decadent industries

advocacy: have some perspective, don’t throw your own people under the bus

I’ve seen a lot of discourse lately about how Blizzard is handling Emily/Tracer wrong - how there’s no sign of it in the game, etc. etc. And there isn’t, yet. There isn’t any sign Tracer is gay in the actual game, so it’s fair comment. I’ve also seem what is pretty unfair conclusions about why this is thrown around, I’ve seen really nasty snark disguised as witty criticism., and it… leaves a bad taste in my mouth, really. 

A very close friend of mine works in an AAA studio. She’s worked in gaming for 10 years. She literally works herself to the bone trying to push social justice in games - and it’s like pushing a fucking boulder uphill forever, let me tell you. I’ve watched what this tireless advocacy is doing to her. Nevertheless, she keeps going. 

It’s because of people like my friend that Overwatch exists - people who have persistently, tirelessly, at threat to their relationships, livelihoods and careers advocated for diversity and representation in games. 

I can only imagine how fucking hard it’s been to change the culture in Blizzard into a company where they publish an AAA game that is as diverse as Overwatch. It’s because of people like my friend, allies, and other supportive people that we have Overwatch at all.

Let’s review some of the great things about the game: a variety of diverse races, ethnicities and identities - consultation was pretty fucking good for most of those. And they listen to our comments about what’s missing, too. We didn’t like that Pharah’s VA wasn’t Egyptian, so what did they do? They got an Egyptian VA living in Egypt to voice Ana. We didn’t like the lack of black characters, and they’ve promised more, and the latest new character is an Omnic created by child genius Efi who is black - and they got a black woman for Orisa’s VA.

Blizzard has handled female characters very well. We complained after they’d released their initial characters that the body type of the female characters was generic and not diverse. So what did they do? They gave us Zarya and Mei. We complained that Tracer was being objectified in one of her poses. What did they do? They changed the fucking pose. They have given us a Muslim single mum who’s 60 old, still a soldier, has sexual agency and is more than just her role as ‘Mum’. The spread of female characters isn’t 16-25 as per most games that have female protagonists, but 19-60, with the majority of them being in their 30s, and that is fucking great

And all of this is aside from the fact that Tracer - the face of the fucking game - is canon, confirmed lesbian in those words by both the devs and in ¾ of a big major comic. She’s in a healthy adult relationship. Plus, there’s more to come. We know more characters are queer, too. 

There’s probably more stuff to add, but off the top of my head - how great is this fucking game?????

Now, it’s not to say that all of this has been done perfectly - there’s always room for improvement. They always could do things better. But the tone of some of the posts I’ve read is as if none of this exists. As if Blizzard has spat in our faces, somehow, by not having Tracer have mentioned Emily in the game yet. The anger, the entitlement, the mockery. 

You’re mocking probably a bunch of queer people, people of colour and women who have pushed and pushed and pushed the gaming industry for decades in order to get a game like Overwatch. You’re mocking people like my friend who has slogged her fucking guts out to get what we’ve got in the games her company produces. Can you imagine what it must be like for those people, responsible for these changes in Blizzard and in the industry, to read people bitching about the fact Tracer doesn’t say anything about Emily (yet) when they’ve pushed so fucking hard just to get what we’ve gotten? 

Do you realise how horribly ungrateful and rude that sounds? You may not be aiming your criticism at these people, but they’re among us. They read social media. They’re real people with real feelings. 

Can we please have some appreciation for just how far Overwatch has taken diversity in games? Because there’s a bunch of minority folks behind this push, mark my words. 

This post is not to discourage criticism, but please, please think of the tone of voice you give it in. Don’t be cruel or unfair. Don’t mock. Don’t be ungateful, please. 

“It’s as if Emily doesn’t even fucking exist, I wonder why that is lollllll fucking blizz” works so much better as “Hey Blizz, I love that Tracer has a girlfriend! Let’s have Tracer mention Emily in the game? :D” 

There are ways to deliver suggestions and feedback that don’t shit all over the people who’ve worked so hard to bring this game to you. Please take an extra 5 seconds to consider not sounding entitled and awful, and think about how else you could deliver this feedback so you’re not hurting the people who have worked their whole lives so you have it <3

anonymous asked:

I'm not one of those who blames Harry for what is happening rn, but man, I'm side eyeing the fuck out of Jeff. I dont know what restrictions Harry still has and all that, but this is some terrible shit tbh. Like, all these rumours about premiering his music before Dunkirk... that would be terrible!!! It would so undermine and overshadow his role in Dunkirk. Terrible business decision. And now the timing of this registration... it couldnt be worst tbh. I really hope Jeff knows what he's doing

I agree with you, and also, I’m going to go on a bit of a rant because I can’t not. I just honestly think everything related to Harry’s solo career is absurd right now. Harry has been almost entirely cut off from the fandom pretty much since hiatus began. I think that’s fine, and honestly, and I know we’ve all missed him, but I think Harry (possibly even more than the others) needed that time to himself. I think it gave him time to recover from such a tough schedule with One Direction, I think it gave him a break from the fan service and BS that really seemed to have burned him out, and it gave him time to focus on Dunkirk, which was obviously something outside of his comfort zone that required his full concentration. But Jesus Christ, man. This is beyond ridiculous at this point.

We’ve gotten countless media sources, celebrities, and others in the industry talking about his debut album. And because he’s not talking, all of these people and sources are talking FOR him - and we don’t even know which of the things they’re saying are correct and which are completely false. And blah blah blah yeah, obviously the media is gonna talk about solo Harry regardless, but you’re lying to yourself if you think that his team couldn’t have shut up some of the people who have run their mouths about solo Harry at this point. And if the media is going to always make claims about his future music, both true and false, why wouldn’t he just speak for himself? Why wouldn’t his team speak for him? Why have they allowed this to happen for so fucking long? And don’t even give me that bullshit about oh, they just want to keep anticipation up - because at this point, that tactic doesn’t even make sense. I honestly don’t even know how solo Harries are alive right now considering they get hyped up for his music every two days based on what so-and-so said to the media. It’s fucking EXHAUSTING and it eventually burns people out to be constantly disappointed when they’re promised that something is about to happen and then it doesn’t. I’ve seen a lot of burnout in this fandom in the last week alone on the solo Harry front, and that’s so sad to see because things could have been so different.

If they’re gonna have a dude from Columbia come out here and tell me that an album is nearly done, and then have Grimmy say he was about to hear the album, and then have a touring company registered like a tour is gonna be in the works sometime soon when they haven’t said jack shit about ANYTHING, that’s beyond frustrating to me. You don’t have to give every fucking detail but god, not even a confirmation that the album is coming? NOTHING. Nothing at all.

Louis kept up fan service pretty consistently last year and eventually dropped music. Liam posts updates about his album progress to his social media, and yeah, his album still isn’t out, but there also haven’t been fifty people saying to the press every four days that it’s almost done. Niall was active on social media and kept up fan service last year before dropping his single as a surprise. Harry has done none of that, and I’m not saying that Harry has to do it the way the other boys did, but this is….really yikes. I don’t understand what the fuck his team is playing at, I really don’t. I know that Harry is the most famous in the band and I know that his music is the most anticipated, but he is not some untouchable artist with a shitload of street cred where his album is guaranteed to top at number one. I know this fandom might want to think that’s the case, but it isn’t. He is not Beyonce with numerous successful albums and decades in the industry. He has never put out solo music, and not only that, but we don’t have even the vaguest clue as to what his solo music would SOUND like at this point because again, we’ve heard nothing from his team.

The way this is being executed screams lazy and arrogant to me, and Harry is neither of those things, so I want to know what the deal is. To have this buildup for over a year with everyone else talking about it except for the people whose voices count the most and just expecting fans to be there, still waiting and ready and foaming at the mouth whenever you choose to drop music even though you never bothered to say anything about it….that doesn’t rub me the right way at all, I’m sorry. And listen, knowing this fandom and how much solo Harries have stayed pumped, it might work for them, it, but god, that is just….I don’t understand how people can respect that method of doing things. Us, the fans, as future consumers of his music, as the people who ensured that Harry is in the position he’s in today, deserve better than this. I know that fandom entitlement is a thing and we don’t deserve a lot of things that we think we deserve, but are people really gonna try to act like having confirmation of an album from Harry or his team is asking too much? Wanting some respect, and some clarity, and some basic fucking facts (for example: Are you coming out with an album? When is it coming out?) for Harry’s FIRST SOLO ALBUM EVER after over a year of almost complete silence from him (and silence about his future plans long before that) is perfectly reasonable, especially considering how much we’ve been jerked around about Harry’s solo career for like five years now, and quite frankly, anyone trying to suggest otherwise is fooling themselves. Harry’s team may not be able to control everything the media or other artists do or say about solo Harry, but they can (or at least, you would think they would be able to) control their own behavior, and at least so far, it seems like they’re just letting everybody else do the work for them (and do it messily at that, considering how many lies and ridiculous speculation has been published and passed around over the past year or so).

I’m just really frustrated because I don’t understand why his team is doing this and why they’re giving this impression of not knowing what they’re doing (e.g. the Full Stop website) or just not caring (e.g. [the metric for success] “is just existing”). With a lot of the Louis bullshit, even without knowing the exact details of what’s going on, you can usually figure out quite quickly that a) they’re actively trying to fuck him over and b) why they’re actively trying to fuck him over. The involvement of the stunts tainting everything Louis does also makes the intentions of his team clear (though no less infuriating). But this stuff with Harry? I don’t understand it and can’t even begin to imagine why things are being done this way. I don’t think it’s fair to the fans and I think it’s doing a huge disservice to Harry, his music, and if the rumors about when he’s dropping the music are correct, his acting career. I just really, really hope that there’s a huge change soon because I’m really cringing at what I’m seeing so far. I wish I understood any of this, but I don’t and watching it all happen is exhausting.

Alright, some of my word vomit is out. If people disagree with me, that’s fine, but this is my opinion. And no, I don’t think negatively of Harry or anything like that, I’m just not pleased with how things are being handled by his team (just as I’m not pleased with how Louis’ team is doing things) and I need to voice that.


The Abandoned Island of Hashima also known as Battleship Island(Gunkanjima)

founded in 1887 its industry was based around it’s undersea coal mines. in 1974 the mines closed after the coal resources were depleted. and almost overnight the islands population left for the mainland leaving behind a concrete time capsule that went untouched for nearly three decades.    

Towards a New Left Movement

These are just some of my thoughts on the state and future of the Left as of late, feel free to ignore or to debate or to reblog, but it’s mostly just because I want to shape my scattered thoughts into solid form.

I’ll begin with my thoughts on how I believe our praxis should look in an era of right-wing hegemony and neoliberal consensus. I believe that our fundamental focus should be building dual power in several forms, which I’ll outline. The first [and most important, in my opinion] is localized dual power. We should be helping people organize into a system of nesting, democratic councils, similar to those in west Kurdistan, that begin on the street level, then the district level, then the city level, then the region level, and so on. These councils can then be used to create strong, participatory local politics, whether by organizing mutual aid programs for food assistance or healthcare or getting “socialist” [left-center Democrats or Socialist Alternative etc] candidates into local office or organizing neighborhood people’s defense from white supremacists, neo-nazis, ICE, and police. The second form is unionized dual power. I think in the deindustrializing global North, labor unions aren’t nearly as useful nor militant as they used to be, but I believe workers in certain key industries [particularly those put forward by Monsieur Dupont in Nihilist Communism and discussions I have had with @gendernihilistanarchocommunist] have immense power over global Capital because they work in its arteries—the logistics industry. For decades now, an ostensible supply chain revolution has taken place to so-called “just in time” manufacturing, in which transportation, manufacturing, shipping, etc are timed to have no wasted moments in between. The advantage of this, for us, is that if dockers shut down a port, the factory that those commodities were going to gets shut down, and the factory that that factory’s commodities were going to gets shut down, and so on, rippling through the economy and causing multi billion dollar losses to Capital, inching closer and closer to capitalist crisis. One idea would be to salt these immensely powerful unions, such as the ILWU, and push them [as much as possible] towards more disruptive, more radical, more frequent action.

The second, and I think less important question, is how I believe we as the Left should organize in order to enact this praxis. I think that anything from affinity groups to communist parties would be capable and effective at organizing dual power, salting select unions, organizing self-defense and mutual aid, rallying behind left-center electoral candidates, etc. I think the best option, however, would be for us to organize a nonsectarian, multi-tendency party that would serve to organize militants across a broad geographic space [hopefully across the country and even more hopefully the world] who would act both as long-term, dedicated organizers of dual power as well as “agents of intensification” [stole that from Endnotes] in the situation of uprisings, strikes, protests, and eventually, hopefully, revolutionary situations. The Communist Labor Party in the Pacific Northwest seems to be the closest model to this I see in the US, and I think similar parties [or additional chapters of the CLP] could and should be organized nationally and internationally. If we are going to organize local dual power, it would be incredibly helpful and power-leveraging to be able to link, say, the dual power system of Seattle to the dual power system of New York City to the dual power system of Mexico City to the dual power system of Mumbai, and I think that can be best organized through an efficient party form. The same goes for linking “salted” militants in, say, an Oakland dockers’ union to “salted” militants in a Shenzhen dockers’ union, and bringing a single, albeit powerful, strike action to a potentially world-economy-destroying strike action.

I think through these organizational forms—a local dual power system, “salted” labor unions in key industries, and a nonsectarian, multi-tendency party—we can restore power to a broad Left [from anarchocommunists on the left all the way [in my opinion] to left-center liberals or maybe DSA on the right] in order to crush the Right and work towards building socialism. Questions of state seizure are certainly not relevant now, and I think in a world of high-tech, asymmetric warfare [cue marxism-leninism-memeism disagreeing, lol] and multi-continent supply chains, making economic autarky in the face of embargo very difficult [although, as proletarianization and industrialization continue to develop in the global South, chances for surviving and even thriving of marxist-leninist states look increasingly higher], questions of state seizure may never be relevant, as worldwide implosion of capitalism and communization in its bones may be the only option left. Either way, I think that left unity is paramount in the face of the Left’s weakness and the Right’s strength, and we need to be organizing on a nonsectarian, multi-tendency, anti-capitalist basis.

I think this is a good start as far as solidifying my thoughts goes, and I may add more later on, but I’d like to hear people’s thoughts on it if anyone is interested!

OPEN LETTER....................

To Epic Records and Syco Entertainment,

Let me start by saying, you are two Labels in the Music Industry who sign young talent who want nothing more than a chance to make their dreams come true. On the face of it, that should garner you appreciation from the young talent and the fans who rally behind said young talent. That should be a wonderful trait that you possess, to want to make young people’s dreams come true. Unfortunatly, I can’t give you the accolades you think you so rightly deserve. Instead of taking young talent and working diligently to make them successful in the field of their talent and life dream, you suck the life blood out of them, and squeeze every cent you can make out of them. You turn them into “literal slaves”.

If that abhorrent behavior wasn’t bad enough, you turn the younger impressionable fans into slaves, by manipulating them into doing your dirty work for you. The Music Industry sells more lies than it does actual music. You create false narratives and PR stunts, to change images and boost numbers. It’s not something new. You have been doing it, as an Industry, for decades. It has simply become a lot easier with the help of the internet and Social Media.

I single the two of you out, not because you are the only soul sucking Labels that exist, but because you are the Labels who have contractual control over five of my favorite young female artists. They are not the first young artists you have taken advantage of, and they won’t be the last, unfortunately.

The truth is, you don’t have to destroy young people’s innocence. You don’t have to bleed their souls, or destroy their spirits. You don’t have to kill their passion. You don’t have to do any of these things, to help them become successful artists. YOU CHOOSE TO. What’s worse, you all work together to do it.

I am just a fan blog, who writes theories and tries to educate the fans about the dark side of the Music Industry. You know, the side you make everyone and their dog sign a NDA to keep their mouths shut about.

If the fans and GP knew just how much the big three work together to remain the big three, it would boggle their minds. People don’t even question how a world wide Industry, that used to be made up of thousands of independently owned record labels, first became the big six, then became the big three, If they knew just how much Sony Music Entertainment, Universal Music Group, and Warner Music Group, worked together to remain a Big Three, they would have a better understanding of the dark side of the Industry.

There are some goodhearted people out there, who are in positions of power, who actually put the well-being of their signed artists first. Those are hard to find though. Most of you are all about the money. I understand, that’s how business works. If you’re not making money, they’re not making money. I know you take a chance on investing on young talent, but you always make sure you find a way to at least break even on that investment. It’s usually hidden in the fine print of the contracts.

I get that it’s business. What I don’t get, is the way you go about destroying people from the inside out, to make that business a success. You perfected the art of doing just that, on the young and impressionable people with a love for music and the talent to chase their dreams. In the case of my favorites, you took five young talented ladies who decided to take a leap of faith and chase their passion and dream, and you managed to, in the span of less than five years, make them question their passion for music, and wonder why they ever took a chance on themselves.

You change their image, and make them conform into who you want them to became, because in your minds, they aren’t good enough as their true selves to make you top dollar. You sexualize young women, and have the audacity to disguise it as “women’s empowerment”  You parade the young women around in skimpy outfits and have them bumping and grinding on guys in music videos, even though they are uncomfortable doing so, because sex sells.

You create “feuds” between young girls, and female artists in general, because who doesn’t like a good cat fight. You do all this crap to create false narratives, and false images, not because you want whats best for the young talented female artist, but because you are an Industry run by greedy Bastards.

I wish I could just be a fan who could put my head down and simply enjoy the music, but I can’t because you lying manipulative misogynistic greedy fucks won’t change your ways. I’m going to keep trying to do what I’ve been doing. I’m sure you laugh at my efforts, so be it. I’m just one person trying to fight against a multi billion dollar machine.

I’ll keep doing what I’m doing, and you can laugh all the way to the bank. I just wanted to tell you YOU SUCK! If Epic folds, good, you deserved it. If Simon never does another damn talent show, good. You’ve sucked the life out of enough young souls. I really hope all five of the girls achieve their desired goals, and I hope they achieve that goal under any Label other than Epic/Syco. They deserve so much better.


november 6th, 2012 | happy birthday, halo 4

“The others scatter like embers over sand. And yet, the Librarian’s champion is unmoved.”

Imagine skipping class with Chris.

A/N: Here’s Part 3. You can read the previous parts here: (Unexpected Reader - Part 1/Part 2) I hope you enjoy it, ‘cause I am. I like that it’s not as easy as the other love stories, it’s nice to see them really work for what they want. Anyhoo, I’ll leave you to read. X

Chris paced the pavement outside your apartment building, fingers playing with the hairs on his face. He was waiting to catch you before you headed to UCLA for your Tuesday morning class. The class that you’d told him numerous times was your least favorite and least important with your least favorite lecturer, hence why he was waiting outside your door; he had hope he could be a bad influence and steal you away for the day.

Since meeting at the airport a few weeks ago, you’d been inseparable. It was insane, but you could now safely say you were friends with Chris Evans. The same Chris Evans you’d been a fan of for years, and also the same Chris Evans who was a fan of your work. You still couldn’t believe it when he told you he’d read all your stories- that he was an avid fan of your mini-series. You thought you’d died in a plane crash on your way over to Sydney where you were catching a flight back to Los Angeles, and that all of it was part of your afterlife. But no, you were still alive and you were friends with your celebrity crush who had planned an amazing day for you.

His plans started with breakfast because he knew you more often than not skipped breakfast, then he was taking you to Marvel Studios in Burbank to meet some of the people in the industry. His grand finale had him pulling some crazy strings; he still couldn’t believe he was going to be able to take you inside the Dolby Theatre- where he knew your incredible talent would take you one day- and have dinner on the stage itself. He didn’t realize that in doing all of it, he was basically doing what he promised he wouldn’t do until he answered the question he’d been losing sleep over- “am I in-love with her, or the idea of her?”- and that was to take you out on a date.

But the thing he didn’t see was that if he was in-love with just the idea of you- the image he’d conjured from the words you’d written, he would’ve just taken you out already. He wasn’t just being your friend to start with because he was confused, he was doing it to show you that he respected and cared about you. Yes, your second person protagonist was wonderful and he wished he had that life, but that wasn’t real and you were. You were real and as wonderful and right in front of him; he wasn’t going to do anything to risk losing you. If he had to take it incredibly slow to achieve the life you clearly both craved, so be it.

“As I live and breathe,” Chris heard your voice and a smile immediately formed on his lips. “Chris Evans.” He looked up and saw you exit, smiling as you slung your bag over your shoulder and walked down the steps to meet him. “To what do I owe this pleasure?”

“Well…” He began, taking your backpack from you to help with the load; you smiled at the gesture as you took the arm he was holding out for you. “I was just wondering if you’d let me be a bad influence and steal you away for the day.” He said as the two of you started walking towards the direction of your university.

“Mm…” You wiggled your mouth from left to right, pondering. Your attendance was- as they say- on point, so you could afford to skip one day without any negative repercussions. “Depends,” you quipped with a smirk and he bit back his smile to hide his growing excitement. “What’s the offer?”

“I can’t tell you just yet,” he winked and you rolled your eyes. “But I can assure you that it’s better than anything Professor Killian can offer you.” You laughed and he nudged you playfully, “c'mon. You’re the perfect student, you can afford to miss one day. The most you’ll get is a light slap on the wrist, a 'I’m not angry, just disappointed’ speech.”

“That is a terrible speech to get.”

“True, but I promise it’ll be worth your time.”

“Is it worth missing my chance at education though?”

“Oh, definitely,” he nodded with a serious look that made you laugh. The second you started laughing, his lost his composure and a wide smile spread across his face. “It’s a boring and uninspiring class, Y/N. I think you’re much better off spending the day with a guy who’s been in the industry for decades now.”

“Wow, decades. That’s amazing, Chris,” you said and he nodded, a little to smugly. “But do you want to know what’s even more amazing?” You tried not to laugh as you proceeded to tease, “that I’m friends with a man sixteen years older than me.” You quipped then laughed when he shot you a deadpan look, even though he was trying very hard not to smile.

“Ha ha,” he bit playfully and you giggled. “Are you going to let me take you for the day or what?” You shrugged, smirking, but of course you were; you would never give up a chance to spend time with him. “I know you don’t want to miss out on school, but our trip is going to be somewhat educational. So…” He trailed off, smiling.

“Somewhat educational, you say? Oh, well- how could I refuse?” You dramatically responded in a almost south western accent; he nodded in response, chuckling at your overacting. “It sounds like you’ve got an actually educational event beat.” Your normal accent returned as you continued to tease him. “I guess I’m all yours, Evans.”

Chris felt his heart flutter at that statement, which was something he’d only read himself do in your stories. He realized that the more time he spent with you, the more he felt like he was living in one of your perfect worlds where nothing would ever go wrong. He looked over at you as you allowed your attention to drift from him to a woman walking her Labrador, and smiled when he saw you smile. Was he in-love with you, or was he just here for the perfect experience? You were a writer and he read your works; both of you knew what the other expected. So what if all of this was just another story? What if things between the two of you weren’t real? He didn’t want to jump into things too soon, the last thing he wanted was to hurt you or get hurt himself. Things were still foggy, everything was still so new. He needed more time to figure out if what he was feeling- what you were feeling- was genuine and not based off a fantasy.

“Just out of curiosity,” you began and Chris fell out of his thoughts, “are we going to walk to wherever you’re planning to take me? 'Cause um-” you glanced over you shoulder and he followed suit, “your car is back there.”

“We’re coming back to get it, we’re just going to get some breakfast first seeing as you skipped yours this morning?” He raised a brow and waited for your confirmation; you nodded, chuckling. “I just know you too well, Y/N. You should really stop giving out personal details in your stories, there are repercussions to telling the internet things.”

“Yes, but not all repercussions are negative. I mean-” you poked his arm and smiled, “I wouldn’t be here with you right now if I didn’t write the way I wrote.” He chuckled then nodded in agreement. “And that breakfast thing you found out after being friends with me, my protagonist always eats breakfast.” He rolled his eyes as a response. “And I don’t skip breakfast on purpose, it’s actually my favorite meal of the day. I just-”

“Like sleep more,” he finished for you and you scoffed in amazement. “I told you,” he winked and you chewed the inside of your cheek to prevent yourself from smiling too widely, “I just know you too well. I mean- we have lived a thousand lives together, it’d be embarrassing if I got details about you wrong.”

“Very much so,” you quipped, blushing.

Even though things with Chris were more comfortable now, you still had moments where you had to just breathe. You were a fan of his, after all. He was your celebrity crush and there wouldn’t be a day where he wouldn’t be. Friends or not, you still got overwhelmed by him. The way he talked, the way he smiled, his laughter- everything got to you if you didn’t take a step back from yourself. You knew it was wrong and that it probably wouldn’t happen, but you were still holding out for a relationship with him. The only thing that prevented you from showing that side of yourself was fear; fear of so many things.

What if he was only here because he was trying to see if you matched the character he loved so much? What if you were just something to take his mind off his breakup with Jenny Slate? What if you got together and you weren’t good enough for him? What if his mother hated you and he broke up with you because he was so close to his mother? You were turning twenty, he was turning thirty-six; he had his whole life figured out and you were still sorting through things; he was Chris Evans and you were just Y/N Y/L/N. Everything about the two of you didn’t make any sense; the only thing connecting the two of you was your stories. So what was going to happen when that excitement became obsolete? What was going to happen when he realized you were just a girl?

“Pancakes or waffles?” Chris’ voice brought you back to reality. “Wait, don’t answer that,” he held a finger up at you before you could answer him; you chuckled softly. “I should know this, I mean- what did Chris cook for Y/N whenever they had breakfast together?”

“Pancakes,” you both answered in unison then laughed. “You know what, Christopher Evans. I think it’s time you tell me more about yourself.” You said and he raised a brow with a cute smirk on his lips. “Every detail in my story about me is true, I’ve just been guessing with you. So right now, you know more about me than I know about you, and that’s not very fair, is it?”

“No it’s not,” he smiled, his hidden feelings for you surfaced slightly and you blushed at the look of love in his eyes. “Okay then, Y/N.” He caught himself and blinked, smiling like a friend would instead of a lover. “What would you like to know?”

Tags: @chrisevans-imagines @widowsfics @m-a-t-91 @xoxomioxoxo @imaginesofdreams @ateliefloresdaprimavera @katiew1973 @winter-tospring @shamvictoria11 @caitsymichelle13 @michellekeehlmello @letterstomyself21 @soymikael @faye22 @always-an-evans-addict @sammyrenae68 @brobrobreja @elizabeth-matsuoka @thegirlwiththeimpala @camerica96 @all-of-the-above11 @whenyourealizethisisntagoodname @yourtropegirl @smoothdogsgirl @createdbytinyaddiction @siofrataylor @dreamingintheimpalawithdean @imaginary-world-of-mine @wanderingkat77 @grantward3 @rileyloves5 @chrsmom302 @buckys-shield @mylittlefandomfanfictions @breezykpop @catch-me-im-a-falling-star @tabi-toast @ssweet-empowerment @hayleesteashoppe @chrixa @feelmyroarrrr @akidura79 @louisespecter @castellandiangelo @ccrossfire @assxmblesstuff @edward-lover18 @princessesnaddy @1d-niallerbieberforever @dxbrevgrey @bellastellaluna @christopher-or-steven @brokenwingsxix @yourenotrogers @im-a-fandom-slut @royalexperiment256 (Inbox me if you’d like to be added to the tag list)

Part 3B


Significant Women in Film History: 1960s

Agnes Varda (1928)

Born in Brussels in 1928, Varda would move to France in as a teenager in 1940. She would go on to study art at École des Beaux-Arts. After graduating, she would work at Théâtre National Populaire as a photographer. After filming for a friend who was sick, Varda discovered that she was interested in filmmaking and in 1954 her first film, La Pointe Courte would be released.  This film is sometimes cited as being one of the first films of the French New Wave Movement. By 1961 her film Cleo from 5 to 7 would be released. This film is significant for its depiction of the issues women faced through objectification. By this time the French New Wave was in full throttle and Varda was a key member of the left bank movement. She would go on to release films and documentaries up until the 2000s. Some of these films are Le Bonheur, which focuses on a man who has an affair, Black Panther, a documentary on the Black Panther Movement, and Vagabond, a film about the life of a young girl found dead.  All these films, along with the many others she has directed are highly appreciated.

As the only woman in The French New Wave movement, Varda succeeded in a highly male dominated industry. For decades she has brought us highly inventive films that dealt with sometimes controversial issues. Without Varda, the french New Wave would be missing the female voice it was so desperately missing.


Veteran writer and producer Rick Nowels has worked with the greats; from Madonna to Adele, Santana, The xx, Fleetwood Mac, and Sia, the San Francisco native has served as an important force in the music industry for decades. Over the past few years, he’s been one of Lana Del Rey’s key collaborators, working on tracks from Born to Die, Ultraviolence, Honeymoon, and now playing an instrumental role in Lana’s new album Lust For Life.

Genius caught up with Nowels to break down his songwriting process, his rapport with Lana, and the creative relationship behind Lana’s latest album Lust For Life.

You’ve been working with Lana for a long time now. What’s your songwriting process like, and how has it evolved?

Our process has not changed over the years. Lana always comes in with a concept and often, a melody and lyrics on her iPhone. I listen to it acapella, find the exact key she’s singing in and start to create a chord progression around it. We start playing together and define the exact chords and melody. Then she finishes the lyrics. I’m always knocked out by how incredible her lyrics are and how effortlessly she seems to write them.

After that, we solidify the verse and chorus. We usually write the middle eight from scratch—that’s the section that comes after the second chorus. It is a construct of classic songwriting sometimes called the bridge. You don’t see a lot of middle eights in songs anymore. I love that we write them because I think they make the songs more timeless and satisfying. Lana usually records her vocals right after the writing process. I play piano or guitar with her and we do live takes. This gives the songs a performance aspect, and I think it contributes to the intimacy in her vocal delivery. I work out my piano or guitar part and accompany her voice. I follow her mood and together we get a feeling in the room. She doesn’t do many takes. She knows when she’s got the master take.

After she gets her lead vocal she immediately starts arranging and singing her background vocals. This is a very exciting thing because she’s completely unique in her approach to it and it’s all a part of her songwriting process. When the backing vocals are complete you essentially have a finished Lana Del Rey record. The song speaks with minimal instrumentation and just her vocals. After that we begin the process of building the backing track, which can take some time and experimenting and inviting some great musicians to contribute.

Many people have said this album feels like a return to Lana’s earlier sound (i.e. the Born to Die era). Do you agree with that assessment and if so, was it an intentional choice on Lana’s part?

Not at all. It’s a constant moving forward. Lana is a prolific songwriter. I see every new song as the next Lana Del Rey song. I’m honored to be the first person to hear many of them in their early form and one that she trusts to help construct them. There’s no other thought than to write the best song we can and then to capture it in a recording. For me, it’s song by song, and because she’s so prolific we have a wealth of really strong songs. The big picture emerges and I know she’s always thinking about it.

You and Lana flipped what was originally the verse of “Lust for Life” into the chorus. What was that process like and how much did the song change from what it sounded like originally?

The original “Lust For Life” is a beautiful art song, it’s quite touching. Maybe someday Lana will release it. We did a rewrite of it during the making of the album. It turned out great and It was a thrill to have The Weeknd and Lana singing together.

What was it like working with A$AP Rocky for “Summer Bummer” and “Groupie Love”? Did Lana always intend to have a rap element on the track, and does that change the way you approach writing a song or handling production?

“Groupie Love” was one of the early songs we wrote for the album. Lana had the idea to bring in A$AP Rocky. He’s a great guy; very smart and creative. His producer Hector Delgado came in too and did the beats on the song and co-produced it with us. It was a lot of fun being in the studio with them. They are super creative souls.

I wasn’t really involved with “Summer Bummer.” Lana went in the studio with Boi-1da and wrote that one. It’s a great addition to the album. I asked Zac Rae, who is a brilliant keyboard player and musical mind, to do some overdubs on it. We spent a few days with Boi-1da and T-Minus working on it together. I believe Rocky and Playboi Carti recorded their parts with Hector Delgado. That was one of the last songs written for the album.

What are some of your favorite songs on the album?

I would say “Tomorrow Never Came” is a really special record. We asked Sean Lennon to sing on it and when we sent him our track, he got so inspired that he ended up playing all the instruments on it. He recorded it in his studio in upstate New York. It was good talking to him over Face Time during it. He did an amazing job and he and Lana sound great together. I’m assuming he used some of his dad’s vintage instruments on it, but you’d have to ask him.

“Change” really touches me. We were mastering the album and had to turn it into the label the next day. Lana called me that afternoon and said that she had one more statement to make for the album and that she wanted to record a new song that night. That song turned out to be “Change”. We started it at 8 p.m. and by 2 a.m. the record was done. We knew it could only be a voice/piano song because that was all the time we had. I think it’s a gem on the album.

“Beautiful People Beautiful Problems” was special because we got to spend time with Stevie Nicks and have a collaboration with two of the great female poets of songwriting. I’ve known Stevie for a long time and I wanted Lana and Stevie to know each other. I love hearing their two iconic voices together. I think a real friendship has formed.

Where do you feel this album fits into Lana’s catalog overall?

Lana is a career artist, a defining artist of her generation. I see her as a link on the chain along with Bob Dylan, Leonard Cohen, Joni Mitchell, Stevie Nicks, and all the great once in a lifetime singer/songwriters. She’s created her own language and her own genre. She’s always inspired and actively creating her body of work. This album is her next offering.
Look Back at Music's Top Money Makers, 2010 Until Now
Glancing over the top ten Money Makers from 2010 to now, it's not Queen Bey, but Taylor Swift who takes the cake.

14 July 2017

This week, Billboard revealed our annual Money Makers list of the top 50 highest-paid musicians, who raked in a collective $890.7 million in U.S. sales, publishing, streaming and touring in 2016. But as we crown this year’s number one – Beyoncé, with $62.1 million in total revenue – it’s also worth taking a moment to reflect on the industry’s top earners over the years.

Glancing over the top ten Money Makers each year from 2010 to now, it’s not Queen Bey, but Taylor Swift who takes the cake. While Swift was notably absent from 2016’s list – and has taken a hiatus from the music scene in general as of late – she’s been a top 10 earner four times since 2010, three of those at number one. The country-turned-pop star also claims the highest dollar count of all artists who snagged number one over that time frame, taking home a staggering $73.5 million as the top Money Maker of 2015.

Notably, all top earners over the past six years have been women, save for 2014, when One Direction stole the crown. And while classic acts and touring giants like The Eagles, Bon Jovi and Bruce Springsteen continue to pop up over the years, we see few dance and hip-hop artists make the cut, and zero Latin artists.

Finally, the glaring more than $30 million disparity in earnings from 2010’s number one, Lady Gaga, and this year’s Beyoncé might be owed to the fact that for the first time in nearly two decades, music industry revenue has increased for two straight years.

Have a look at the full list of top music industry earners from 2010 to now, followed by their total revenue that year in millions, below.

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Undocumented immigrants have been subsidizing our economy for decades, working in essential industries like shipping, agriculture, childcare, eldercare, and food preparation and service.  And they’ve been doing this while begging us for sensible immigration reform.  

Condemning undocumented immigrants for knowingly breaking the law denies your own complicity in their shadow lives. 

Think about that the next time you eat dinner at a restaurant, shop at Sam’s Club, or buy a bag of lettuce.
The truth about Venezuela: a revolt of the well-off, not a 'terror campaign' | Mark Weisbrot
Mark Weisbrot: John Kerry’s rhetoric is divorced from the reality on the ground, where life goes on – even at the barricades
By Mark Weisbrot

Images forge reality, granting a power to television and video and even still photographs that can burrow deep into people’s consciousness without them even knowing it. I thought that I, too, was immune to the repetitious portrayals of Venezuela as a failed state in the throes of a popular rebellion. But I wasn’t prepared for what I saw in Caracas this month: how little of daily life appeared to be affected by the protests, the normality that prevailed in the vast majority of the city. I, too, had been taken in by media imagery.

Major media outlets have already reported that Venezuela’s poor have not joined the right-wing opposition protests, but that is an understatement: it’s not just the poor who are abstaining – in Caracas, it’s almost everyone outside of a few rich areas like Altamira, where small groups of protesters engage in nightly battles with security forces, throwing rocks and firebombs and running from tear gas. Walking from the working-class neighborhood of Sabana Grande to the city center, there was no sign that Venezuela is in the grip of a “crisis” that requires intervention from the Organization of American States (OAS), no matter what John Kerry tells you. The metro also ran very well, although I couldn’t get off at Alta Mira station, where the rebels had set up their base of operations until their eviction this week.

I came away skeptical of the narrative, reported daily in the media, that increasing shortages of basic foods and consumer goods are a serious motivation for the protests. The people who are most inconvenienced by those shortages are, of course, the poor and working classes. But the residents of Los Palos Grandes and Altamira, where I saw real protests happening – they have servants to stand in line for what they need, and they have the income and storage space to accumulate some inventory.

These people are not hurting – they’re doing very well. Their income has grown at a healthy pace since the Chávez government got control of the oil industry a decade ago. They even get an expensive handout from the government: anyone with a credit card (which excludes the poor and millions of working people) is entitled to $3,000 per year at a subsidized exchange rate. They can then sell the dollars for 6 times what they paid in what amounts to a multi-billion dollar annual subsidy for the privileged – yet it is they who are supplying the base and the troops of the rebellion.

The class nature of this fight has always been stark and inescapable, now more than ever. Walking past the crowd that showed up for the March 5 ceremonies to mark the anniversary of Chávez’s death, it was a sea of working-class Venezuelans, tens of thousands of them. There were no expensive clothing or $300 shoes. What a contrast to the disgruntled masses of Los Palos Grandes, with $40,000 Grand Cherokee Jeeps bearing the slogan of the moment: SOS VENEZUELA.

Songwriter & producer Rick Nowels explains how Lana Del Rey’s ‘Lust For Life’ came together.
He’s worked with Lana on some of her biggest tracks.
By Chris Mench.

Veteran writer and producer Rick Nowels has worked with the greats; from Madonna to Adele, Santana, The xx, Fleetwood Mac, and Sia, the San Francisco native has served as an important force in the music industry for decades. Over the past few years, he’s been one of Lana Del Rey’s key collaborators, working on tracks from ‘Born To Die,’ ‘Ultraviolence,’ ‘Honeymoon,’ and now playing an instrumental role in Lana’s new album ‘Lust For Life.’

Genius caught up with Nowels to break down his songwriting process, his rapport with Lana, and the creative relationship behind Lana’s latest album ‘Lust For Life.’

Keep reading

Victoria On Film - 5 Screen Portrayals of Queen Victoria In The Last Few Decades

With the development of film production in the last few decades, the film industry has increasingly had the ability and skill to capture and retell stories, to be of easy access to anyone. From comedic to factual, here are my top 5 portrayals of Queen Victoria from film and television.

Blackadder’s Christmas Carol, 1988 - Miriam Margolyes

Oh Albert, You Naughty German Sausage!

The only time the popular Blackadder series of the 80s visited the Victorian period was in the 1988 Christmas special Blackadder’s Christmas Carol. Here Victoria is portrayed hilariously as big, bubbly and buxom by Miriam Margolyes (known for her role as Professor Sprout in the Harry Potter films) who, accompanied by an enthusiastic and stereotypically-German Prince Albert (played by Jim Broadbent) head out onto the streets of London on their ‘Annual Christmas Adventure’.

On their adventure they go incognito to reward ‘the virtuous and the good’, which includes Ebenezer Blackadder who, until that day, had been the ‘kindest and loveliest man in England’. Not recognising them, he insults the disguised couple, and when he notices the resemblance to the Royal family, he berates them too. Only after they leave does Blackadder ironically learn of their true identities and how he missed out on his reward. As usual with satirised versions of history, it isn’t a very historically accurate portrayal. However, as a comedy piece with a historical basis, it is hilariously funny. This piece can be found on Netflix and usually on YouTube.

Her Majesty, Mrs Brown, 1997 - Judi Dench

It Is Not For Any Of The Queen’s Subjects To Presume To Tell Her Majesty When And Where She Should Come Out Of Mourning!

The fairly forgotten film Mrs Brown of 1997 retells the story of Queen Victoria and her relationship with John Brown, her Highland Servant. The film begins in 1863, two years since the death of Prince Albert, and Victoria (played by the legendary Dame Judi Dench) remains in seclusion at Osborne House on the Isle of Wight. It is here that John Brown (played by the equal legend that is Billy Connolly), one of the Queens outdoor servants, arrives from Balmoral Castle with the Queens pony after being sent for in the hope the Queen might ride out in the grounds. Although bumpy at first, Victoria and John soon become firm friends, and Brown is given the official title of ‘The Queen’s Highland Servant’.

Throughout the course of the film the ongoing issue of the ‘inappropriacy‘ of Victoria’s relationship with John Brown becomes more urgent, in addition to her increasing pressure to return to public life and mental conflict of her loyalty to the dead Prince Albert. However, she finds peace with herself and continues her employment and friendship with John Brown. The film ends in around 1883 with  John’s death of pneumonia, depicted as being caught after chasing an intruder to the royal household.

I find Mrs Brown as a whole a incredibly accurate portrayal, from capturing Victoria’s character to getting the facts right (something many portrayals lose due to creative licence), even the use of Osborne House in filming. However, it is still a film, not a back-to-books docudrama. I would definitely recommend this film to anyone interested in Queen Victoria but it is a little obscure to find, so have a look about eBay and Amazon. If you want to know more about John Brown and his relationship with Queen Victoria, I have a post on my blog titled After Albert - Victoria’s Second Love, John Brown, which you can check out if you want. In addition, later this year (what I consider to be a sequel although it isn’t) comes Victoria And Abdul, based around the later relationship of Queen Victoria and Abdul Karim, an Indian Muslim attendant to Victoria in her last years. Judi Dench reprises her role as the Queen, as well as the beautiful Osborne House, so keep an eye out.

Doctor Who, 2006 - Pauline Collins

I Am Quite Used To Staring Down The Barrel Of A Gun.

In science fiction, historical accuracy typically isn’t the primary focus, and with Doctor Who I don’t blame them. The gun-totting Queen (played by Pauline Collins) seen in the Season 2 episode Tooth And Claw is faced with ninja-like monks and an alien werewolf in the Scottish Highlands. She meets the 10th incarnation of the time-travelling Doctor and his companion Rose Tyler by chance whilst travelling to Balmoral in 1879. However, she plans to spend the night at the ‘Torchwood Estate’ nearby, supposedly favoured by the deceased Prince Albert, and is accompanied by Rose and the Doctor. Unbeknown to her, the house had been taken over by monks in disguise as servants who harbour a man in the basement who is a werewolf,  in the hope of infecting the Queen and creating an ‘Empire of the Wolf’.

The trap is soon realised, and the Doctor tries to escape with his group, before discovering how to kill the wolf by combining the mysterious telescope in the house and the Queens Koh-I-Noor diamond (which actually existed) to create a concentrated light. As they recover from killing the wolf the Queen finds a cut from the chaos that she claims is a splinter, although the Doctor later reveals he thinks she was bitten by the wolf and that the Haemophilia she passed down through her family was in fact the infection of a werewolf. I find this portrayal a little Stereotyped and full of unnecessary historical exposition, but is generally quite interesting to watch and see her portrayed as a badass. This episode can be found on pretty much any video streaming site, such as Netflix and Amazon.

The Young Victoria, 2009 - Emily Blunt

I Wear The Crown! And If There Will Be Mistakes Then They Will Be My Mistakes!

The Young Victoria of 2009 was probably the beginning of the current spark of interest in the youth of Queen Victoria (you’ll notice toward the end of the list only are we seeing young portrayals). This film covers the life of Victoria from around the age of 16 to 22, arguably the most eventful and important years of her life. The film begins with a very brief retelling of Victoria’s life up until her coming to the throne, then throws you into the conflict of the royal family in around 1835. Victoria (portrayed beautifully by Emily Blunt) is shown at odds with her mother and Sir John Conroy whilst allied with her governess Letzen, Aunt Adelaide and Uncle William, as well as becoming acquainted with Lord Melbourne. Victoria also meets her cousins for the first time, Ernest and, more well known, Albert (played by the dashing Rupert Friend).

The film then follows Victoria’s rise  to the throne and release as she finds freedom and independence from her mother and Conroy, and an opportunity to become better acquainted with Albert. However, her struggle soon begins, with real events such as the Bedchamber Scandal and rumours surrounding her relationship with Melbourne play out. From her recovery of these issues, the rest of the film follows Prince Albert’s relationship with Victoria; their marriage, Victoria’s subsequent pregnancy and Albert preventing Victoria’s assassination-whilst getting shot himself. The film ends with Albert recovering well and the baby being born,  then a brief version of what happened in real life afterwards. Although some changes were made to timeline, such as Albert being present and the coronation and then getting wounded during the assassination attempt (when the Queen attended a private screening she wasn’t very pleased with these), I find this film a good portrayal of the real young Victoria and certainly captures Victoria’s struggles and relationships in her early days. This film will always hold a place in my heart (I know it practically word for word) because it was what sparked my interest in Queen Victoria. Its definitely worth a watch, and although it cannot be found on Netflix it is on Amazon.

Victoria, 2016 - Jenna Coleman

She Doesn’t Have A Name, She Is Doll 123.

Last year Victoria hit our screens with Doctor Who star Jenna Coleman in the staring role. As popular as it is, however, I found it difficult to watch. If your looking for historical accuracy, this probably isn’t the show for you. Victoria series one has so far covered Victoria’s life from the age of 18 to 22, and a second series is being filmed right now.

It begins right at the point of Victoria becoming Queen, dropping you into the midst of Victoria’s battle with her mother and John Conroy. It then follows her through the early days as Queen and visits the bedchamber scandal, leaning more toward the controversial death of Lady Flora Hastings. Victoria also meets and befriends Lord Melbourne. Their relationship is portrayed as being a romantically inclined one, some much to the point of Victoria proposing - although he declines. Victoria then is forced to negotiate around marriage suggestions, especially those surrounding her cousin Albert (played by Tom Hughes), who she detests - until she sees him, for the first time in years. From here their relationship develops to the point of proposal and marriage, including a curious subplot where Victoria attempts to ward off pregnancy. She fails, however, and the series ends happily with the birth of a daughter. In addition to following Victoria’s life the show also follows members of the Queen’s household, similar to Downton Abbey, and includes people like Miss Skerrett and Charles Francatelli (who were real people, although many other characters below stairs were not). 

 Personally, its not my cup of tea and I could pick it over all day, from costumes and characters to dates and sets. However to be fair, the show does follow a basic historical time timeline and I feel that Jenna Coleman does capture Victoria’s spirit and character. Victoria can be found on Amazon.


Accra exhibition to celebrate work of Paa Joe, the master craftsman behind some of the most extravagant caskets in the world

His work has been bought by US presidents and appears in museum collections all over the world – and yet most of Paa Joe’s creations are buried six feet underground.

Joe, who turned 69 this week, is Ghana’s most prolific coffin artist and, after five decades in the funeral industry producing some of the world’s most extravagant designs, his work is being celebrated in a major exhibition in Accra.

Joe’s work – which includes coffins in the shape of Porsches, naked women, Nike trainers, cameras, Coca-Cola bottles and chilli peppers – is designed to represent the life of the deceased, with each item handcrafted and painted for the funeral procession, which can last up to three days and three nights.

Working with curator Nana Oforiatta-Ayim, Joe and his son Jacob have developed an exhibition that explores the traditions behind the fantasy coffins and their particular popularity within the Ga community in Ghana, where this unique custom began.

anonymous asked:

Given the success of female YouTubers who use their body as a way to get views (not saying there is anything wrong or right about it), have you ever considered transitioning your content to be more like that? I'm sure many would agree that you're a very attractive girl already.

In gaming that sort of thing is especially common, which makes sense. Booth babes and sexy cosplay have been a part of the industry for decades. I have thought about it, and maybe when I was younger that would have been more appealing to me, but even if the money is tempting it’s really not for me. You get a different kind of audience and a different kind of legacy when your business is your body and I’d like to be remembered for more than my flesh prison. Not knocking girls who do it though, it takes guts and it’s a lot of work in its own way. I just prefer to focus my creative endeavors on making things. 

A Chris Evans Original Series

Title: Fated

Chapter 3: Bad Influence 

Author: @ohevansmycaptain

Pairing: Chris Evans x OFC

The fact that a man could fall in-love with a girl through her writing seemed impossible, but that was what happened for Chris Evans and Denise Hogan. A simple tweet invited him into the world of fan fiction where her imagination ran wild. With sixteen years and social status separating them, it was unlikely they’d ever meet. But the universe worked in mysterious ways, bringing the pair to one airport; the last place they thought they’d fall in-love. It just goes to show falling in-love is effortless when two people are fated to be.

Chris paced the pavement outside Denise’s apartment building, fingers playing with the hairs in his beard. He was nervously waiting to catch her before she headed to UCLA for her Tuesday morning class; one she’d told him numerous times was her least favorite and least important with her least favorite lecturer. Her exaggeration of the distaste and unimportance of her Tuesday morning class brought forth his want to break the Tuesday routine of only seeing her after 1PM. He was filled with hope he could be a bad influence and steal her away for the whole day.

Since meeting at the airport a few weeks ago, they’d been inseparable. It was surreal, but Denise could now safely say she was friends with Chris Evans. The same Chris Evans she had been a fan of for a few years now; he was also proclaimed as her celebrity crush. Those were unsurprising facts for those who knew her, what surprised them was Chris being a fan of her work. Even Denise couldn’t believe it when he told her he’d read all her stories, and was an avid fan of her mini-series. She actually had to pinch herself to make sure she wasn’t dreaming. She even feared she’d died in a plane crash on her way over to Sydney where she was catching a flight back to Los Angeles, and all of it was part of her afterlife. But no, she was very much awake, alive, and friends with her celebrity crush who had planned an memorable day for her.

Chris’ plans started with breakfast because he knew she more often than not skipped it, then he was taking her to Marvel Studios in Burbank to meet some of the people in the industry she was working towards joining. His grand finale had him pulling some crazy strings. He was in awe he had consent to take her inside the Dolby Theatre unsupervised and have dinner on the actual stage where the Oscars were held each year. He had no doubt her unparalleled talent would take her there one day, so he thought he’d familiarize her with the environment first. He didn’t realize that in doing all of it, he was taking her out on a date; the one thing he promised he wouldn’t do until he answered the question he’d been losing sleep over: “am I in-love with her, or the idea of her?”

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anonymous asked:

Sean Astin just released a pretty informative and good statement about Weinstein. Also...I definitely underestimated that guy's power and reach. I realize it now. I mean, god even at less power NBC still would not run a story against him.

From Sean’s Facebook:


Beyond treating women in a vile, possibly criminal manner, I believe that Harvey Weinstein is a vicious bully who uses rage and the threat of rage to intimidate many many people. I’ve experienced some of his disrespectful (at best) behavior, with my own eyes and spoken to friends and colleagues who came into contact with the man. It is known that Harvey routinely eviscerates filmmakers, producers, agents and performers. Ranting and raving is the guy’s steady state. I think that he is a mean thug with a vindictive and menacing approach to anyone who gets in his way. Such is his reputation.

Rape and sexual perversion, sexual menacing, sexual intimidation are disgusting and where criminal, deserving of prosecution. The thought of Harvey Weinstein behind bars is deeply satisfying, if not fully enlightened.

Everyone is asking how it’s possible that his behavior was allowed to endure for so long. The suggestion is that somehow, women and girls who were subjected to Harvey’s grotesque behavior are in some way complicit. Low hanging media fruit is to attack politicians for accepting donations and other fundraising help from the legendary industry predator.

It’s a pervasive culture. That’s the cry. Everyone says, it’s time for the conversation to start. That ol’ chestnut. The basic themes and salacious reporting usually turn back in on itself and the so called conversation stalls. We all revere successful businessmen. So called “powerbrokers” are lifted up in many ways, financially, socially, politically, personally. All manner of bad behavior is tolerated as long as the hits keep coming, as long as business thrives.

The women who’ve been abused and the women who have spoken out should be celebrated for their courage. I also think that every single person who was bullied and abused in business by Harvey Weinstein should also speak out.

If the story starts and stops with Harvey’s sexual abuses and doesn’t expand to include the heinous behavior that he visited on women and men, in countless ways, throughout the entertainment industry, the full story will not have been told and the opportunity to change the culture will have been left wanting.

This is my hunch, my instinct and my intuition, informed by working for a few decades in the industry, a few direct experiences with him and many many more stories that were very close to me. Harvey was one of the Executive Producers of Lord of the Rings. A couple of years ago, Harvey behaved in an aggressive, insulting and basically rude manner with me on a call. He wanted something from me. I listened politely. I spoke respectfully. And I told him no.