja (2017)

150. It Follows (2014)

151. Ex Machina (2015)

152. Submarine (2010)

Robbie: “Have you got any Tattoos, Mads?”

Mads: “Don’t have any, No. I always wanted some. I wanted some of, uhh, ‘Calvin and Hobbes’ - I don’t know why.”

Calvin and Hobbes: The daily comic strip by American cartoonist Bill Watterson that was syndicated from November 18, 1985 to December 31, 1995.

Mads Mikkelsen during the Marc O'Polo Facebook Livestream with Host Markus Kavka (DJ/MTV Legend), Robbie Williams (British Singer/Songwriter) with wife Ayda Field-Williams (American Actress) and their dog Mr. Showbiz for the MARC O'POLO Launch of the Special 50th Anniversary Sweatshirt Edition on July 6, 2017 at the MARC O'POLO Flagship Store in the Theatinerstrasse in Munich, Germany.



Autumn In Film Pt. 2 

The Lovely Bones (2009)

Marie Antoinette (2006)

Big Daddy (1999)

Tommy Boy (1995)

Sleepy Hollow (1999)

The Goonies (1985)

Home for the Holidays (1995)

Across the Universe (2007)

anonymous asked:

13 Reasons Why has faced a lot of criticism for telling the story of a teenage girl via a white male author, but Why We Broke Up is also the story of a teenage girl told via a white male author. I was wondering if there is a difference between the way these two narratives are handled that makes Why We Broke Up a positive book for young girls, but makes 13RW a damaging one?

Ooh, that’s a good question. (Was this because of my MFA thesis that dealt with WWBU, or just because I post a lot about liking that book?)

A/N: When I say “The Other” here, I literally mean “writing any perspective that is other than the writer’s own identity. When I write a bisexual character or a heterosexual character, that is me writing The Other. Women who write slash, for example, are inherently writing The Other. ANY white author writing a character of color is writing The Other. Able-bodied authors writing disabled characters are The Other. Skinny/non-fat authors writing fat protagonists is The Other, and one that is done poorly… a lot… in both YA and adult chick lit. Etc. This DOES NOT PERTAIN TO “well, my protagonist is a vampire, so CLEARLY they’re The Other,” because a) duh, and b) the paranormal is always an allegory and the sooner you get that, the better your writing will be, etc. For more on the terminology of Writing The Other, see http://writingtheother.com/

In fact, at least look at their Resources page regardless of who or what you write or read, in general.

So. Off the top of my head, to me, there are three main things that differentiate a Problematic Book About The Other from a Book About The Other That Was Done Respectfully, which both 13RW and WWBU are.

1) Does the author recognize their privilege with respect to the protagonist and subvert it with intention?

2) Does the author recognize the limits of their empathetic imagination and likewise limit their book’s scope in an effort to reduce harm?

3) Does the author recognize that their privilege does not give them the right to create/perform a narrative identity for the purpose of teaching the Other how to be/perform that identity?

Or more simply: do they recognize that their perspective is inherently different from their protagonist’s and allow for that difference in the actual craft of the writing, do they recognize their limitations when it comes to necessary gravities and empathetic imagination, and are they respectful of their character or trying to use their character as a megaphone?

In the case of WWBU and 13RW, I think WWBU comes out ahead on all three points, but #2 is the most important/biggest sticking point here.

Why We Broke Up is a story with a metric fuckton less gravity than 13 Reasons Why. Handler made the smart choice here. If you are going to write a story about any of the topics in 13RW on its own – let alone all smooshed together into one story – then it needs to be given the gravity of its full weight. An adult man writing about a teenage girl’s suicidal ideation is never going to accurately depict that experience because… honestly?

No person writing about someone else’s suicidal ideation is going to accurately depict that experience. ESPECIALLY ESPECIALLY ESPECIALLY so if you do not understand the perspectives that inform it and are informed by it. Even though I am a queer Jewish girl, I would never, never, never think that I had the right to write about a suicidal queer Christian girl. I do not understand how that feels. I do not understand the role of the church and the weight of Christianity in that identity. Even if I can imagine it, and I can put myself in those shoes with research, and I interview people who’ve been there and I read every memoir I can on the topic and immerse myself in going to church for a few weeks to be able to depict the setting and the flavor… the gravity of that perspective is just too heavy.

What do I mean by that?

I mean that the combination of those identities, together, and the stakes of the plotline – of the choices – are too fraught. They are life or death. If you’re writing The Other, and the “life or death” stakes AREN’T like, a “whoa is this minotaur going to maul us if I don’t swing this mysterious sword I inherited?” kind of thing, you are much, much more likely to fuck up. It’s not your story to tell. If those identities in themselves are what create the Life Or Death stakes, and you don’t share those identities, you just aren’t gonna get it right. Like. You’re just not.

The stakes in WWBU are… more or less nonexistent. Which I mean as a compliment! WWBU is a character study, and the character in question has an admittedly charmed life for a Jewish teenage girl. The worst things that happen to her in the book are consensual, if regrettable and regretted, sex – which I honestly which showed up more in YA, because lbr teenage sex is Not Good – and being cheated on. No one is going to die. No matter what Min chooses, no matter how Min reacts, no matter where Min is, no matter who Min talks to, no matter Why They Broke Up, everyone in the story is going to live. Handler is able to exercise his empathetic imagination fully, immersing himself in Min’s perspective of the world, because that is the whole story. The whole story is “what is Min’s perspective on why she and Ed Slaterton broke up.” That, in itself, is a challenge for an adult male writer to manage respectfully, and I think Handler recognized that when he chose not to pile on a bunch of extraneous Issues.

Which is Point #3. I have to preface here:

I fuckin’ hate Issue Books.

And I fuckin’ hate them because almost without exception, they’re really, really bad.

And they’re really, really bad because 99.9% of the time, Issue Books are borne of adults going, “I want to teach teens a thing. Those whippersnappers are gonna get off my lawn with their FEELINGS and their NOT UNDERSTANDING THINGS FROM AN ADULT PERSPECTIVE. Myah!”

Fuck that shit. It’s so 1985.

And also 1995.

And like. Okay, for a LONG time, like up until the late ‘90s/early 2000s, Issue Books were basically ~the point of YA, as far as the industry was concerned. Teens R Dum N Adults Teach Them That If You Drink And Drive You Will Have Sex And Die. Or something. Also that one joint is the equivalent of 9000 crack rocks.

I digress.

The point here is, there intrinsic problems with Issue Books like 13RW, and they all boil down to the characters not being characters. Instead, they are Ideas. (And not in an F. Scott Fitzgerald Daisy-is-the-unattainable-green-light way.)

You cannot write a meaningful, engaging book without characters. You can’t! You literally cannot. This is a thing that Laura Ruby was really strict about when I worked with her. Even if you know that your story is About More Than It Seems, with regard to allegories to the patriarchy and heavy themes and gravity and shit, your characters have to be characters. And if all they exist to do is teach the reader something? They don’t have the latitude for that.

Every character, every scene, every “reason why” is meant to be instructional. And for the era that the book came out – 2006 – that totally makes sense! That’s basically how YA that wasn’t about vampires WORKED in 2006! But that. Um. Isn’t.



The framework of 13RW – an adult male author using the violation and death of a teenage girl to teach a teenage boy, and ostensibly the female reader through that male main character, a lesson – is… icky. Especially when the mission is accomplished by a) repeatedly violating said female protagonist, which I understand is both unfortunately realistic and also given its due consequence via her suicide, but also b) by showing how that consequence affects a male character.



“Now, V,” you say, “Did Min not write her whole letter to Ed in the hopes that he will change?”

“Perhaps,” I say, “But we never have to give a shit about Ed Slaterton’s future. We never have to give a shit about Ed Slaterton’s feelings. He doesn’t matter in the novel [Min’s letter] and – the whole resolution of the story is that he doesn’t matter to Min.”

Min’s only suffering – her pain at being cheated on – changed her. And only her. And in the scope of suffering, between Hannah’s and Min’s, they’re incomparable. Genuinely, their suffering is incomparable. Compared to Hannah, calling Min’s pain “suffering” feels flippant and gross to me. Min is hurt. Hannah is destroyed. Literally.

Which is kind of a big, and important, difference on its own between these two books. One male author created his female protagonist to exist, and to grow, and to thrive. IF Ed Slaterton has to be considered, as the recipient of the novel of a letter – even then, Min doesn’t exist to teach him a lesson. Min exists to teach herself a lesson and then go, “And fuck you, Ed, boy bye.” Why We Broke Up is squarely, intensely, almost redundantly about Min. It is Min’s story.

The other created a female protagonist to be raped, and demeaned, and to die. To teach a boy a lesson. The book isn’t about Hannah. It’s about Clay. It’s Hannah’s story, but it’s about Clay. Which… casts Hannah’s entire life, her entire existence, as having been… about Clay. She existed so that Clay could learn a thing. And that’s bullshit.

(And this is long enough, so, for why I think Handler succeeded at point #1 – writing Min as a genuine character he respected and subverted his own privilege in POV to allow her to be a realistic and empathetically crafted teenage girl – read said thesis.

It’s even longer.



July 5, 2017 … Bill Watterson is 59 … born July 5, 1958

Wikipedia:  William Boyd “Bill” Watterson II is an American cartoonist and the author of the comic strip Calvin and Hobbes, which was syndicated from 1985 to 1995.

Watterson stopped drawing Calvin and Hobbes at the end of 1995 with a short statement to newspaper editors and his readers that he felt he had achieved all he could in the medium.  He is known for his negative views on licensing and comic syndication, his efforts to expand and elevate the newspaper comic as an art-form, and his move back into private life after he stopped drawing the strip.

Watterson was born in Washington, D.C. and grew up in Chagrin Falls, Ohio, whose suburban Midwestern United States setting was part of the inspiration for Calvin and Hobbes.

On This Day: June 6
  • 1829: Shanawdithit, last known survivor of Beothuk people, dies from tuberculosis after her capture by Newfoundland traders in 1823.
  • 1832: The “June Rebellion” against the French Monarchy is put down by the National Guard, depicted in Victor Hugo’s Les Misérables.
  • 1897: Anarcho-syndicalist militant Arnaldo Simões Januário born in Portugal. He was arrested and sent to various concentration camps (Angola, the Azores, Cap Verde and Timor).
  • 1903: Luigi Galleani’s journal Cronaca Sovversiva founded, in Vermont.
  • 1905: Dr Nanayakkarapathirage Perera born in Columbo. He was leader of the Sri Lankan Lanka Sama Samaja Party & first Trotskyist to be a cabinet minister.
  • 1909: Emilie Lamotte dies in Alès, France. She was a lecturer and anarchist pedagogue.
  • 1911: The Mexican government requests and receives US permission to send troops from Chihuahua to Baja California through US territory to invade autonomous communities founded by Mexican anarchist insurgents.
  • 1937: General strike in Lansing, Michigan by 12,000 autoworkers and others shuts down city for a month. Now known locally as the city’s “Labor Holiday”.
  • 1943: Pandelis Pouliopoulos and 105 other political prisoners are shot dead by Italian fascists in occupied Larisa, Greece.
  • 1949: George Orwell’s 1984 published.
  • 1961: Military junta takes over South Korea.
  • 1973: CUPE 3902 is formed at the University of Toronto. It was the first graduate employee union to receive certification by a Labour Relations Board in North America.
  • 1982: Anarchist Kenneth Rexroth dies in Montecito, California. He was a Poet, Buddhist, semi-Beatnik, and translator.
  • 1982: A anti-nuclear rally at the Rose Bowl in Pasadena draws 85,000 to listen to Joan Baez, Bob Dylan, Jackson Browne and more.
  • 1988: Maria Alyokhina born in Moscow. She is a musician in anti-Putin group Pussy Riot, and Russian political activist.
  • 1988: 2 million workers launch general strike in South Africa over measures taken by the state to quell anti-apartheid opposition.
  • 1989: Funeral of Hortensia Torres, Spanish militant anarchist, in Toulouse.
  • 1989: Citizens vote to shut down Rancho Seco nuclear plant in Sacramento after near-meltdown in 1985.
  • 1995: End of blockade by First Nation members of Douglas Lake Ranch after British Columbia government agrees to discuss native fishing rights.
  • 2000: Brazilian rancher Jeronimo Alves Amorim gets19 years for ordering murder of union leader Expedito Ribeiro de Souza.
  • 2003: British trade unionist Thomas Jackson dies. He was General-Secretary of the Postal Union, and led 200,000 in first national postal strike in 1971.
  • 2013: Hundreds of local people join vigil against racism after far-right burn down north London mosque.

After the end of filming, River was upset to have to say good-bye to his costars. “River was weeping and crying when Ethan got the bus to leave to go home to New Jersey,” remembers Dante. “He was brokenhearted. River was from a very tight-knit family, and I don’t think it was that simple for him to transfer his affections from one place to another. I think he genuinely felt liked in this group, and now it was all ending.” 

(cosmopolitan, 1995)


Disney Ladies in their Hogwarts Houses (as voted by my followers): Gryffindor

Keep in mind that this is entirely subjective, and many of these ladies display traits from other houses, but I limited it to one house to keep it simple. I apologize if your fave isn’t included, and if you’re curious about the results/reasoning behind some of these choices, take a look at the poll results post. 

“You might belong in Gryffindor,
Where dwell the brave at heart,
Their daring, nerve and chivalry
Set Gryffindors apart”