i did not include every female

How they react...

… To you being a trained combat fighter.

♡ ♡ \ Request from anonymous / ♡ ♡

Can you do a how they should react to the reader being a fighter (female) ? Thank you so much!

I did this preference including pretty much every character so there is a bit for everyone.


Requests are open for preferences, GIF imagines as well as normal imagines.

Keep reading

anonymous asked:

bub can you tell me what happened now? What did i miss?:/

basically the media and harry’s team are catching on to our criticisms. first rolling stone briefly mentioned the discourse surrounding ‘carolina’ (including the bit that harry supposedly met this 17yo girl) and they swiftly changed her age to 20, which made things even more glaringly fake. not a good look. then there was a really uncalled for bit during the late late show that had james and harry joking about kendall jenner “laying every day” and people were obviously displeased. there was a big discussion about the lack of female influences in the LLS writer’s room and harry’s team to sign off on this whole line of promo in general. they then deleted the video and in a poor attempt at damage control uploaded another one that had three women - who were all looking uncomfortable and dead inside - talk about harry’s looks (i had to stop watching after 30 seconds, there may have been more). then the LLS twitter account went on to mock people who voiced their opinions about said video. in the meantime there were some more album reviews that took a very harsh turn (they also raised some of the issues we’ve been discussing, which is super great, but, in my opinion, unnecessarily tore harry to shreds about his musical influences etc.). i think tetra also did a thing just now so, all in all: another awful day in the 1d fandom.

anonymous asked:

What's your opinion on The Fates, Hekate, and Nyx?

The Fates for me, are incredibly cool, and let me take this moment to wonder how the fuck misogyny and patriarchy was even possible. (I’ve put it under a cut because otherwise it would be irrelevant). Anyway, the entire concept of them? Hell yeah. I dislike the concept of fate, but love this portrayal of it.

Hekate: Helpful and her domain’s awesome. What’s not to like?

Nyx: I don’t know much about her other than she was pretty much feared by everyone and that she was incredibly powerful. Hell yes?

Keep reading

Lovely Morning

Klaus x F! Reader Just waking up to Klaus in the morning. Warning: Smut dont like no read! ♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡ STORY START: Y/N sighed as she turned in the covers. It was a very cold morning so she was delighted that she was snuggled in her blankets.She yawned as she turn over again trying to get more comfortable. She felt a strong arm wrap itself around her waist pulling her closer to the body it belonged to. Klaus kissed her bare shoulder then her neck. She mewed and curled herself. Klaus would not be so rejected easily. He playfully rubbed her bum casuing her to jump from the sudden action. She turned to him “Behave its early…” she groaned. Klaus kissed her lips “It’s 5am…” he replied kissing her once more. “Sooo apparently that’s late for you?” She laughed. “No, but…I need you to help me take care of a situation.” He purred nibbling her ear placing her hand on his crotch. She moved her hand and turned away from him. “I think you can take care of that on your own” she was only teasing, she loved playing hard to get. The more of the tease she was the rougher he was and she loved it. She even swayed her butt against his bulge causing him to groan. ♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡ “Y/N…” Klaus growled, he didn’t want to play her games, he wanted to make love to her. He got up and moved her onto her back and kissed her wrapping her legs around him as he pressed himself against her. She gasped kissing him back. The only thing she wore to bed was her underwear. So Klaus had access to everything besides the area he really wanted the most. “Klaus…” she moans as he took one of her nipples into his mouth. As he switched sides, his hand slid down their bodies moving her panties to the side. She was already wet she shivered as the cool air hit her lower regions “Tell me you want me…” Klaus said kissing her neck and chest, his fingers teasing her clit. She bit her lip refusing to say anything. He stopped his fingers causing her to whine “Say you want me Y/N…If I tell you once more, I stop completely and finish myself and make you watch me tied up so you cant touch me or yourself…” he said this kissing her cheek and forehead. She pouted “Please Klaus…” she tried to buck again his idle hand. “You know the words love…” Klaus smirked at her attempt. “Klaus…I want you please…” she said low. Next thing she felt enter was not his fingers but his member. She moaned as she felt him filling her. He didn’t wait for her to adjust to him, he thrusted himself inher roughly. Groaning how tight she was. ♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡ No matter how many times they had done this, she was always has tight as the first time. As he thrusted she bit her lip to muffle herself. It was 5 in the morning,others were sleeping including his daughter. He noticed and slammed his hips into her causing her to gasp loudly. “I wanna hear every sexy sound you make..” Klaus didn’t care if her beautiful voice was heard, he hoped it made every male and female in New Orleans jealous that he and only he can make the rose of New Orleans scream his name. “Klaus please~” Y/N started, he kissed her as he was getting close “rub your clit for me…” klaus ordered kissing her neck as his pace grew rougher and faster seeking his own end. She did has she was told and with 4 powerful thrusts she was crying out for Klaus. Klaus came shortly after grunting a “Yesss~” ♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡ After coming down from their high, Klaus held Y/N close. Rubbing soft circles on the small of her back. Her head was on his chest. “Is your situation handled Klaus?” Y/n asked chuckling. He thought a moment “Not exactly..” he smiled “Wha-!!!” She was cut of by his lips kissing down her body. He wanted a round two. ~End~ A /N: GIFS dont belong to me, and sorry this was so short and ending was bleh. Hoped you enjoyed and more will be coming soon!

Originally posted by our-sizzling-seduction

Originally posted by klopehybridss

Trans in Theatre: Adversarial and Jubilant Ultimatums

          After one of our late night dress rehearsals for Footloose, I felt a friend to my right grip my arm during our notes. She said, “Denny, are you okay?” and I realized tears were falling down my cheeks without my notice at all. At that point, everybody fixated their eyes on me and for the first time (of soon-to-be many), I felt seen but so unseen. This was my junior year in high school, and I was cast as the male lead, Ren McCormack. Despite the crisp dance moves and singing, the director kept telling me that something was still not right about my performance. She then sat with me until midnight, where we were the only ones left on stage. Through the shakiness in my voice and my hands burying my face, I said, “It’s just hard playing something you know you’re not.”

           She looked at me, and for the first time, I think she really saw me.

          My senior year I was cast as The Leading Player in Pippin, a gender neutral character with a presence so demanding you can’t take your eyes off the charm, wit, and agility. Around this time I was sneaking out late at night, dressing up with my friends and going out. Liberating myself from gender roles and rebelling against their normalizations kept me stable emotionally and mentally. I was in a place where I had to dissect gender to its core in order to sort myself, and experimenting with winged eyeliner paired with a staple dark red lips and too many striped dresses allowed me to come to terms with myself at my own pace. I took advantage of the ambiguity of gender within my role in the show through androgyny.

           Femininity turned from secretive repression into a hobby.

          My first theatrical experience in college was an identity play reading for The Laramie Project, a collection of reactions to the homophobic murder of Matthew Shepard in 1998. I auditioned for two women in the room, one who was an upperclassman directing the play, the other an older white woman who accompanied the student director. She had a sweet and nurturing voice, and a full head of gray and white hair that complimented her soft smile. I felt an odd sense of comfort for a strange white lady I barely knew. She still recognizes me now and wishes me well whenever we bump into each other. I read a monologue they provided and was contacted the next day to play Romaine Patterson, the lesbian best friend of Matthew. It was my first time reading a part that was inherently for a woman. I don’t recall my exact emotion that given moment, but I know I was happy. Telling my friends about it felt radical and transformative. To be seen as a genderqueer person of color beyond that identity and only for talent was a big deal for me. Previous auditions for The Voice and X-Factor never went well because like my high school director, the producers could tell something was off.

           I started to, too.

          The following semester, I took an acting class. The second I walked into the first day of class and saw twelve fraternity boys was the second my own ideas of theatre spaces being safe from potentially harmful masculinities were proven wrong. My professor was a mother with a smile as big as her frames, face framed by the middle part of her dark curls as beautiful as her name—Carmela. Her fingers were crowded with unique rings, her outfits casual yet bold with statement pieces—I could tell this person was comfortable with who she was, while remaining to be somewhat reserved. I envied her. I wanted her womanhood, although confusion overshadowed my lack of vocabulary to express this specific desire. All I knew to do was to wake up two hours prior to classes for the sole reason of feminizing myself. But the hesitation on femininity started the moment she referred to me with “she, her” pronouns, which led the entire class, including the fraternity boys, to do as well. At the time I reserved to gender neutral pronouns because I knew I wanted to detach myself from anything innately considered ‘male’, and unlike the most heard trans narratives, growing up without exposure to trans folks (a conscious one, that is) left me thinking my gender was concrete, and Carmela was another person to see me beyond what I knew was possible, and that is woman. Her de-solidifying my possibilities as a person gave me space to let my gender identity move and rebuild, even with words as scary as “her” and “girl”.

           Not once did I ever correct anybody in that class.

           Transitioning started the summer after that. I officially came out as a woman, and coming back to school was surprisingly easy. I never thought much about what it must have been like for everyone else, which led me to sleep comfortably every night thinking everyone around me must be on board as well—the theatre department included. I wish people spoke to me about concerns, or vocalized their questions, in which I would have been much slower and more patient moving forward. Instead I felt immortal and unbeatable, and receiving my first female lead in a show the same day I started my medical transition were only further signs that I was going in the right direction. I was misgendered throughout the show but I disregarded that. I recognized the ways in which I could have been critical in the moment but I disregarded that. I refused to admit that people were not seeing me as a woman because I accepted and made effort to uphold how progressive everyone involved in the production must have been to include me in the first place. Although I wore an exquisite wedding gown, I also wore three noses but I disregarded that. I felt beautiful in the midst of knowing the audience saw me otherwise—I played the freak but I disregarded that. I kept quiet because a part of me felt that staying silent as the team player would access me to more opportunities. I was right. A few months after, I was cast for the following semester’s show, where not only did I play a woman, but a woman of my race. I thought the recognition as a woman of color meant that I was perceived twice—for my gender, and for my racial background. But I was still misgendered throughout, therefore disregard became a way to navigate spaces where successes and failures were happening simultaneously.

          Earning my first female role as an openly trans woman should have been the starting point to education beyond inclusion, because what is the point of inclusion if we are unaware of its purposes? What is the point of adding flowers to the living room if there are no given benefits to the overall goal of aesthetic aside from sole decoration? My personal purpose was to prove people’s inherent assumptions about trans talent wrong—not to be tokenized. It still is. But being in my position and getting two leads in a row, I had a responsibility to fulfill. The fulfillment of my responsibilities became highly prioritized because I know opportunities like these do not always work in the favor of girls like me. Taking it for granted was never an option. So when I found out I was the only woman of Asian descent to even audition I kept pretending that I played these roles because I could, not because I was needed; because I have talent, not because of profitable aspects about myself that could satisfy their agendas.

           For the next few months I shared my story, making sure I expressed that it was never just a role I earned, but that I was transitioning under a microscope for the majority of campus to watch. Therefore, people knew who I was and could comprehend how big of an accomplishment this must have been for me. I bounced from one interview to the next ranging from friends’ articles to local newspaper journalism, giving them the heroic story I knew they wanted. Here I was, a nineteen year old Southeast Asian trans woman spilling my story of the adversity of transitioning at school, whilst spilling my story of triumph and attainment of playing main female characters in the theater department, knowing that there were gaps in between one story of challenge and the other of execution. I did not tell them that many people were struggling to see me beyond a man, that these roles were not the only thing I was “acting” in. I did not tell them that I felt the pressure to act woman on the daily—for the sake of being understood— and add on my character on top of that to act for. I did not tell them that I felt exhausted, stripped of my own personhood. But most of all, I did not tell them these feelings because I was warped in my own thought that the things I accomplished were courageous, and nothing else.

           I was happy, though.

           At least happy enough to come back my junior year believing I was going to be seen no different from the rest of the girls during auditions. Especially because none of the roles required the women to be a specific kind of woman, and therefore I sought after them as my perfect chance to really prove people that I was capable and deserving of a female role with no strings attached. For the first audition, I studied the script months prior to the audition day and created two monologues on my own from pieces in it. Oddly enough, the night of auditions, there were two female monologues provided, in which they were almost identical to the one I put together. Instantly I felt at an advantage because it was clear that the visions I had for these women were very close to the director’s. For the first time, I did not have to use vulnerable parts of me as a source of reliability, only creativity and deep understanding of the script. The second audition was for the only female role in the show. Her character development was built off of the desire and dream to be a forefront leader despite—or maybe even because—of her gender, a desire and dream I hold closely.

           The following day I searched hard for my name on the callback list before realizing that I was not called back for either shows. I felt the people behind me looking over my shoulders to see the cast list, and in their exhales I heard “Sorry, maybe next time,” “Yikes,” “I feel bad for you,” “What happened?

           What happened?

           I felt myself in shock, but worked painfully hard to prevent any showings of defeat or weakness. I came into my junior year with content and pride in the conquering of my endeavors, and within those five seconds of glance I started to question everything I might have done wrong. Straight away I put the responsibility on me, because the professors I have worked with know what they are doing, right? They are the ones whose judgments should be trusted, no? During a callback, the people who auditioned are asked to come back because the directors or anybody else involved were interested in what they had to offer during their auditions. This can either solidify the decision to cast these people, or make them change their minds. To be stopped before the second process confused me in all angles. I saw myself back in sophomore, junior, and senior year of high school where producers never passed me through the first rounds of The Voice and X-Factor auditions because they knew something felt misaligned. But this time, I was whole, with the strongest sense of identity out of all twenty years of my life, so therefore, my identity could not have been the reason, no? I don’t want to believe my transness is the reason I was not granted the opportunity to prove myself past auditions, and it took me strength to slowly admit to myself that my experiences in previous shows were never perfect. Some days they were barely validating or comfortable. It was a difficult process having to prove my own gender before the characters I played.

           I learned to prove myself—(cis) womanhood before talent, whiteness before talent, Americanness before talent (unless my race is needed)—twice as hard for half the consideration before somebody else’s name blankets mine. When I do earn a part, I memorize my lines twice as hard for half the recognition compared to someone who might embody surpassing privileges that give them access to opportunities where recognition is a routine experience in their involvements in theater. Over the past couple of months my peers in the department have comforted me with words like “it’s not fair to you,” “your gender is valid regardless,” “this is not a representation of your talents.”

           For those who have been my backbone throughout this emotional calculation, I profoundly thank you. However, the problem is that there is more to this. I am not seeking out validation—I know I’m valid. I am not having these conversations to re-stabilize myself as if I’ve lost a sense of identity, but to redirect the conversation and have everybody else acknowledge why they don’t have it as exhaustive, and what integrating privileges they possess that allows them to think this issue is one sided, and therefore lacks a need to hold themselves accountable at any extent. Many of the minoritized students participate in the identity play series, where their theatrical experience lasts for only one to two weeks for rehearsals—the performance production is not as tumultuous as the faculty or student directed shows. The series allows for many unheard narratives to be on the front lines of exposure and the following discussion sessions open up the conversation into further depth. However, many of the participants are only exclusive to identity play readings, and the space to welcome them (with effort) to larger scale shows in the department is limited, thus there is an imbalance between the demographics of the regular members who participate in major production shows versus the ones who are part of the identity series. This leads to the impression that those whose identities are minoritized are utilizable when their otherness is needed—a deep pain I know all too well.

           My experience in the department lies at the crux of having enough marginalized identities to truly transcend in identity play series with personal authenticity and having enough past experience to be given roles for the main stage. I aspire the space to roam freely where I can openly talk about what it means to be an Asian transgender woman in the theatre department, but also where I can express myself artistically without my sense of self being the source of muse for whatever it is I do on stage. It is impossible to completely disregard my transness, but to make my work revolved around it is no better.

          There is a way for transness to flourish in plays and productions that have the potential to be progressive. Angel from Rent encapsulates the reclamation of femininity (for a person who is inherently not meant to be feminine under the socialization they were enforced into) as her narrative parallels amongst many trans women who internally struggle to claim their own girlhoods. In this I see a theatrical opportunity to have the production not only progress the show, but allow opportunities for trans women of color to showcase talent, even if Angel is traditionally a drag queen of color. A modernized adaptation allows a political play to move along with progressing politics.

           There is also a way for transness to not completely diverge from any other plays, because trans narratives are not completely alienated from non-trans narratives—there will always be a bridge in between. In 9th grade, my English class read Romeo and Juliet, and nobody volunteered to read for Juliet. I felt her character on a deep level but hesitated to raise my hand—not only did I lack the language to describe my situation, but so did everybody else. All I knew is that there was more to Juliet than a girl who falls in love with a family foe; there was a young woman who craved to liberate herself from her family’s containment in order to pursue a more novel life. Due to societal pressure to please others before herself, her option was to take her own life—an emboldening statement of redemption and salvation. This is not uncommon in many lives of trans women and trans femmes. In 2014, Cincinnati, Ohio, a 17 year old transgender girl named Leelah Alcorn stepped in front of a tractor trailer on Interstate-71 after posting a suicide note online saying “My death needs to mean something.” In her note, she mentions “When I was 16 I realized that my parents would never come around, and that I would have to wait until I was 18 to start any sort of transitioning treatment, which absolutely broke my heart.” In Leelah’s heartbreak I see the story of Juliet—a suicide not driven from love, but driven from social abuse that prevents the embrace of and ability to love. Adaptability of transgender stories into mainstream stories is possible.

           I dream of transness in theatrical spaces to be acknowledged, not as a cause for muse or a reason of dismissal. I dream of this phenomenon of theatre as a safe space for LGBTQ+ people beyond cis, white, gay, flamboyant men. I dream of trans girls and trans femmes of color like me celebrated on stage as much as we do advocacy off stage. I dream of people who hold power in theatre to mobilize their privileges, and hold themselves accountable to take it further to tell stories that matter, stories that marinate in truth, stories that can impact the audience yet provide benefits for those involved, because it is the right thing and it is doable if you care enough.

           Make them happen. If the show must go on, do not leave some of us behind.

"Equality" versus "Politically Correct"

(Reposted from my blogspot: http://fangirlofallthethings.blogspot.com/2015/01/equality-versus-politically-correct.html )

When I was twelve, I fell in love with the writings of J.R.R. Tolkien. I didn’t need a female in every single story to relate to the characters or be inspired by their decisions. Nor did I need a population of 50% female protagonists to appreciate the women he did write both as women and as characters. True equality is characters who are so inspirational, that if you retell the story and change their gender, colour, sexual orientation, abilities/disabilities, or other details that people in the Real World don’t choose, they are still just as excellent a role model as they are in the original story. And while I fully believe “minorities” should be included in fiction, they shouldn’t be shoved into the story to meet a certain quotia imposed by the Politically Correct Police. What writers need to understand is equality is about quality, not quantity. 

Take, for example, the third installment of the Divergent trilogy: Allegiant.Without spoiling too much of the plotline, at one point in the book Tris meets these two dudes who like each other. Their characters don’t add anything to the plot. They’re only seen once. So what’s their purpose both as characters and in for no apparent reason letting the protagonist know such a personal detail? Oh, well, Roth wants everyone to know that just because her main characters aren’t gay doesn’t make her homophobic! Is that equality? No. That’s political correctness.

In contrast, Doctor Who has had quite a few openly homosexual characters–some more open than others. Some gay. Some omnisexual. Some bisexual. Some lesbian. Some more openly out of the closet than others. And do there need to be as many as LBGT-Q characters as heterosexual characters for them to be treated equally? No. They’re treated equally because, just like their heterosexual friends, they have developed character qualities, preferences, histories. They’re not “the good guys” just because it’s “discrimination” to have any minority be the villain, but because regardless of how much of their background is laid out, the writers give us reason to believe their lives leading up to their introduction has shaped them into “good guys”. Captain Jack Harkness was introduced as a con man–not a “villain” in the traditional sense but not a goody-two-shoes either– but changes into a character whose life is dedicated to protecting a planet still learning how to deal with aliens. Additionally, they never have to shove it down viewers’ throats screaming “ACCEPT US! ACCEPT US! ACCEPT US!”, because acceptance comes through understanding, and giving minority characters equal backstory allows viewers to understand them as human beings– just like any other person.

Another example is Joss Whedon’s works. He is applauded for being a male who can write strong female characters. Yet though he has written women who are warriors (e.g. Buffy, Zoe, Melinda May), he also has done a brilliant job writing women who are strong characters without even wielding weapons. A strong character doesn’t need to be physically strong, which Joss displays beautifully as he has men and women who are physically strong, and men and women who are not physically strong. Xander and Simon certainly aren’t the type of men who get into bar fights because someone disagreed with them. Yet both men would gladly get pulverised to defend the people they cared about, which shows strength of character. Kaylee ran away from the only fight we ever saw her do so much as hold a weapon, yet she in no way is a weak character because of that–being put in a situation the character isn’t mentally adapt to doesn’t show weakness; it shows humanity. Not everyone in the Real World will learn how to shoot a gun or even disarm someone aiming a gun at them, and that’s okay. Because people have different emotions, different mental capabilities, and weapons aren’t for everyone. Kaylee is a strong character because she’s realistic. She’s a role model because she has the most compassionate heart. While we need characters like Buffy Summers to encourage us to be strong, we also need characters like Kaylee to hold our hand when we’re scared and remind us that to be afraid doesn’t mean you’re a coward, it means you’re human.

But way too many modern writers are buying into this idea that if you don’t have as many females in a story as males, the writer(s) are misogynist. Characters like Martha Jones, Haleth, Buffy, Tenel Ka, Elsa, and many more aren’t equal because they’re roughly 50% of the leading characters in their stories, but because the characters themselves are role models to the audience–and not for being a “minority” that has to be put into the story, or else the writer is discriminating. The best writers write “real” people and don’t give a fuck about being politically correct.

I could go on about different minority groups, but homosexuality and gender are two of the major hot-button issue-non-issues. Ultimately, until every story viewer can judge the quality of a character in a gender-blind, colour-blind, orientation-blind (etc. etc. etc.) manner, political correctness will outweigh equality.

Excel Spreadsheets are the coolest things ever

I freaking love them.  I make all my character sheets in Excel, because it’s a really efficient way to organize your stats and you can set it up to do most of the math for you.  Here’s part of Alia’s sheet from our current homebrew Pathfinder game.  There’s also a tab just for her spells and another one for campaign notes.

I also learned to to statistical analysis with Excel in gradschool, because it’s cheaper than going out and buying a program.  For the short time in which I was unemployed a couple years ago, I started my own research project on X Box 360 games and gender representation of protagonists.  That involved plugging in several variables for over 1300 games.  It got overwhelming after a while, and I never completed everything I intended to look at.

I did find that only 4.2% of games on the 360 have an exclusively female protagonist/playable character.  A little less than a third of games let you select your gender (which is skewed, since I included every game that had even one woman/girl as an option.  For example, some Dragon Ball Z fighting games have like 30 characters on the roster and only one is a woman, but it still counted).  44% of the protagonists are exclusively male, and 21% of the games don’t have visible protagonists.

Anyway, what I’m trying to say is that I compulsively feel the need to collect and organize data sometimes and Excel is like a drug for me.  

@kijilinn feels me

A Member of one of my forums recently posted this picture of his carpet after a feeding. Since I see so many new keepers on this site who are nervous about feeding large prey I figured I would share this photo in hopes of helping to alleviate that fear. Upon asking for permission to post this photo I also asked if they would like to include a little information which they did and it is as follows :

The snake is a 2011 88% jungle jag. He is about 4.5’ long. Dutch is typically fed a medium rat every 2 weeks but occasionally carpets like big prey so I gave him a large rat. This rat was about 2.5-3 times bigger than the thickest part of Dutch. I will wait a month now before I feed him again. I do this with my adult carpets as well. My 7.5’ female will get the occasional 3lb bunny as opposed to the normal jumbo rat. I just adjust her interval based on prey size. Many new keepers feed prey only the size of their heads. Carpets can eat prey up to 4 times their girth.”

By this post i’m not trying to tell people to start feeding huge meals, the general rule is an item bigger then the widest part of the animal, large enough to leave a ‘feeding bump’.

The point of making this post is to show people that these animals can take huge prey when offered, they were BUILT to take large prey. So please do not be afraid to feed your animal a meal that looks a little big because they can handle it.

EDIT : Member Flygex added this to my post which is a very important point :

“ CARPET pythons can handle huge meals. CARPETS. I just want to make sure people know that NOT ALL SNAKES can take huge meals. If you feed an emerald tree boa a meal this size it will throw it up immediately.”

I wish to add this to my original post in order to make things clearer 

“I realize I should have made this clearer in my last statement, I bolded what I bolded because the point of this post was to show that these animal are built to take meals bigger then their heads.

Flygex is correct in saying meals this size are okay for carpets (an some other animals). In general the rule of “bit bigger then the largest part of the snake” applies to most animals, it is up to the keeper to figure out what size meals work best. 

Again the point of this post is because i see so many under weight animals because people are afraid to feed meals bigger then the animals head.

My apologies for not being clearer.” - Animalmomca


(Rant) Jia and Tao 'We Got Married' Incident & My Opinion

As many of you know, BNT International Magazine released it’s August issue featuring miss A’s Jia. Jia looked stunning in the pictures and wowed not only Say A’s but many K-pop fans. BNT also had an interview with Jia to get to know her more. They asked plenty of questions, but one in answer in particular stood out.

When the interviewer asked what programs Jia would like to be in, Jia said “ Either ‘Running Man’ or ’We Got Married’. I would like to do 'Running Man’ as I like Lee Kwang Soo, and for 'We Got Married’, I think it would be fun if I did it with Exo’s Tao.”

The second I read that last sentence, I knew Jia would get hate. Every time you mention Exo with either a female idol/actress, 'fans’ go mental. The reason I’m saying 'fans’ is because I’m not including the whole Exo fandom. This is in no way an attack/diss on the Exo fandom. I’m saying certain 'fans’ of Exo are completely out of their mind.

After the article of Jia went out online, I checked her Instagram account for comments. Now this is what made me furious.

THIS IS UNACCEPTABLE!!!! How dare you say such words to Jia. Matter of fact, how dare you write that about someone all together! That is disrespectful, disgusting and upsetting. Imagine Jia reading that, imagine how upset she would be.

If you have either followed me for a while you would know that Jia is my ultimate bias and she has helped me overcome many things in my life. So to see this hate she is getting is horrible! What really annoys me is that Jia said nothing wrong!

LOOK AT WHAT SHE SAID!! She said it would be fun. Yet all these stupid people decide she is in love with him. It make’s no sense. Even if you go on Jia’s Instagram, you can see Say A’s and 'Fans’ of Exo fighting each other. There is no point!

Jia and Tao are very good friends. Jia and Tao are also in 'The China Line’ so that;s why it’s easier for them to talk to each other. There are many pictures of Jia and Tao together, either at events or with friends and there was barley any hate.

Even when Tao invited Jia and Fei to Exo’s first concert, Jia put up a picture on Instagram and there was no hate!

The comments were 'I love JiaTao’, 'I want Jia and Tao together’, 'Jia and Tao would make a cute couple’. Yet when Jia wants to film a show with him it ends up being a fanwar.

I understand that 'We Got Married’ would mean that Jia and Tao would be a 'couple’ and get married and maybe even kiss. But it’s not the end of the world! Jia probably said Tao because they are good friends not because she loves him.

I personally love seeing Jia and Tao together, but it’s sad to think if they ever were a couple the amount of hate Jia would get. I mean when Taeyeon from SNSD was revealed to be dating Exo’s Baekhyun, Taeyeon got so much hate she left Instagram for 2 months! That is horrible.

My point of this rant is that so called 'fans’ need to learn that your idols are human beings and you need to treat them with respect. You need to get out of your head that your going to marry your bias and live in the real world. You should be happy when you see your bias dating, it means they are happy, why would you ruin that. I love Yesung from SJ, but I know I will never be with him. I want him to date so he can be happy.  That’s all I wish for my bias.

Jia, do not believe what those people are saying. You are an amazing person, inside and out. Those people are jealous of your fame, looks or even both. Say A’s will always be there for you and we love you so much.

Tao is my bias in Exo. I will also support you till the end and I hope when you do find someone, you ignore the hate and be happy.

As I said before, this is not an attack on the Exo fandom. Many Exo-L’s were defending Jia on Instagram and saying sorry for other fans.

But there were still 'fans’ that say they love Exo, yet when a girl is involved they must 'protect their oppa’s.

So that was my rant, I hope you agree with what I’m saying. What do you think about the situation? Did it get out of hand?

Thank you for reading and I hope I made myself clear.

What are your thoughts?

Every animated female Disney human (or with human features) 

I only included the films made by Walt Disney Studios/Pixar Studios/DisneyToon Studios/Tim Burton and Disney

We Are Not Fiction

Homosexuality is real. It is not some kind of made-up condition to gain attention and it is not deserving of disrespect just because you think it’s “icky”.

Heterosexuality is real. It was not created with the intention of belittling other sexualities and should not be used for target practice just because they are the majority.

Bisexuality is real. It is not synonymous with “selfish”, “greedy”, or “indecisive”. They are attracted to both genders, but cheating is not inherently part of their lives anymore that it is with heterosexuals. 

Asexuality is real. It is not a hard-core game of hard-to-get; they really aren’t interested. Just because someone is asexual does not mean they do not date or have sex drives; romanticism and sexuality are not the same thing.

Pansexuality is real. It does not mean that someone is “down for anything” but rather that they are attracted to people based on personality and behavior instead of gender.

Demisexuality is real. It does not mean they are “finicky” or “stuck-up”. They need stronger bonds than most before engaging in sexual activity.

Transgender people are real. They are not “confused” or “attention-seeking”. They are not comfortable with their biological sex and don’t need you to make it harder for them.

Agender people are real. They are not being needlessly difficult. They don’t identify as male or female and that is perfectly fine.

Genderfluid people are real. They are not trying to be complicated and are not asking your permission. Sometimes they feel like a girl and sometimes like a boy, sometimes somewhere in between. 

WE ARE ALL REAL. WE ARE ALL PEOPLE. You can see a person that fits at least one of these categories and never know because it doesn’t change anything. Stand up every single one of these people in a row on the sidewalk and you would not know who was who. You will doubtlessly notice that I did include heterosexuals, because for some reason everyone else specifically targets them with outpourings of hate when by and large it is not their fault. They don’t choose their sexuality anymore than we do, and to treat them the same way that a great many people in general treat us is a pathetic cartoon-running-on-ice scenario that will never take us anywhere. If we want equal recognition across the board, we need to start cooperating with each other first. Because we are all real, and we deserve the same recognition as everyone else. I am sorry if I missed anybody, I did not intentionally exclude any party. We are all facing the same dilemmas, so instead of bitching at each other for being better off, let’s start working together to make all of us better off.

Taylor Swift's '1989' sells 1.287 million in first week

Just like that, 2014 has its first million-selling album.

Taylor Swift sold 1.287 million copies of 1989 last week, according to data from Nielsen SoundScan. As a result, the album becomes the first released this year to sell a million copies, and the year’s second-highest seller overall, behind the Frozen soundtrack.

It also means Swift sold more than two copies of1989 every second last week.

Swift is the first act ever to have three albums sell a million copies in a week. In 2010, her Speak Now sold 1.047 million. Two years ago, Red debuted with 1.21 million sales, the last album to top the million mark in a week.

“She’s an incredible anomaly, like no other artist,” says Keith Caulfield, Billboard’s associate editor of charts/sales. At a time when year-over-year album sales have fallen 14%, “she has convinced consumers to want to buy an album. They want the full and complete Taylor Swift experience, and that experience includes buying the album.”

Only 18 albums have sold a million copies in a week previously. Swift fell just shy of the 1.319 million copies Britney Spears sold of Oops! … I Did It Again in 2000, the most ever by a female act. That week, Oops! accounted for 8% of total album sales.

The week Red came out, it accounted for nearly one out of every five albums sold. With 1989, Swift’s percentage is even higher, grasping 22% of the total album sales for the week.

“I don’t think I’ve ever seen anything be that high a share of the total market all by itself," Nielsen SoundScan analyst David Bakula says.

Swift sold 470,000 copies of 1989 at Target, which carried a deluxe edition of the album with six additional tracks. In other words, Swift sold more copies of her album at Target than the year’s next-highest debut — Coldplay's Ghost Stories, with 383,000 — sold everywhere.

Swift’s sales exceeded industry projections at nearly every step of the way. Initially, industry analysts predicted 1989 would sell approximately 1.1 million albums. Three weeks ago, the number was downgraded to 750,000, Caulfield says, "because of the general overall downturn in the marketplace and how other significant releases were performing.”

But, “once the album actually got into stores, and they saw how it was selling in the marketplace,” he says, “every day the number started getting bigger. It just sold way better than they anticipated.”

Fans buying multiple copies of the 1989 CD could be one reason 1989 outsold Red. Each physical copy of 1989 came with one of five sets of 13 Polaroid photos.

“Anecdotally, we’ve seen through Twitter and Facebook that people are buying multiple albums, so they can collect all the Polaroid pictures,” says Target spokesperson Evan Miller. “We’ve seen people post every photo, so they’ve bought several albums." 


With all the meta and GIFsets around, I figured I should contribute to the equally abundant and lacking Bi Dean world.

Here is a list of episodes that include moments which point to Dean being bisexual. Approximate times are listed, along with a quick summary of the moment/few words to remind you of it.

1.08 “Bugs”

8:50–We accept homeowners

10:02–We accept homeowners

1.18 “Something Wicked”

12:56–Two queens

2.09 “Croatoan”

15:16–Handsome devil

2.11 “Playthings”


3.12 “Jus In Bello”

7:19–Kinky son of a bitch

4.06 “Yellow Fever”

20:30–You’re awesome

4.14 “Sex and Violence”

Pretty much the whole episode but specifically:

23:30–Strip club


4.17 “It’s a Terrible Life”

2:49–Health club

5.07 “The Curious Case of Dean Winchester”


5.08 “Changing Channels”

12:00–Doctor Sexy

6.05 “Live Free or Twi-hard”

14:17–You’re pretty

6.06 “You Can’t Handle the Truth”

9:50–Drilled a guy to death

7.12 “Time After Time”

7:29–Strictly into Dick


7.20 “The Girl With the Dungeons and Dragons Tattoo”

24:00–Not a girl

8.06 “Southern Comfort”


8.07 “A Little Slice of Kevin”


8.10 “Torn and Frayed”

39:21–End of the line

8.11 “LARP and the Real Girl”

21:16–Break up

8.12 “As Time Goes By”


8.13 “Everybody Hates Hitler”

14:11–Eye magic


18:44–My gay thing

8.23 “Sacrifice”


9.06 “Heaven Can’t Wait”

23:50–Tony Manero

I am fully aware that bisexuality includes attraction to women. However, I did not put down every moment where Dean displayed attraction to women because A) it’s an undeniable fact that is not disputed, and B) I would be working on this until February.

I didn’t include the ‘panties’ line from 5.04 because liking undergarments generally assigned to females does not indicate interest in males.

If you feel I’ve missed any moments, or if you have problems with any of the above, please tell me.

Steven Moffat's representation problem

The Twelfth Doctor is a white man.

The casting of Peter Capaldi, an accomplished actor and a great fit for the role, has led to a barrage of criticism for showrunner Steven Moffat. Those upset demand that their favourite show feature a female or minority lead, claim this continued lack of representation demonstrates Moffat’s own prejudice, and talk wistfully of the days when Russell T. Davis ran Doctor Who, looking back with Rose Tyler-tinted glasses at a time when everything was perfect.

There are similar criticisms for Moffat in regards to Sherlock, on which he is also a showrunner. Fans are annoyed that the main characters are all apparently heterosexual white men, ignoring the fact that the same is true for the source material, and that a lot of their distress is based on the fact that they “ship” the two leads and feel deprived of a homosexual couple to fetishise.

I don’t feel that any of this is fair.

Yes, Moffat has now cast two white men as Doctor, and two white women as companions. Davis didn’t cast any fewer, and his predecessors were the same. If Doctor Who had always been a deeply diverse show, and that had changed when Moffat arrived, personally attacking him for a lack of representation might be appropriate. As it is, the diversity of casting has not dropped one bit.

Let’s look at the latest series. Yes, the two mains may be anything but diverse, but the supporting cast certainly has been. In the first episode, the main supporting characters are an inter-species lesbian couple. In the second, a black woman. In the fourth, our heroes meet a number of black men through time. In the fifth, they are assisted by a white man and a black woman.

A black schoolgirl helps them in the sixth and the seventh, where they also meet the first woman on the moon. In the ninth, they team up with a black youth and a female police officer. The main supporting character across the series, and in the finale, is the companion’s boyfriend, a black schoolteacher.

The three episodes in which I think you can claim there isn’t significant minority representation are the third, eighth, and tenth. Interestingly, there are only five episodes which Moffat didn’t directly write or direct himself, and that includes all three of these. In every episode that Moffat had a hands-on influence, there was representation, whilst the majority of episodes where he didn’t did not.

For me, that doesn’t suggest that Moffat has a negative effect on diversity, but the opposite. If we look at the United Kingdom, where the series is set, you’ll see that over 87% of the population identify as white, leaving under 13% of minorities. If you look at those casting decisions I’ve listed above, you’ll see that Moffat goes far beyond this requirement of realistic diversity. He could fairly get away with 43% of characters being white men, but he almost never casts them.

If you look at other British TV shows, you’ll see what we usually expect in terms of representation. Look at political sitcom The Thick of It, for which Capaldi was known before entering the Tardis: almost all of the characters are white and male, with a few white women thrown in. Of the main 20-30 characters, about 7 are female, and all are white.

It’s not unusual amongst modern British sitcoms: think of Gavin and Stacey, The Inbetweeners, The IT Crowd, The Office, Black Books, Peep Show, Not Going Out, Outnumbered, and tell me they have better proportions than Doctor Who. Look at crime drama success Broadchurch, whose cast has more ex-Who stars than ethnic minorities, being over 90% white. Look at period dramas Downton Abbey and Call the Midwife, which are expectedly equally pale.

Look at soaps, even though they are set in the inner-city, where minorities are more prevalent. Look at reality shows, or comedy panel shows, where nine out of ten real life comedians will be white men. All of these shows are less diverse than Moffat’s Doctor Who, and yet not a single one of their showrunners is widely criticised, let alone hated, for their lack of diversity in casting. That’s a problem that Moffat enjoys alone.

Not only is his supporting cast incredibly diverse, though: Moffat has also paved the way for a female or minority Doctor, more so that any showrunner before him. He has introduced us to two female time lords in recent seasons, and has also been the first to canonise the fact that regeneration can change both race (River) and gender (Missy). He’s the one who has opened the door for a non-white, non-male Doctor in the future. Davis didn’t come close to doing either, and even refused to have a Scottish Doctor, making Tennant change his accent whilst Capaldi is allowed to roam free.

Moffat gets the same hate mail for Sherlock, even though it’s the same story. In this case he can legitimately argue that his hands are somewhat tied: his adaptation is based on a source material where main characters Sherlock, John, Moriarty, Mycroft and Lestrade are all white men. I’d find it hard to criticise an adaptor for simply remaining faithful to the source material, but this is precisely what many have done.

Given that he also keeps faithful for the genders of Mrs. Hudson, Mary Morstan and Irene Adler, you can’t even accuse him of double-standards. Where he has had scope to add diversity, he has done so. Needing to add a medic and a police sergeant, he gives us two women, one white and one black. In the second episode, the story revolves around two Chinese women, and other female and minority characters appear about as regularly as you’d expect.

In terms of sexuality, Moffat may refuse to give you canon JohnLock, but he makes Irene explicitly non-straight, and the first relationship even mentioned in the series is same-sex (John’s sister Harry and her spouse Clara). As with race and gender, I think you’ll find that this is more than you get in most British television, and about as much “representation” as you’ll see in real-life British society. Moffat, again, seems to be wrongly singled out for blame.

When there is the slightest possibility of a gay couple being shown for a split-second in Frozen, you praise Disney for their progressive attitude. When Marvel cast black supporting characters, but still have four or more white men for their leads, you laud them for embracing diversity and tell DC to be more like their shining example.

When Moffat outright tells you a character is gay, or casts more black characters than white even when set in a majority-white country, you ignore it, and then spend days seething with rage at his hatred of diversity just because he has cast one role, which has always been given to a white man, to a white man. He then gets labelled sexist, racist, homophobic, and worse. He has been no less progressive that his predecessors in the role, and if anything has done more for diversity than Davis has, but he is blamed where they are not.

It’s popular to hate on him, and the more that other people do it the more people want to join that bandwagon, but almost nothing that you say is supported by the actual statistics of Moffat’s casting, especially when compared to other shows and their respective showrunners. If there is a problem regarding representation and Steven Moffat, it’s not with him. It’s with you.

Does Shonda Rhimes understand women? Do any of Scandal's writers?
I am curious about the diversity of experiences in the Scandal writing room.  My curiosity was piqued after reading a comment about time in the Scandalverse that got me thinking about Scandal’s portrayal of rape.

Scandal has covered rape twice.  First in the S1 episode “Hell Hath No Fury”, in which a woman is raped by a millionaire’s son.  He pays her to drop the charges against him, which she does.  We are told that she tried to move on, though not by joining a rape survivor’s support group or going to a psychologist, and she kills herself three years later.  We are not given any information regarding whether or not that was her first suicide attempt.  It seems that Rachel Kline thought the best way to try to recover from her rape was to go it alone, try to push the pain down, and, when that failed, suicide.  

In S3 we learn that Mellie was raped 15 years ago.  She tried to drown her pain in alcohol, and when that didn’t work she attempted to kill herself, only to be saved by Andrew.  Mellie is in a different position from Rachel because she comes from a privileged background and is older.  Still, as those of us who have known women who were victims of rape and other trauma know, suicide attempts are often a wake-up call for trauma victims, their friends and their families, but apparently not for Mellie or Andrew.  No, after her attempted suicide she, did what exactly?  One thing she did not do was take advantage of the many options available for her to seek help. She did not go to a psychologist, find a rape survivor’s support group, or (horrors) tell her husband.  Nor did Andrew, who was supposedly not only in love with her, but close friends with her husband.  Also, Mellie’s rape is treated in Scandalland as if it happened five minutes ago, instead of 15 years ago.  Are we supposed to believe that in the 15 years since she was raped Mellie only now became curious about Jerry’s parentage?  Why?  Did attempting to kill herself somehow cauterize her pain so that she was able to function again except for becoming  vindictive and power-hungry?  Was Shonda pushing the idea that going it alone and pushing the pain down is the preferred action for rape victims?  Is that why there was no warning or rape hotline notice provided at the beginning or end of the episode?  

Neither rape in Scandal was allowed to result in justice.  While Travis Harding went to jail for raping Rachel Kline, Rachel was long dead.  Big Jerry never faced justice for raping Mellie because he was dead.

Does Shonda not believe that there are positive steps that women can take toward healing after being raped?  That women who are raped can never receive justice? Or is the problem a lack of true diversity in the Scandal writer’s room?  

Since Jake gave Olivia a concussion in S2 and did not face any consequences concerned viewers have criticized Scandal’s failure to have consequences for violent acts taken against it’s female characters.  That failure got even worse in S3, as Olivia, Mellie, and Quinn were each victims of violence and did not strike back against their attackers, Quinn going so far as to begin a sexual relationship with the man who tortured her, while Olivia continued her relationship with her abuser, and it is fair to say that Mellie did the same as Olivia, as shown in S2 E11, which caused many raised eyebrows when we later learned that Big Jerry raped her.  

Shonda has rightfully received harsh criticism for her failure to address domestic violence from many, myself included. After considering the treatment of rape in the Scandalverse, I now wonder if the problem is deeper than we thought.  Is there a chance that none of the writers in the Scandal writing room understand women?  There have been discussions about how Shonda seems divorced from her Blackness.  Well, she can also be divorced from her womanhood.  It is possible for a woman to live in an ivory tower of sorts.  Perhaps she did not have female friends, or she spent all of her time studying while in high school and college instead of expanding her experiences.  Not every woman joins a sorority, NOW, or any other female-oriented group in college.  Simply having a woman in the writer’s room is no guarantee that women will be written as fully-fleshed characters.  It is no guarantee that the female characters will be anything more than a White man’s fantasy about how women behave.   I am greatly disappointed by the fact that it appears that Shonda Rhimes’s Shondaland is diverse only in demographics.      

More Proof that "Frozen" is the best Disney movie in forever

So, I can shamelessly say I’ve seen Frozen 4 (going on 5) times. Why? Not because I’m obsessively tied to this movie (well…), but because I’ve wanted to share it with different people on different occasions and their schedules just never seem to work out.

Last night, my 4th time, I finally had a chance to take my best friend. You would think after 6 weeks of this film being out in the US that maybe the theater would be getting less crowded. Then my faith in humanity was restored. Frozen had a full house for the 8 o'clock showing. Kids, of course, but a majority of the audience was grown-up. And man, was this audience one of the best I’ve seen in ages.

This last time seeing Frozen, I had the most fun because the audience was so diverse (we had an all-male group of ganstas about 10 strong who snuck in to watch, along with big families, boyfriends and girlfriends, and Disney lovers of all ages) and they really made me reevaluate how funny and dramatic this movie actually is.

With this group, everything was electric. I never expected Olaf to get so much laughter from everyone, but Anna and Kristoff really surprised me when folks were falling out of their chairs because of something they said or did. I knew how funny it was, but to folks who never heard it before, it was a riot. Jonathan Groff’s sassiness/awkwardness got surprising attention and focus this time around, but Kristen Bell was so relatable that you could hear very distinct female laughter from the ladies of the audience (including me and my bff). She was a perfect heroine for this movie.

The physical humor was ten times funnier, as well. From the getgo, every slap, smack, and collision got people going. Although none quite measured up to the beatdown Anna gave Hans at the end. And none ever will.

Although the grand prize goes to the reactions to romance and the big plot twist at the fireplace. People were awwing and oooing at Anna and Kristoff the entire movie (as well as verbalizing a few “JUST KISS HER"s and "HES GONNA DO IT"s). They thought their dynamic was just adorable and AGAIN very relatable. I heard reactions from boyfriends when Anna asked Kristoff about her hair and certainly when he questioned her about her engagement.

NOW MY FAVORITE PART. Everyone in the theater got extra quiet when Hans and Anna were near the fireplace and he was talking all sweet to her. People were wondering how Kristoff worked into this and some were trying to figure out what would happen when he kissed her (I.e. it’s not gonna work). But when Hans stopped just before reaching her lips and said that famous line ("oh Anna”), everyone started ooooing, oh snapping, and goddamning.

Again, the grand prize goes to a random grown man, maybe 20 or 30, who screamed at the top of his lungs AFTER the initial realization: “I KNEW IT.”. The theater was laughing so hard after this outburst that no one could even hear Hans’ evil plan. My best friend curled into a ball and I was just in an outright fit.

The rest is history. People adored the ending, Sven’s antics, and the big Kristanna kiss. People were even prematurely clapping during the ice skating scene. This movie was a success even after weeks of it being out.

Well now my dad wants to see it, and who am I to deprive him of an amazing Disney movie? I am blown away by what Disney was able to create for kids and adults alike. I rave about this movie because I think Disney is making a comeback and realizing what we really want to see in our animated films. For the first time in forever, I have seen a Disney princess who I can watch over and over again and enjoy a story that could’ve easily been mine (you know, in another life). Five stars to Frozen! You brought a full house to tears. Hilarious, dramatic, musical, brilliant. Just a few words to describe this movie.

Women in FT... kinda

So I’ve been thinking for a while how to explain my feelings about the treatment of female characters in Fairy Tail. It’s surprisingly difficult.

The problem is two fold. On the one hand, there’s the absolutely unavoidable, constantly in your face issue of the sexualization and fanservice. I know you shouldn’t judge a book by its cover, that just because all the female characters are endlessly sexualization that doesn’t mean they’re not good characters, etc, etc. But in this case, the “package” is so unavoidably terrible that it’s hard to continually look past it.

Basically, you need at least three rants to cover all the ~fanservice~ issues, and you can’t really avoid it.

On the other hand, talking about the writing is hard too. FT’s writing has gotten so sloppy all around that it’s hard to honestly tell which issues are specific to female characters. I could say that Lucy is pushed aside in favor of Natsu in her own battles, for example, but then, isn’t everyone?

So I’ve decided to try another approach. When I talked about the issues in Naruto, I forgot to mention that none of them are somehow exclusive to Naruto. In fact, Naruro isn’t even that bad about them, comparatively. Those problems are basically in every shounen series, to some degree. And that includes FT.

However, in the first half of its run or so, FT did a pretty good job of mitigating those issues, or at least patching them over so they weren’t so obvious. So, here, I’m going to talk about FT originally handled the issues of gender balance, plot relevance, male-focus, and romance. And, frankly, how it not always manage to avoid or resolve those issues, when you get down to it.

Keep reading

Taylor Swift's '1989' sells 1.287 million in first week

Just like that, 2014 has its first million-selling album.

Taylor Swift sold 1.287 million copies of 1989 last week, according to data from Nielsen SoundScan. As a result, the album becomes the first released this year to sell a million copies, and the year’s second-highest seller overall, behind the Frozen soundtrack.

It also means Swift sold more than two copies of 1989 every second last week.
Swift is the first act ever to have three albums sell a million copies in a week. In 2010, her Speak Now sold 1.047 million. Two years ago, Red debuted with 1.21 million sales, the last album to top the million mark in a week.

“She’s an incredible anomaly, like no other artist,” says Keith Caulfield, Billboard’s associate editor of charts/sales. At a time when year-over-year album sales have fallen 14%, “she has convinced consumers to want to buy an album. They want the full and complete Taylor Swift experience, and that experience includes buying the album.”

Only 18 albums have sold a million copies in a week previously. Swift fell just shy of the 1.319 million copies Britney Spears sold of Oops! … I Did It Again in 2000, the most ever by a female act. That week, Oops! accounted for 8% of total album sales.

The week Red came out, it accounted for nearly one out of every five albums sold. With 1989, Swift’s percentage is even higher, grasping 22% of the total album sales for the week.

“I don’t think I’ve ever seen anything be that high a share of the total market all by itself,” Nielsen SoundScan analyst David Bakula says.

Swift sold 470,000 copies of 1989 at Target, which carried a deluxe edition of the album with six additional tracks. In other words, Swift sold more copies of her album at Target than the year’s next-highest debut — Coldplay’s Ghost Stories, with 383,000 — sold everywhere.

Swift’s sales exceeded industry projections at nearly every step of the way. Initially, industry analysts predicted 1989 would sell approximately 1.1 million albums. Three weeks ago, the number was downgraded to 750,000, Caulfield says, “because of the general overall downturn in the marketplace and how other significant releases were performing.”

But, “once the album actually got into stores, and they saw how it was selling in the marketplace,” he says, “every day the number started getting bigger. It just sold way better than they anticipated.”

Fans buying multiple copies of the 1989 CD could be one reason 1989 outsold Red. Each physical copy of 1989 came with one of five sets of 13 Polaroid photos.

“Anecdotally, we’ve seen through Twitter and Facebook that people are buying multiple albums, so they can collect all the Polaroid pictures,” says Target spokesperson Evan Miller. “We’ve seen people post every photo, so they’ve bought several albums.” (x)>

Who we need to cut over this Aretha Franklin autotune?

Man….I started listening to Aretha’s cover of “Rolling in the Deep” and I still ain’t been able to put my face together.  How do you autotune Aretha Franklin??  Who did this!  I can’t find any producers for her new album of diva covers other than Babyface & Andre 3000 and my heart just doesn’t want to let me believe they really did this to her.

Y'all.  Everything about this is already a mess.  Who let Coco Montrese do Aretha’s make-up?  I thought we decided garage-door solid brows-to-lashes monotone went out in 1993?

Keep reading