34 teenagers are missing from the Nation’s Capital, Washington D.C. Furthermore, there’s very important context to consider. As of March 23, 2017, it changes constantly as more youths are found and go missing. Indeed, by the time you read this, it’s likely that more teens have been reported missing, and more teens were located from the list and subsequent photos. Find our girls !!!!
Do you mind if I ask you what do you do to keep this Tumblr keep posting? I mean, I want to create a Tumblr for an actor but I juet don't know what to post... I've been following your Tumblr for 4 months and it's lovely, I really love Sebastian. I want to create a Tumblr for this actor to let people updated about him, you know? It would be so nice if you could answer a confused mind. Sorry for the text. Love this Tumblr, though! See ya. x
ALONG WITH YURI AND VICTOR AS CONFIRMED LGBT CHARACTERS IN ANIMATED TELEVISION.
Which gives a whole new meaning to THIS COSTUME:
AND WHY HE IGNORES SARA ALL THE TIME (Which at first I thought was just out of rudeness, and yes, he was rude to her, but Sara is interested in dating. And that text message to Seung-Gil happened AFTER Sara stood up to her brother and told him she would start dating. So he must have been aware of the intentions of Sara’s advances, or just paranoid of where it would go, so he avoided her to prevent that from happening.)
Bottom line: Seung-Gil Lee is gay. Spread the word.
Edit: Seung-Gil is queer. He could also be ace/aro or anywhere else in that spectrum.
But here’s the thing: Sherlock Series 4 purposely took something from every member of the audience. It gave them plot points that didn’t resolve. It baited them into watching the whole mess of a season because the writing implied it was going to make sense in the end. But it didn’t. All people got baited by the narrative. This usually only happens to minority groups. But now everyone can see what it feels like to be strung along and let down. Now non-queer people have a slight taste of what it’s like to be taken advantage of and mislead. This is what happens when queer people watch television, except when the media baits queer people, the effect is detrimental to their sense of self and personhood. You can’t take that from a heterosexual audience. But what you can take from them is their trust, time, and passion.
Did you find yourself asking these questions after “The Final Problem”?
** “What was the note John gave to Sherlock at the end of The Six Thatchers?”
** “How did Sherlock and John survive an explosion that propelled them through a second-story window?”
** “Why did Sherlock leave John to drown in the well?”
** “Where did John’s chains go?”
** “Why didn’t Sherlock notice the glass was missing?”
** “Why was every transition in The Six Thatchers wonky?”
** “Why did they bring up ‘romantic entanglement’ if they weren’t going to address it?”
There are many questions you should have after series 4. But those are questions a mostly heterosexual audience would ask.
These are questions the LGBTQ community is asking right now:
** “Why were Moriarty, Magnussen, Irene, and Eurus all queer and predatory? Why can’t one of the heroes be queer? Why am I always a villain on television?
** "What was the thing Sherlock wanted to tell John before getting on the plane and going to his death?
** "What was the stuff John wanted to tell Sherlock before he died but couldn’t even muster telling his therapist?”
** “Why did Sherlock leave John’s wedding early after blinking back tears?”
** “Why does John dream of Sherlock and keep his bags packed a month after getting married?”
** “Why did John ask Sherlock if he had a boyfriend while out for a candlelit dinner a few hours after meeting him?”
** “Why does John raise his voice at Irene when he finds out she’s still alive and texting Sherlock?”
** “Why does John, who’s so afraid of being mistaken for gay, never admit that he’s straight? Why is he always defensive instead of honest?”
** “Why does John continue to ask about Sherlock’s sexual relationships for over five years?”
These are questions straight people might not even think to ask. Many probably didn’t even notice these things. But queer people notice them. You bet they do. Because they see themselves on screen and wait eagerly for resolution that never comes. That’s queerbaiting. Being strung along, assuming your questions will one day be answered.
Nobody got their answers in series 4.
And look at the ratings.
They’re at an all-time low.
If all writers treated every audience member the way writers treat queer people on a daily basis, look at what would happen. People would hate it. Of course they would. It would be a waste of your time and energy. Now imagine if your sense of self was also at risk. What if you had more to lose than a couple of hours on a Sunday night?
“The Final Problem” is about burning the heart out of Sherlock. Moriarty told us this years ago. But do you see how they did it?
They took the heart out of their own show.
They took the love story from us.
They took the crime, the cases, the deductions, and the logic from everyone else.
THAT is The Final Problem.
What makes Sherlock “Sherlock” are all of those things we’ve come to know and love.
This is how I know we’re getting another episode this month. They left both audiences to dangle. They pulled a Reichenbach. Just like The Final Problem back in 1893.
As Mark Gatiss himself said: “I don’t like loose threads. Not on my watch.”
I know it’s dumb, but I feel that as far as politics of the western world [is concerned], it’s all looking so bleak, so disappointing and global politics are going so horrifyingly backwards. Yet television is moving forward in terms of its themes, its culture, its representation of progress, its diversity, its risk-taking in story telling. Even if this is a delusional rationalization, I take comfort in how good programming is, compared to how horrible politics are.
television aesthetics:The Office
“What is my perfect crime? I break into Tiffany’s at midnight. Do I go for the vault? No, I go for the chandelier. It’s priceless. As I’m taking it down, a woman catches me. She tells me to stop. It’s her father’s business. She’s Tiffany. I say no. We make love all night. In the morning, the cops come and I escape in one of their uniforms. I tell her to meet me in Mexico, but I go to Canada. I don’t trust her. Besides, I like the cold. Thirty years later, I get a postcard. I have a son and he’s the chief of police. This is where the story gets interesting. I tell Tiffany to meet me in Paris by the Trocadero. She’s been waiting for me all these years. She’s never taken another lover. I don’t care. I don’t show up. I go to Berlin. That’s where I stashed the chandelier.”