Dceu heroes: act like actual people with a range of emotions depending on the situation they’re in. Some have a history of trauma or ptsd that is depicted in the films.

Some people: what kinda dark and gritty shit is this? Heroes acting like actual people and not caricatures? This universe is doomed.

Courtesy of “The House Book” by Terence Conran/The Crown Publishing Group

Sign of the Times | Loving the Unlovable Decade

Long derided as tacky and vulgar, the design of the ‘70s is now a source of great inspiration.

See more here

And here’s the other thing: Serena has dominated the world of tennis for two generations against a backdrop of racist, sexist rhetoric and commentary from sports fans, sports media, and the general pop culture world at large. Her body is sexualized and scrutinized more than any other athlete in the modern sports world (as is almost always the case with black women). Her powerful presence is interpreted through a dehumanizing racist lens. Serena is chastised, mocked, and derided for things we celebrate and honor about John McEnroe (on-court intensity), Andre Agassi (off-court branding), Boris Becker (aggression), Roger Federer (arrogance), and on and on.

She has done it longer and better than any active athlete in America. She has done it all by herself. She has done it right in the middle of a perfect storm of misogyny and racism. And she is showing no signs of slowing down.

Serena Williams won a Wimbledon title again this morning. Serena Williams is the greatest athlete in America.

But four albums into global success no one could have predicted, One Direction aren’t getting the hint to wrap it up. They know you’re out here side-eyeing their reality show roots, deriding their young female fanbase, and dismissing their shiny pop sound, and not only are they not bothered, they’ve used that blind hatred to broaden their ambitions beyond what their critics think they deserve. Four is a focused, genuinely fun pop-rock album, and a sign of truly promising growth that isn’t likely to taper off soon. “And we go and we go and we don’t stop,” they sing in the sprawling breakdown of the ambitious, punk-tinged closer “Clouds.” It’s not a threat, it’s an invitation to take them seriously. What’s your excuse?
—  Source and the tears stream down my face

So I designed & illustrated the Centennial Edition of James Joyce’s “Dubliners” for Penguin Classics.

Early on I decided against writing any blurbs & bios, instead I wanted to approximate Joyce’s techniques in visual arrangement, medium and form. I started with an infinite crowd frozen between movement and paralysis, for the back cover I played with various links between the stories and designed the flappy layout accordingly: it opens with the beginning of “The Sisters” and closes with the ending of “The Dead,” at which point you dear reader should be in tears.

“Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.”

I remember being lulled by the narrowing sweeps of the book’s final passages and feeling that the 27 slowly sailing through the tenderloin is no longer the same 27, not sure how, just the vague sensation of a translucent film newly pasted between the vision and the brain, ineluctable modality et all. Joyce’s imagery is already complete in its universality and exactitude making any attempt at illustration pointless by default and no, I’m not just dissing myself, I only wanted to put a link to these brilliant Joyce covers by Peter Mendelsund.

Great big thanks to Paul Buckley (his Penguin 75 is a must-read) for the assignment and for allowing me to do the entire design, I’m deeply honored to be in the company of all my cartooning heroes: Seth, Sammy Harkham, Ivan Brunetti, Jason and many others. In fact I think I’m the only one in that company who doesn’t have a book. Yet.

Managing trauma does not require dismantling structural racism, which is why university administrators focus on avoiding triggers rather than implementing zero-tolerance policies for racism or sexual assault. Buildings will be renamed and safe spaces for people of color will be created out of a sliver of university real estate, but proposals to eliminate tuition and forgive student debt for the descendants of the dispossessed and the enslaved will be derided as absurd. This is also why diversity and cultural-competency training are the most popular strategies for addressing campus racism. As if racism were a manifestation of our ‘incompetent’ handling of 'difference.’
—  “Black Study, Black Struggle,” by Robin Kelley
Fabiola Gianotti Becomes First Woman Physicist to Take the Reins at CERN
Previously, Gianotti headed the ATLAS collaboration, one of two teams responsible for the discovery of the elusive Higgs boson on July 4, 2012.
By Jennifer Ouellette

Particle physicist Fabiola Gianotti has become the first woman to head CERN, the organization based in Switzerland that is home to the Large Hadron Collider. She succeeds outgoing director-general Rolf Heuer, who oversaw the laboratory’s operations for the last seven years.

Previously, Gianotti headed the ATLAS collaboration, one of two teams responsible for the discovery of the elusive Higgs boson on July 4, 2012. She quickly became a favorite figure in the media coverage surrounding that achievement — partly because of her gender (only 20% of the ATLAS team were women), and for her elegantly understated style, but also for her good humor.

For instance: Her use of the much-derided Comic-Sans typeface on her Powerpoint slides during that historic announcement was the source of much Internet amusement. Gianotti took the ribbing in stride. She even made an April Fool’s Day decree to make Comic Sans the official document typeface for all of CERN. She was a runner-up for Time magazine’s Person of the Year in 2012.

Gianotti’s father is a retired geologist, while her mother had a passion for music and art. Their daughter, born in 1962, effortlessly straddles both cultural realms, excelling not just in physics, but also music, cooking, and even dance (she trained as a ballerina as a child). “Musical harmony is based on physical principles while in cooking, ingredients must be weighed out with precision,” she told the Guardian in 2014, when her selection as the next director-general of CERN was announced. “At the same time, you have to able to invent, because if one follows the same recipe all the time, you never create anything new.”

There’s something really inherently disgusting about Bernie Sanders memes that hinge on ‘telling people they can get everything for free is a scam/childish make-believe’

Americans are so used to poverty and a government that puts all its money into military and business they have no idea how to react when told they deserve better. It’s like somebody’s half-assed future dystopia.

Cultivate an atmosphere of aggressively masculine self-sufficiency and lower the public’s expectations of what a government can handle and you’ll end up with people trained to deride anyone who attempts to help them. Republicans won’t even need to criticise Bernie themselves if people have been conditioned into thinking they don’t need help and have practically religiously fetishised the idea of wealth naturally providing for those who deserve it.


I have known people who have contracted and died from HIV/AIDS. Close friends and family. Calling it a horrible disease doesn’t even begin to cover it. NO, Charlie Sheen absolutely should not be scorned, made fun of or otherwise derided for contracting the disease. Regardless of how he got it, such scorn is ignorant, wrong and likely stems from homophobia.

It is physically impossible for me to care any less about his drug usage or his sex life. That’s his personal business. Period.

BUT HELL YES SHEEN NEEDS TO BE DRAGGED FOR MAKING THE CONSCIOUS CHOICE TO HIDE HIS ILLNESS FROM EVEN ONE OF HIS SEXUAL PARTNERS. Not telling them about his illness potentially put their lives at risk. Not only is that beyond selfish, it’s also a criminal act in the state of California where he resides. By willfully denying his sex partners the right of informed consent, Charlie Sheen has probably done more harm to those suffering from the stigma of living with HIV/AIDS than anything in recent decades.  

There are more deserving people out there who are better advocates for those living with HIV/AIDS. Charlie Sheen, a known domestic abuser, does not deserve a single accolade for “bravely” talking about AIDS, especially considering that the only time America shows compassion for HIV/AIDS patients seems to be when straight white men contract it. 

The Emotion of Aesthetics

Cinema is primarily a visual medium, which is easily forgotten now in an age where derided blockbusters are often mocked for having more money spent on the spectacle than the script. Visual beauty is undervalued and seen as mere surface, lacking in deeper meaning or resonance. And that, in my view, is a shamefully ignorant and reductive stance. While I’m not going to reject the idea that a script is important (it is, of course), I personally value films more for their aesthetic qualities than their wittiness or tight plot construction. I’m an intensely visual person, so I find that great emotion and power are conveyed through composition, set design and lighting.

While my personal experience of these aspects of a film is just that - a personal experience - there is something inherently emotional about the aesthetics of The Force Awakens. And this, of course, is by design. No aspect of a mega-budget franchise film like The Force Awakens made it onto screen by accident - every single shot was carefully designed and tooled to appear in a certain way.

With that said, I want to consider the visual aspects of three key moments in The Force Awakens, analysing them to determine what they convey about the characters and their emotions and conflicts.

Rey’s interrogation

I’m going to start off by briefly explaining the set-up of Poe’s interrogation, since it’s an important counterpoint to consider when stressing how loaded the aesthetics of Rey’s interrogation are. Poe is interrogated in a dark, grimy-looking room. The sinister paraphernalia of torture are emphasised in the background, and every aspect of the scene is tooled to suggest the brutality and cruelty of the First Order generally and Kylo Ren in particular. In other words, it’s a standard scene stressing that the bad guys are bad - basic stuff.

In Rey’s interrogation, however, it is immediately striking that she is bathed in light. Her off-white costume seems almost luminescent, and she is displayed on a tilted, elevated slab as if she were a trophy, or a prize to be admired. Kylo is crouched across the room from her, literally waiting in the shadows as he looks up at his prisoner. In the scene, Rey is a very literal manifestation of the light he has been struggling with. And despite his oft-vocalised desire to reject the light and its temptations, in Rey he clearly finds the light inherently fascinating and worthy of his attention and admiration - he is irresistibly drawn to what he is desperately trying to reject.

The dichotomy between the dark and the light becomes even more blatant when Kylo gets close to Rey - light almost seems to radiate from her face, but even though he is close beside her, Kylo remains in the darkness, only faintly touched by her luminescence. So, in this scene the lighting very literally manifests both Kylo’s inner struggle and the conflict that has always been central to Star Wars - the primal conflict between the Light side and the Dark. 

Han’s murder

The Force Awakens is explicit about Kylo’s motivation for killing his father. Kylo tells Han openly: “I want to be free of this pain.” His voice quivers with emotion, and his sincerity is painfully clear. The film has lingered on Kylo’s torment and instability on multiple occasions, and in the act of Han’s murder we see Kylo’s attempt to resolve all of his immense inner conflict. He perceives Han as enduring proof of the frailty and inadequacy of Ben Solo, and so resolves to kill him to give himself over to the Dark side entirely and find a kind of peace.

While that is Kylo’s thinking, he’s not entirely committed to it - indeed, there’s still hope for him and Han as long as the sun, which is being sucked dry for its energy, is in the sky. But as the conversation between Han and Kylo progresses, the sun dies, its light failing entirely and leaving the room in shadow. When the sun dies, the hope for the father and son dies with it. The only light present when Kylo ignites his lightsaber, murdering his father, is red and artificial. And red, it’s important to remember, is the colour of passion, rage and emotion, none of which can be even remotely associated with the peace that Kylo so craves.

The red light bathes Kylo’s face as we see him register what he’s just done, his faced touched by sadness and regret - he hasn’t found the peace he sought, not even after committing an act of ultimate evil. A few shots later, when he looks up and see Finn and Rey on the balcony looking down upon him, the lighting makes Kylo appear positively demonic. He seems to surge up to pursue them, seemingly rising from the infernal fires of hell.

The climax of the duel

At the climax of the duel between Kylo and Rey, things start to fall apart - and I mean that in several senses. The landscape that forms the backdrop to the fight is literally crumbling, subsiding into a fiery mass beneath their feet - Rey and Kylo contribute to the planet’s disintegration by taking out various trees with their lightsabers. In short, the scene is characterised by cataclysmic destruction and the disintegration of an emblem of power and authority in Starkiller Base. And, I would argue, this chaos and disintegration is matched by the emotional conflict of Kylo and Rey.

This type of evocative, emotion-laden landscape is a common convention for modern big-budget spectacle films, but it goes all the way back to German Expressionism, a movement in silent cinema that rejected realism in favour of sets and filmic techniques that attempted to visually represent interior emotions and feelings.

During the duel, Kylo and Rey are both in states of intense emotional distress. Kylo only intensified his self-doubt and inner conflict by murdering his father, and far from becoming peaceful and stable he has become heavily emotional and chaotic. He pursues Rey and Finn without giving a thought to his injury or the illogic of it, driven purely by emotion and a primal desire to emerge victorious. Rey, for her part, has just watched as her mentor was murdered and her friend savagely wounded. She is distressed, angry and terrified, so her emotions are just as chaotic as Kylo’s.

When they lock sabers at the cliff edge, you see the characters and their emotions complement each other. Kylo seems disturbingly soothed when he believes Rey to be helpless and at his mercy, but his lips twist into a snarl when she attempts to draw upon the light - in this way he is both trying to resist her and trying to impress his own emotions upon her, rejecting the light and desiring her to do the same. And then Rey presents a snarl of her own, her expression becoming almost animalistic in the moment before she ducks and begins to overpower Kylo without pity or pause for reflection.

This conflict between them, which is sold so well by the actors’ subtle shifts in facial expression, is also embodied by the lighting. Unlike in the interrogation - where Rey reminded solidly in the light, with Kylo consigned to the dark - both characters now share the same erratic, unstable illumination of their locked weapons. Rey’s face is tainted by flashes of red, while Kylo’s eyes gleam from her light. This lighting has deep symbolism and resonance attached to it, for as ‘cool’ as it looks it also heavily foreshadows the dynamics we can probably expect in the sequels - a battle between the Dark side and the Light where the lines between the two won’t be as clearly drawn as we have come to expect.

the villain of Legend of Zelda has the exact same backstory as wonder woman~*~*~*~*~*

He is a 7'5" gigantic burly wizard feminist raised in a race of male-deriding fiercely independent warrior women that only ever have female children (besides him). He is the only male, adopted and raised and taught magic by two ancient unapologetic crone-witches that he later names his swords after (sob)

ganondorf is used to female superiority to the point where he would probably not even be able to parse power inequality favoring males - he was literally surrounded by nothing but ladies 24/7 growing up.

the rest of the races have an extreme racial/sex-based hatred toward
Ganondorf’s matriarchal all-female race - the leader of the patriarchal all-male Goron race at one point says how much he hates them, and you hear almost violently negative, suspicious remarks about them from random townspeople. 

Ganondorf begins to interact with the patriarchal societies outside his own, more and more, and eventually becomes obsessed with ruling the world outside his desert. the further he gets away from his sisters and his feminist homeland and the more power he accrues outside of it, the more cursed and power-hungry he becomes until by the end of the game you find him where he ends up - alone in a cursed demonic castle filled with monsters, nowhere near his sisters or his home, literally turned into a monster. (((((exposure to patriarchy will do that to you)))))

but still, he was raised by women, and he is a feminist so deeply he doesn’t even think about it - he only takes Princess Zelda seriously as a threat the moment he learns she is a woman (when she stops passing as the (dangerous-looking) male persona she had used to hide from him for all her formative teenage years and puts back on a demure princess dress (but, oh man, zelda in this game is a whole other gender essay entirely). (eta: And late in the game, he admits that he “underestimated this kid” - that he didn’t take Link seriously compared to Zelda. He looks down on Link because of his gender.)

both ganondorf and princess zelda are (perhaps unintentionally, but still unarguably) genderqueer characters, balanced against the main character who is a 12-year-old, raised by a race of children, trapped in an adult’s body.

Ocarina of Time is a really neat, powerful game that asks a lot of interesting questions (perhaps unintentionally) about gender and racism and childhood and growing up and doesn’t really answer them. It leaves the questions and answers up to you. It’s one of my very favorite games to think about when it’s not making me weepy with nostalgia.

Zayn Malik Takes Controversial Pro ‘Minions’ Stance

Like any bold, provocative work of art, Despicable Me prequel Minions – a film starring pill-shaped creatures incapable of speaking words or displaying depth – has proven divisive in the film world. While some critics praised it using effusive language like “harmless” and “inconsequential,” others have derided it as “complete nonsense.”

Won’t anybody stand up for the (literally) voiceless minions?

Enter Zayn Malik. Since leaving One Direction, the ex-boy bander has been increasingly vocal on social media. Now, he’s using his influence and power to stand up for the downtrodden CGI masses.

“Didn’t realise the hate for minions was this real fuck these aliens got it bad,” Malik opined. “I have minions on my jumper and there sick .. #Don'tmesswithminions”

So impassioned was his plea for tolerance that he used “there” instead of “they’re” and screwed up a hashtag with an apostrophe. Or perhaps that’s what he intended – maybe #Don is one of the Minions-hating critics whose anger he so dearly hopes to assuage.

You know who else loves Minions? Russia! The film recently became the second-highest grossing flick ever in Russia, and boy, does that country have things figured out.

So please, Don, take Zayn’s lead – open your heart enough to let dozens of shrill, babbling monsters whose film is a certified splat on Rotten Tomatoes inside.

Friends on the other side
  • Friends on the other side
  • Dr Facilier
  • The Princess and The Frog

Dr. Facilier:
Don’t you disrespect me little man.
Don’t you derogate or deride!
You’re in my world now, not your world.
And I got friends on the other side.

He’s got friends on the other side.

Dr. Facilier:
Thats an echo gentlemen,
Just a little something we have here in Louisiana.
A little parlor trick, don’t worry.

Sit down at my table, put your mind at ease.
If you relax it will enable me to do- anything I please.
I can read your future, I can change around some, too.

I look deep into your heart and soul- you do have a soul, don’t you Lawrence?
Make your wildest dreams come true!
I got Vodoo, I got hoodoo, I got things I aint even tried!
And I got friends on the other side.

He’s got friends on the other side!

The cards, the cards, the cards will tell.
The past, the present, and the future as well.
The cards… the cards… Just take three.
Take a little trip into your future with me!

Now you young man are from across the sea.
You’ve come from two long lines of royalty,
I’m a royal myself on my mother’s side.
Your life style’s high…!
But your funds are low…

You need to marry a little honey whose daddy got dough.
Mom and dad cut you off, huh playboy?
Now y'all better get hitched, but hitching ties you down-
You just wanna be free, hop from place to place,
but freedom, takes green… Heh heh heh…

It’s the green, it’s the green, it’s the green you need…!
And when I look into the future is the green that I see.
On you little man I don’t want wanna waste much time.
You’ve been pushed around all your life!
You’ve been pushed around by your mother,
and your sister and your brother.
And if you was married-
you’d be pushed around by your wife.

But in your future- the you I see…
is exactly the man you always wanted to be.
Shake my hand. Come on boys, won’t you
shake a poor sinner’s hand…?

Yes… Are you ready?!

Are you- ready?!
Transformation Central!
Transformation Central!
Transformation Central!

Transformacation Central! Can you feel it?
You’re changing, you’re changing, you’re changing alright!
I hope you’re satisfied.
BUT, if you ain’t, don’t blame me.
You can blame my friends on the other side… Ah ha ha ha ha!

You got what you wanted!
But you lost what you had!