co miller :)

  • you: mary's death is important!!! it is important so sherlock stops being arrogant!! and it is important the show has conflict!!! john and sherlock need conflict or the show is stagnant!!!!
  • me, an intellectual: in episode 5.8 of elementary, Jonny Lee Miller's Sherlock Holmes decides that he is far too clever to continue attending recovery meetings. Joan "played by Lucy Lui whose character is not a cheating hypocritical white male" Watson points out to Sherlock that addicts who continue going to meetings maintain their recovery better than those who don't. After some crime solving and self reflection, Sherlock takes Joan's advice and returns to regularly attending meetings wherein he acknowledges his arrogance and starts on the path of unlearning his arrogance. This happens as a result of mutual honesty and respect between him and his best friend/equal partner Joan "played by Lucy Lui whose character is not a cheating hypocritical white male" Watson and Sherlock's disposition for self-reflection and the best part??????? No women were killed to make male characters more interesting because Elementary is not written by misogynistic wankers who openly admit to not reading valid critiques of their show, but is written by decent humans that care about their audience AND the sensitivity of their content.
  • P.S. If you are anti!elementary, or a tjlc person pretending your fetishistic misogyny is lgbt representation, this post is not for you so please kindly don't interact with it.

Olivette Miller, celebrated “swing” harpist of the 1940s, was born 101 years ago today (February 2, 1914) in Illinois. Here parents were Bessie Oliver Miller, a 1900’s chorus girl and the venerable actor, comedian, writer and producer Flournoy Miller, who co-wrote and produced the groundbreaking Broadway musical “Shuffle Along.” Raised on Harlem’s famous Striver’s Row, Ms. Miller graduated from East Greenwich Academy, a private Methodist boarding school in Rhode Island in 1931, and went on to study music in Paris and at Juilliard. She originally planned to play concert halls but after being “bitten by the night club bug” she turned to more popular music. Ms. Miller’s stunning beauty and colorful love-life kept her in the newspapers almost as much as her performances around the country and the world. She performed with both Lena Horne and a young not-yet-a-superstar Dorothy Dandridge in the 1940s, top notch night clubs in Hollywood, Chicago and New York, and made a few appearances on “The Ed Sullivan Show” in the 1960s. I’m still trying to pin it down, but by my count, she was married at least six times. The Chicago Defender reported her impending divorce from her first husband, Channing Price in November 1934 and in October 1939, the New York Amsterdam News reported that Ms. Miller, who had married a musician named Oett Mallard two years earlier, gave birth to their son, Alvin Miller Mallard, on October 1, 1939 in Denver, Colorado. She was married to the dancer Freddie Gordon in the 1940s and in the 1950s to the comedian Bert Gibson and performed and toured with him across the country. In the 1970s, when she sued Flip Wilson for copyright infringement over a sketch he did on his show that Ms. Miller claimed was lifted from her father’s work in “Shuffle Along,” her name ws Olivette Miller Darby. By the early 1990s, she had a bit part as a maid in the film “A Rage in Harlem” and was billed as Olivette Miller Briggs, due to her marriage to the dancer Bunny Briggs. Ms. Miller died on April 27, 2003 at the age of 89. Photo: Schomburg Center for Research in Black Culture, New York Public Library.

Film-maker, Barry Avrich, of the documentary “Unauthorized: The Harvey Weinstein Project,” claims Harey Weinstein tried to sabotage the film. The documentary was bought by IFC Films, and at the request of Harvey Weinstein, they wanted Avrichr to cut a scene where “Factory Girl” director George Hickenlooper (1963 - 2010) describes being almost fired by Harvey Weinstein for not reshooting a sex scene between Sienna Miller and Hayden Christensen for ‘Factory Girl.’

(Hickenlooper recalled Harvey Weinstein helping direct a sex scene between Hayden Christensen and Sienna Miller, telling Christensen, “You’re going to hump her and hump her and hump her and hump her, and then you’re going to flip her over and do her the other way. Then she’s going to get on top of you, and then there’s going to be a tear running down her cheek, and the whole audience is going to tear up with her. That’s how it’s going to be done.”) [Note: George Hickenlooper passed away on October 29, 2010, “Unauthorized: The Harvey Weinstein Project” was released in February of 2011.]

When Avrich asked Jonathan Sehring, president of IFC Entertainment, why Weinstein has this type of power, he replied, “IFC does business with Harvey. We buy his films.” In order to appease the beast, Avrich edited down the six humps (as described by Hickenlooper) to four humps.

[Note: The Weinstein Co. denies this, producing separate statements from Christensen (“Harvey and I never had the conversation as described in the unauthorized book. It’s absurd and sensationalized. It also would have been very easy for the author to validate said info by checking with me but that never happened”) and Miller (“I can attest that Harvey’s contributions to the film and its artists were all of a positive, collaborative and incredibly constructive nature”), as well as Weinstein Co. COO David Glasser, who says in a lengthy statement: “Sadly this story is sour grapes from George Hickenlooper regarding a film that was admittedly a tough shoot. Guy Pearce and Sienna Miller had strong suggestions for the film and Harvey empowered them to improvise during the shoot. They made a movie that was in great shape better. Unfortunately, George was angry with Harvey and they weren’t able to resolve their difference before he passed away. As far as the documentary, Harvey thinks Barry Avrich is a great filmmaker and tremendous writer and is impressed with this depiction. However, as much as Harvey wishes he could live up to Barry’s image, he is basically a nerd who reads three books a week and watches way too many black-and-white films. Mr. Avrich essentially makes Harvey’s Clark Kent look like Superman.”]

Read more about this documentary at “A Filmmaker’s Saga: Harvey Weinstein’s Outrageous Battle to Sabotage My Movie About Him - The Hollywood Reporter”

Yesterday, I was talking with a friend of a friend about movies. We clearly have a similar way of consuming media, though come to very different conclusions. I’d asked her if she’d seen Wonder Woman and how I’d loved it (very mild WW spoilers ahead), and she said she had. She said she enjoyed it, but there was a lot that bothered her about the movie. Her primary complaints seemed to be that Diana wasn’t assertive enough, that her established book-smart knowledge wasn’t seemingly/realistically applied to the world around her, and that Steve had a bigger arc than necessary—one scene dedicated to him going so far as him telling Diana to stay back so as not to distract the mission, and when she shows up anyway, he is promptly distracted by her and screws up his gamble at the time. Women = distraction essentially. 

I conceded on some parts, but couldn’t on all. What I felt she was saying to me, essentially, was that the movie didn’t properly center on Diana and wasn’t quite feminist enough. 

So I switched to Mad Max Fury Road, because there’s a movie that didn’t pull it’s punches in female assertiveness and focus. To which she said she wasn’t that impressed with it because it was too in-your-face about it’s feminist message. I was, unsurprisingly, baffled that this was what caused her to feel ‘meh’ about the movie. 

I explained that it’s not pulling it’s punches is precisely why I loved it so much. She said that it wasn’t helpful. It would just mean that people would plug their ears and refuse to listen to the message of the story. 

And I got caught on how weird it was that she wanted Diana to take space in a room full of men despite their making it obvious she didn’t belong there without first even addressing why she should want to take up space, but find it too aggressive for women to flee sexual abuse even if it meant extreme violence. (i.e. Wonder Woman not being feminist enough but Mad Max being too feminist?)

But when it comes down to it, the thing that frustrates me the most is that the worthiness of, at least, Fury Road, seemed to come down to the ways in which it does and doesn’t cater to sexists and bigots. 

I was the intended target of Mad Max Fury Road. Feminists were the audience Miller & Co decided to make comfortable when writing; this message was saying we are worthy of fighting for and making a story around. And the implication that a movie is lacking because it chose not to cater to sexists and bigots really has me fuming. 

I did tell her at one point that this line of thinking felt a lot like tone policing and how I’ve wasted away enough hours of my life trying to politely take these people by the hand and explain things to them, and how it hasn’t worked. And if that’s not going to work, why should I cater to them in that way over and over again? I don’t. I shut them out of my life. I told her that I’ve reached a point where I believe these people should be socially ostracized if they won’t see women as equal to men—see them as deserving of being dismissed (Diana) and deserving of being enslaved (Fury Road). 

And while I couldn’t articulate it then, part of this frustration too is the idea that we should cater our messages/stories to anyone who can’t watch Fury Road without plugging their ears rather than see women who refuse to be sex slaves.
Part of why Fury Road got away with the things it did was because it took everything to an extreme and played with it all on a grand scale. So I literally don’t give a single shit for anyone who watches that movie and ignores the message because the women refused to be kept as sex slaves. 

And honestly, I only think people who are past the point of return on that are going to dislike Fury Road for that reason explicitly. Less sexist people are going to dislike the movie because Max only barely has more lines than Furiosa. Everyone I know who disliked it did so because Max got captured ‘so easily’ and was (in my own terms not theirs) stripped of his agency (sucks doesn’t it??) for the first quarter of the movie. Or because the Interceptor didn’t play a big enough role. None of them shut off/left the movie because women demanded space and freedom loudly and without room for argument. 

But if anyone Does cite Furiosa’s determination, leadership, or the women fleeing Joe as their reason for dismissing the movie, they are NOT WORTH YOUR TIME. 

And frankly, what DOES it say about how much we value women, when movies made about and for them are dismissed even by feminists as not catering enough to sexists and bigots? That might not be fair, as she never even used the word ‘catering,’ but I can’t see any other way she was approaching this critique other than to look at how the movie did or didn’t serve these people rather than what it gave to and offered women and feminists, etc. 

Like, there are issues with the movie. There are elements to discuss and messages it sends that are worth side-eyeing and being unimpressed with (the way fat bodies were/were not used, how it could have used more visibly people of color, etc), but that wasn’t the conversation. And I just can’t get that out of my head. 

At one point, when I tried to indirectly end the conversation but realizing I’m fairly unable to stop talking about that movie unless the other party stops, I told her this was my favorite movie of all time—trying to explain some of my vehemence. She responded that she understood but that I need to respect that it’s not hers. And I was honestly flabbergasted but unable to articulate why, and I know now that first, those are not equivalent emotional states (her frustration with the movie does not have equal weight in emotional investment as it being my favorite movie) and that second it wasn’t that she disliked the movie that had me frustrated but that her reason for disliking the movie felt like a punch to the gut. 

Because, while in the grand scheme of things, being a bisexual woman isn’t that high ranking if you’re playing the oppression olympics, it’s enough that to hear that things for and about humanizing marginalized groups are only as worthy as they can convince sexists and bigots of your right to that humanity… well.. I had a lot of feelings. 

But just imagine. Imagine if suddenly we held the bar for movies as high as Mad Max Fury Road. If all the movies came out without considering the feelings of sexists and bigots, how quickly they’d be left behind with old movies. How quickly they’d be out of the loop. How quickly their social circle would slip out of their fingers and they’d realize they would have to live small lives with only other toxic people to share them with. Tell me that wouldn’t be effective in making them rethink how they think about the world. Tell me how they wouldn’t quickly come to be seen as mouths screaming futilely into the void if they still refused to join the rest of the world in treating all humans like fucking humans. 

Just saying. If all movies were like Fury Road, you’d see a change fast. But sadly, we still have some of those bigots making shitty, sexist shit while those close to them who know better pat them on the hand and tell them they’ll do better next time and it’s okay, one step at a time. 

Okay, I’m rambling now. This whole things was a ramble. I’m the one screaming into the void now ahahaha. Mostly just because TOO MANY WORDS. Such is my flaw. ¯\_(ツ)_/¯ 


@fadagaski: You expressed interest in hearing about this rant. I don’t blame you if you don’t read it all! Hahaha

AN: I absolutely love the ‘wedding pact’ trope, especially when they inadvertently fall for each other on the way there. So here’s my take on that. :) thatweirdparamedicstudent here ya go!


the nearness of you

[AO3]

To be fair, Clarke has just come from a really bad break up. And it must be written somewhere that the severity of the break up is directly proportionate to the amount of alcohol to be consumed (already consumed, her throbbing head reminds her). The heaviness in her limbs must be accounted to that, and also the dead prickling of her legs, and the warm hard body curled around her from behind, too, because –

Wait. What?

Her sharp intake of breath has the warm, hard body tensing behind her (she’s definitely ignoring the hardness that’s pressing against her ass because that is not the point here), the heaviness in her arms now known as another pair that’s decidedly not hers tightening as if by habitual impulse. She’ll admit, maybe never, that the embrace feels strangely welcome and familiar and warm and comfortable –

“Holy shit, that’s a lot of wine,” a voice rumbles on her back, the tremors of his chest sending an involuntary shiver down her back for absolutely no reason at all. Shut up.

Keep reading

9

Patrick’s Podcast Primer

Hey everyone, podcasts tend to be what help me stay energized, focused, and entertained throughout the week, so I figured I’d put together a primer of the ones I listen to. Check out a brief description, link to Soundcloud, and info on when each one generally updates. 

The Friend Zone (updates: every Wednesday)

Listen along every Wednesday as Dustin Ross, HeyFranHey & Assante explore mental hygiene, because who in the hell wants a musty brain?

The Read (updates: every Thursday)

Join bloggers Kid Fury and Crissle for their weekly podcast covering hip-hop and pop culture’s most trying stars. Throwing shade and spilling tea with a flippant and humorous attitude, no star is safe from Fury and Crissle unless their name is Beyoncé. (Or Blue Ivy.) As transplants to New York City (Kid Fury from Miami and Crissle from Oklahoma City), The Read also serves as an on-air therapy session for two friends trying to adjust to life (and rats) in the big city.

Another Round (updates: every Tuesday)

Heben Nigatu and Tracy Clayton cover everything from race, gender and pop culture to squirrels, mangoes, and bad jokes, all in one boozy show.

Last Name Basis (updates: irregularly)

Last Name Basis is a sometimes regular podcast hosted by married couple, Franchesca & Patrick. Each week they discuss what’s going on in the world along with what’s happening in their lives as a married couple.

Color Full Lives (updates: every other week or so)

Loudspeakers Network and State Farm present a special edition 8-episode podcast, Color Full Lives, geared towards people of color looking for advice on how to get started (or advance) on their lives and dream careers. 

Overinvested (updates: every Monday)

Overinvested is a weekly podcast from pop culture obsessives Gavia Baker-Whitelaw and Morgan Leigh Davies. Each episode, Gavia and Morgan dive into a film, TV show, or comic they just can’t stop thinking about.

Two Brown Girls (updates: once at the beginning of each month)

Two Brown Girls is a pop culture, film, and television podcast hosted by writers and critics Fariha Roisin and Zeba Blay.

Invisibilia (updates: several episodes every summer)

Invisibilia (Latin for invisible things) is about the invisible forces that control human behavior – ideas, beliefs, assumptions and emotions. Co-hosted by Lulu Miller, Hanna Rosin and Alix Spiegel, Invisibilia interweaves narrative storytelling with scientific research that will ultimately make you see your own life differently. 

Welcome to Night Vale (updates: twice a month)

Twice-monthly community updates for the small desert town of Night Vale, featuring local weather, news, announcements from the Sheriff’s Secret Police, mysterious lights in the night sky, dark hooded figures with unknowable powers, and cultural events. Turn on your radio and hide. Welcome to Night Vale.

so they didn’t know how to make a Big Movie

Matters had already reached a boiling point in mid-June when Phil Lord and Chris Miller, co-directors of the still-untitled young Han Solo movie, were in the cockpit of the Millennium Falcon but didn’t start shooting until 1 p.m. That day the two used only three different setups — that is, three variations on camera placement — as opposed to the 12 to 15 that Lucasfilm president Kathleen Kennedy had expected, according to sources with knowledge of the situation. Not only was the going slow, but the few angles that had been shot did not provide a wealth of options to use in editing the movie.