Trump says he’s giving the country back to the people, that from today forward people will no longer bear the cost while politicians reap the rewards.

His administration is filled with billionaires who have bought their positions and are less than qualified to do their jobs. He is about to strip away health care for millions of people WITHOUT another system ready to replace it. Oh and let’s not forget about the wall. Mexico isn’t paying for it, the taxpayers will.

“America wants great schools” yeah, well, Betty DeVos ain’t gonna make that happen.

All his actions up until this point haven’t been in favor of the people, they’ve been in favor of his family and his billionaire friends.

I don’t know what is worse.

That he can stand there and straight up lie, or that people actually believe him.

mark and moff are artists and auteurs, this isn’t a 12-episodes-per-season writer’s room scenario where things go wrong because you’ve lost thread of the characters and have run out of ideas, this is two geek superfans sitting down together and scripting out 90-minute movies and intricate story arcs over the course of three years? “just look at what happened to [any other show that went downhill after season X]” is not relevant here

Got a hardcore case of the morbs this morning, and I spent a fair few minutes staring out the window, watching trees being shaken in the storm that’s currently soaking Los Angeles, feeling very low. Then I watched a tiny, drenched hummingbird wrestle through the wind to get to our feeder. He kept getting knocked back, but he got there and got some breakfast anyway. I kind of assumed hummingbirds would take the day off and huddle up in this weather, but I guess not.

I know, it’s a cheesy metaphor, but it happened, and I probably needed something exactly that obvious to get me to go sit down and get to goddamn work. Because if hummingbird isn’t taking a day off when the world is going to shit, neither am I, I guess.

And here he is, the 45th President of the United States of America, Donald Trump!

Silence fell heavy around the diner, the residents of Storybrooke packed in like sardines, eyes all trained on the small TV glowing in the corner of the room.

“What is the matter with this bloody realm?” Hook’s voice snarled. 

Grumpy piped up, “And I thought we had it bad under Queenie over there.”

“And you can have it bad again, dwarf, make no mistake,” Regina snapped, but worry creased her face. 

The crowd fell quiet again, everyone tensely watching the spectacle playing out on the screen. 

“So time to go back then?” Snow’s voice chirped, breaking the silence.

“Back where?” Henry asked.

“The Enchanted Forest, of course.”

“Isn’t it overrun with ogres?” Emma pointed out.

“I’d rather face ogres, honestly,” Belle murmured from her stool, hands curled around her teacup.

“Ogres at least have some semblance of a moral code,” Granny scoffed as she topped off coffees along the counter.

“We’ll need a portal. A big one,” Charming noted, rubbing thoughtfully at this chin. 

“I may be able to help with that.” All faces turned to the front door where the once-again Dark One stood, hands calmly folded on top of his cane. 

Emma narrowed her eyes. “Why would you want to help?” 

“Because while monster I may be, Miss Swan, that–” he jabbed his cane in the direction of the orange-tinted man blustering on the tv screen, “is and entirely different form of evil. I’d prefer to continue our game, as it is, at a respectable distance from that mess.”

“Huh,” was all Emma could supply through her surprise. Before she could marshal together a more coherent response, an unwelcome but familiar voice crackled through the tv’s tinny speakers. 

We’re gonna make America great again, folks. So great. Tremendous things are gonna happen, tremendous things. Just you wait. I’ve got so many plans, big, huge plans, and–

“Oh bloody hell,” Killian sneered with disgust. “Fine, Crocodile, get us a portal,” sounding so aggrieved that Emma laughed out loud as she twined their hands together.

“Home sweet Enchanted Forest it is.”

“He’s making a funny face.” John Watson is definitely in danger.

I think Sherlock looking at the ‘Miss Me’ note at the end of The Lying Detective will be revealed to be some great audience misdirection: because we are switching between the scenes between John & Eurus and Sherlock on his own, we link them together. Of course we do, it’s only logical- Sherlock is reading this ‘Miss Me’ note and, like John, the puzzle pieces are slotting in place…

Except, that’s an assumption on our part. What if that isn’t what Sherlock is thinking- or at least, only partly? We don’t get to see the entire realisation scene with Sherlock, we just jump straight back to John being shot– what if this is Sherlock realising John is in danger, just like The Blind Banker? He’s about to run off and save him.

Endless thanks to @marcespot‘s Garridebs video for making this click for me. <3

anyway im really sick of the ‘let’s be positive and hope that he’s actually a really great president! he could really do the world good in the next four years!’ narrative because…..he won’t? it’s an excuse not to stand up and fight. it’s a passive argument and an excuse to say ‘well i’m just looking on the brightside and hoping!’ but…hoping isn’t going to get us anywhere. it isn’t going to change anything. also, the ability to have that outlook is privilege in itself. if you can say ‘i can hope he’s a great president’ it means that your rights aren’t the ones that are going to be infringed upon. it means you’re safe. it means you don’t care about anybody but yourself. don’t be passive. don’t be a bystander.

anonymous asked:

Isn't culture fetishization a little bit what a lot of Kpop is, though? It's the Korean version of an American music genre. They literally get surgery to make their eyes look more Caucasian. They whitewash. Their songs are full of badly-pronounced, often incorrect English. They wear clothes with gibberish English on them. They give many groups and members English-sounding names. They copy Western fashion trends. They take a lot of Black hip-hop culture as well. It goes both ways.

That’s not fetishization. 

Racial fetishism involves fetishizing a person or culture belonging to a race or ethnic group that is not one’s own—therefore it involves racial/ethnic stereotyping and objectifying those bodies who are stereotyped, and at times their cultural practices.” 

American isn’t a race - and East Asians arent fetishizing the eurocentric beauty standards, it’s the result of years of oppression. 

Only after European colonists’ dominance of the world in 19th century, Asians began to internalize white supremacy.

They don’t get surgeries to look “Caucasian”, having a slighter bigger nose or bigger eyes is a way for them to look like the “ideal Asian”. Having pale skin has been a trend long before the colonizing though, and is deeply rooted in their culture. The colonizing might have had an effect on the outlook, but it originates from their own culture - not the Western. 

Also…fetishizing english is literally not a thing,,, thats a bit of a reach …and copying western fashion trends…wearing a kimono/hanbok at a costume party is NOT the same thing as wearing a KFC shirt at another event? 

They take a lot of Black hip-hop culture as well

I’m assuming you mean, American Black culture (which is also western music) - I can’t defend them on appropriating Black culture - that’s another thing (though it’s not cultural fetishization) 

If your argument is that “it goes both ways” - then it’s still no excuse for Koreaboos to appropriate the Korean culture which I kinda felt was the undertone of this ask. 

anonymous asked:

You once mentioned in your SAG-AFTRA posts that creative directors always choose famous voice actors for roles. But gamers don't care who is voicing a character so long as they do a good job. For example Dishonored 2 had Rosario Dawson and Pedro Pascal in it, but no one cared. Call of Duty: Advanced Warfare had Kevin Spacey but more people cared about the multiplayer aspect So why do creative directors spend more money on famous voice actors when it has no impact on sales or reception?

You really shouldn’t conflate “I or my friends didn’t care about famous actors voicing video games” with “nobody cares about famous actors voicing video games.” Getting famous people to endorse or contribute to a product does have a significant impact on sales or reception. It just isn’t you who the publishers are targeting with the casting and advertising campaigns. You’re almost certainly in that core 5% who was probably going to buy Call of Duty for its multiplayer or Dishonored 2 regardless of who’s voicing Paolo or Captain Foster. But 80% of the game’s audience are the casual part time gamers, more than half of whom won’t even finish the single-player campaign. To them, being told somebody famous they recognize is in the game could tip them from undecided to purchasing.

These are the people who identify with [Conan O’Brien in his Clueless Gamer segments], love the ESPN ads like where [Antonio Brown sings about how he wants you to choose him for your Madden team], or who are convinced to try World of Warcraft because [Mr. T said he played a Night Elf Mohawk]. People respond to stuff like this - market research shows that well-established Hollywood actors bring a lot of eyeballs when it comes to marketing. If casting big name actors in AAA titles didn’t affect sales, most publishers would stop doing it outside of movie projects. Names like Vincent D’Onofrio, Sam Rockwell, and Rosario Dawson bring a level of credibility and interest to casual players, just like having LeBron James or Rob Gronkowski help to sell sports video games, and their money spends just as well as yours. 

PS. It also isn’t the creative director’s call. It’s generally a budget thing, which usually falls under the purview of the executive producer and the publisher who make those sorts of decisions, and then goes to the casting director who handles the audition process.

Where Your Heart Is - by @tvshows-addict and @anhcor

He lifts the final assignment from his bag, and presses it up across the glass. It’s an A3 journal, made for them– made to tell a story . He starts flipping through it, page by page, like in Love Actually, when that guy silently confesses his love to Keira Knightley. Except Harry’s reading, out loud, for everybody to hear. Shouting it from the rooftops like he once promised. Their story. Their love story.

This assignment isn’t like any other assignment– it feels like it has a heart and soul. It looks not too different from some of the collages Sam has up in her and Louis’ dorm, in fact– maybe this even counts as one. It’s a piece on both Harry and Louis’ personalities and emotions, separate and intertwined, a story of how they found and grew into themselves. Pretty fitting to the theme of identity, if Harry may say so himself.

Everything in this collage was painted/drawn/edited by me but the beautiful manip of Harry covered in paint is by the exceptionally talented @stressedl who was kind enough to let me use it!

I hope you’ve had a chance to read this amazing fic…it’s truly one of my absolute favorites. 


Ed Sheeran Isn’t Allowed to Talk About Getting Cut by a Royal - The Graham Norton Show (20/01/2017)

ok imagine
these things

being very loose at the hinge

so they’re flapping at a faint breeze and they haven’t been oiled in millennia so they’re squeaky as fuck

Overlord has gotten used to it by now, a lot of his body has started groaning from the years of hard use, and these little things? Just another creak in the wood

But it annoys the FRAG out of everyone around him that isn’t immediately running away from him. He’ll intentionally make huge gestures just to see Tarn fuming and they’re one of the first things that Tarn goes to grab for when Tarn initiates a fight.

there’s no hell greater than having to listen to that shit for 4 million years.

athina-blaine  asked:

Has Mofftiss ever been afraid to stand up to criticism, though? Like, Gatiss made a whole poem as basically a "fuck you" not two (three?) weeks ago. If they truly thought this episode was good (which, why?? it's perfectly mediocre at best), they wouldn't be afraid to defend it, right? At the very least they wouldn't wait this long before responding or cancel the q&a if it was JUST due to shame.

Well, to be fair, that was back when the whole planet thought they were brilliant; they’ve never received, to my knowledge, this amount of negative feedback EVER on a Sherlock episode. But apparently the venue ISN’T cancelled now? so I don’t know anymore, LOL.

Oh fuck. I recognize that lens point of view.

The beast is upon them isn’t he.

I just….

I love the composition of this shot so fucking much, it’s gorgeous.

And with the woodsman dead or just hurt, the beast needs someone else to light the lantern.

Which is possibly the source of his power in some sort of way.

Yeah, that’s what I thought.

If this is hell then the beast is a pretty good representation of the devil


“Wait, no, this is dumb.”

Best fucking scene in the show.

Thank you so much Wirt.

Not (just) about johnlock: why Sherlock s4 was its downfall

I have seen so many criticisms these days about how those of us who disliked the fourth series - and especially the last episode - of Sherlock feel that way only because johnlock didn’t become canon. While that is certainly one of the reasons that this seasons and, in particular, The Final Problem, was a steaming pile of garbage, it certainly isn’t the only one.

The problem with s4 actually began in s3, when Mary fell pregnant and then Mofftiss decided to make her into an ex-assassin who shoots the main and titular character. None of this is problematic in and of itself. However, it becomes so when there’s absolutely no payoff for these things. Imagine, for example, if Mary had become a central villain in s4 - that would mean that her backstory and reveal as having a dark past would make sense within the course of the narrative. Instead, what we got was a boring redemption arc that culminated in her trading her life for Sherlock’s and then apologising to him for shooting him in the first place. All in the name of Mofftiss’ credo of only having female characters in order to serve the progression of the male ones. Take the baby now. Firstly, whenever a baby is introduced on a show, it always screams “we’ve run out of ideas”, but this time especially, the baby provided absolutely nothing. If the entirety of the season could have worked just as well without a baby, why have one in the first place? It only serves to put the characters in a more difficult place, narratively speaking. Many have suggested that the baby was only created in order to provide further queerbaiting by giving johnlockers something without compromising their central audience, and I tend to agree, because it makes no other sense.

Which leads me to the queerbaiting. We didn’t imagine all the johnlock evidence. Yes, some of the metas can be viewed as reaching, but when the actual text repeatedly refers back to it, it isn’t something that a portion of fans just imagined out of thin air. The irony is that the only way s4 could have been salvaged in the end is probably by abandoning their queerbaiting ways and by actually making johnlock happen. I know many casuals who share the same sentiments, so it’s not just tjlcers who agree on this.

One of the worst things that s4 did, however, was butcher the characters to a point of no return. These characters, who were expertly crafted, characterised and developed throughout the course of the show, were destroyed within a matter of episodes. Sherlock Holmes - instead of becoming the antithesis of his dfp state (which is where the writers have always been heading) - just became a pushover for John Watson to abuse and ignore and disregard. John Watson, who, in past seasons, has been shown to be willing to do anything for Sherlock. That’s not progression, that’s regression. By and in The Final Problem, the characters were unrecognisable and way worse for wear. All of this was done to them in order to have cheap twists and revelations in the form of Eurus (who I won’t even get into at this point) and her ridiculous murder island plotline. The thing that made Sherlock special was the characters - specifically the two men at the heart of it all. They deserved better writing and better payoff than this. It’s as though the writers decided to develop them up until s4, at which point they went, “Ah, they get the picture, just let them do whatever now.” None of it made any sense and, worse than that, served any real purpose. The season was full of problems which presented no reward in the end. Empty redemptions, empty narratives and empty textual and subtextual promises left a sour taste in many a mouth, and johnlock is by far not the only reason for that. I actually left a lot of points out of this for the sake of brevity. So stop saying that we’re only upset because johnlock didn’t happen. 

saltandpeppersandwich  asked:

Hi, Rogue, got any favorite confidence tricks, or general advice for playing a con artist character?

Embarrassingly, no. I usually play sneak thieves with lots of Bluff rather than dedicated con artists, and on that front, I just make it make it up as I go along.

The best generic advice I can give is this: cooperate with the Bard (or any other party member with impressive social skills and questionable morals; if you ARE the Bard, cooperate with the Rogue). Most con tricks shine when a second conman “independently” corroborates the first one’s story. Don’t just rely on a Bluff/Deception roll, create a favourable circumstance for the roll(s).

Bits and pieces: