deny deny deny!

anonymous asked:

I don't mean to sound doubtful, but how do we know that larries are truly the majority of Louis's fandom? I mostly stick to tumblr so I don't engage with anyone who aren't larries mainly because I don't follow them, so I always wondered how big of an impact we really have on a general perspective. I do realize we are a good part of it but would it be enough to sabotage Louis career-wise?

I didn’t say we were the majority - I only said we were a large portion. I have my opinion, but I don’t know for sure whether or not we’re the majority. Also, for the record, the stunt talk (and even Larry questions) don’t only annoy Larries - they annoy any fan who believes Louis isn’t straight (because there are those who don’t think he’s straight, but also don’t think he’s with Harry) and any fan who suspects that Eleanor and/or Freddie are stunts (even if they don’t think it’s a closet situation) and any fan who cares about the music, not Louis’ personal life.

As for Larries in particular though - we are the ones who led the No Control Project and Project Just Hold On, both with no support from One Direction’s or Louis’ team, and I think the results speak for themselves. Larries have led numerous charity drives for Louis and repeatedly raise $20k+ per drive. As annoying as they are, Larry-related worldwide trends have happened over and over and over again, and AIMH is the third most retweeted tweet of all time, both demonstrating our reach on Twitter. Almost every Larrie I’ve ever seen on Tumblr or Twitter doesn’t just buy one of Louis’ songs - they promote it endlessly on social media, lead projects for it, stream it continuously, and buy numerous copies for friends and family members and random people on the Internet who signed up to be sponsored. I’ve been here for five years and it’s incredibly rare to see a Larrie who is a “casual” fan. We go above and beyond. Anyone who denies that Larries and other non-het Louies are the portion of his fanbase who are the most vocal, who fight hardest for him, and who do whatever it takes to guarantee his success, with or without the support of his team, isn’t paying attention.

anonymous asked:

What did you think of Maggie's Plan? It was a big shift, when you consider Rebecca Miller previous films, and I'm still a bit perplexed about it. Do you know about other female film-makers who at some point took a unusual/unexpected turn in the kind of films they did?

I didn’t really like Maggie’s Plan. I actually don’t really like Rebecca Miller’s work very much but I did have my hopes up or that one because it was so different from her previous work. In the end it didn’t quite gel for me because even though I could see where she was going it never quite got absurd enough for me and the humour didn’t quite land. 

Your second question is super fun! I can think of a lot of filmmakers that took really twisty turns with their careers. Patty Jenkins first movie was a serious indie biopic about a serial killer (Monster) her second was a big budget superhero movie (Wonder Woman). 

I haven’t seen it yet obviously, but Mustang director Deniz Gamze Ergüven’s next film seems completely different from her first. Her first was about a group of sisters in Turkey being increasingly oppressed by their family and her second is a period piece set during the 1990 L.A. riots. 

Kathryn Bigelow’s entire career has basically been her jumping from one genre to the next. She did a biker film (Loveless), a vampire Western (Near Dark), a cop thriller (Blue Steel), a surfer/heist movie (Point Break) a scifi murder mystery (Strange Days), a war movie (The Hurt Locker) etc.  

Ida Lupino made a whole bunch of B-movie film noirs and then her last film was about best friends at a catholic boarding school (The Trouble With Angels).

Amma Asante went from making a gritty contemporary film on racism (A Way of Life) to making historical romances (Belle, Where Hands Touch, A United Kingdom). 

Niki Caro and Mira Nair are two more examples of directors who have jumped around genres, styles and projects so much I can’t even encapsulate the work they do. They’ve worked on everything from really personal indies, book adaptations and big budget studio films. 

And then there are also directors like Coppola or Claire Denis who actually jump around genres a LOT but because they adapt the genre to fit their style the shifts don’t feel so great. If you look at Coppola Somewhere and Lost in Translation can sort of be grouped together, but there is a huge difference between The Bling Ring, A Very Murray Christmas, The Beguiled, The Virgin Suicides and Marie Antoinette. 

And as someone who has worked my way through all of Claire Denis’ feature films she dabbles in genres way more than she is given credit for, but because her films have such a distinct feel they are kind of grouped together and those differences aren’t really discussed. 

I do love directors who consistently put out similar work like Nicole Holofcener, Kelly Reichardt, Miranda July or Andrea Arnold, but I am also a fan of directors who jump around and shift genres a lot. 

2

And a C4 for the loverly anon! ^_^ I accidentally made Geets a bit taller than Goku sooooooooo lets just pretend that Geets is like hovering above the ground a little bit or something > _>; yeah….lets go with that lol I think its also transparent? Idk still learning how to use fire alpaca lmao 

edit: so my laptop isn’t true color so I have to wing it and imagine what it’s gonna look like and soooo if you don’t click it then you get this nice ish pinkish red ish background but if you click it….it does something super dark which idk. 😆

Lupita Nyong'o was born in Mexico

that, by fact and legal definition, makes her Mexican

her parents are Kenyan making her a Mexican of Kenyan descent

she’s lived in Kenya and Mexico and she identifies as a member of both nationalities

y'all are not going to play these antiblack ass games with an afromexicana literally NAMED after Guadalupe

5

You know the most important thing your granddad ever taught me? Hmm? Be ready. Hurricane, flood, whatever it ends up being. No more food gets delivered to the grocery store, gas stations dry up. People just turn on each other, and uh, all of a sudden all that stands between you and being dead is you.

PRISONERS (2013) dir. Denis Villeneuve