period act

Do you Suffer from Imposter Syndrome?

Impostor syndrome is a psychological condition where people are unable to believe in their successes. Thus, despite the evidence that points to the fact that they are skilled, capable and competent they write this off as temporary – or timing and good luck. Thus, they constantly struggle with feeling like a fraud.

So what are some ways that you can counteract this syndrome?

1. Admit this is something that you suffer from. When we know we’re not alone, and our symptoms have a name (because they are part of an identified disorder) it can help disperse the feelings of anxiety and shame.

2. Distinguish between facts and feelings. Everyone feels stupid and inept at times. That doesn’t mean we’re stupid. Our feelings aren’t facts. So try to be objective - and seek out the real truth.

3. Don’t demand perfection. It is good to set goals and have high standards for yourself. However, it’s unhealthy to obsess over every little thing. You’ll simply waste a lot of time and never feel quite satisfied. And all of us are human and make lots of mistakes.

4. Take a look at the rules you have imposed upon yourself. Are you saying to yourself: “I have to always get it right”;”I should never ask for help”; or “It is bad to make mistakes”? These are misguided rules that undermine your self-esteem. They set you up for failure as they close the door to help.

5. Change the tapes in your head. Instead of constantly repeating faulty self-destructive thoughts (such as “Wait till they discover just how useless I am”) replace it with a thought that builds esteem and confidence. (Such as, “I’m better at this now as I know what I am doing … It’s so much easier when you’ve been here for a while.”)

6. Don’t look to others to affirm your success. Don’t look to other people to rate and judge your work. Set your own personal goals, and mark your progress and success.

7. Fake it till you make it. Almost every individual who succeed in life has a period when they’re acting, as they don’t feel confident. It doesn’t mean that they’re a failure, a fake or a fraud. It means that they’re still learning, and are not afraid to try.


CAROL, part one

To conclude this series of Pride 2017-related posts (though certainly not the end of gay-relevant content on this blog), here’s a two-part post on Todd Haynes’s exquisite 1950s-set lesbian romance Carol (2015). Last year, Carol was voted the best LGBT film of all time in a poll that featured over 100 critics and was compiled to mark the 30th anniversary of London’s lesbian and gay film festival, BFI Flare. There are many qualities worth celebrating in this film: the sublimely modulated lead performances by Cate Blanchett and Rooney Mara, the richly atmospheric period detail and mise-en-scène, Haynes’s deft invocations of classical Hollywood genres (melodrama, film noir, women’s pictures). But most importantly, as the following quote reminds us, Carol’s uncommonly uplifting and affirmative take on same-sex love represents a quietly radical step forward for LGBT narratives in cinema.

Happy Pride!

“In the years since Brokeback Mountain, we’ve seen Best Picture nominations for The Kids Are All Right and Dallas Buyers Club – though in both of those cases, the primary audience surrogate was arguably a straight man (Mark Ruffalo in Kids, Matthew McConaughey in Dallas) – and the slightly Sapphic Black Swan. And, of course, there was Milk and The Imitation Game, both stories about gay men who met with tragedy… Spoiler alert: Carol’s protagonists fall in love, consummate their passion, and encounter some difficulties – it’s the early ‘50s, after all – but do not die for/from being gay. Such a declaration sounds stark, but an astonishing number of films about gay life have seen their characters come to some sort of a tragic end, as if comporting to the old Hays Code, where characters must be “punished” for their “sins.” Ultimately, Carol’s most transgressive quality is its refusal to engage in such shenanigans; this is a film about full-blooded gay lives, not tragic gay deaths. Maybe Oscar voters weren’t sure how to deal with that?” — Jason Bailey, Flavorwire (January 2016)


365 days of richard madden: day 105

Romeo And Juliet Act. 1, Scene 2 : No.13 - Dance Of The Knights
Valery Gergiev, London Symphony Orchestra
Romeo And Juliet Act. 1, Scene 2 : No.13 - Dance Of The Knights

Romeo And Juliet Act 1, Scene 2 : No.13 - Montagues and Capulets (Dance Of The Knights)

By Composer Sergei Prokofiev (1891 - 1953)

Performed By Conductor Valery Gergiev And The London Symphony Orchestra

anonymous asked:

Could you write a fic with the prompt “Stop being so cute.”? (I don't know if you want a specific character but if its directed at Evan then that would be cool~ )

I did this with tree bros, I hope that was okay!

Evan’s fingers shake as he spins the dial on his locker, groaning when he overshoots the third number and has to start inputting the combination all over again. One to the left to 18, two to the right to 3, three to the left to 45. He sucks in a deep breath before trying to pull his locker door open. It makes a horrible metal-on-metal screeching noise, but it pops open nonetheless, revealing messy binders stuffed to the brim with crumpled loose leaf and battered textbooks littered with tiny doodles of dicks. In Evan’s history textbook, one of the previous owners used the eyes and nose of every pictured historical figure as a base for drawing a dick. While Evan can appreciate the effort there, the fact that he has to scramble to cover up his book whenever a teacher passes by his desk does nothing to help his anxiety and he wishes that he could Wite-Out the copious amounts of male genitalia, but that would probably end in him having to pay to replace the textbook and his comfort is not worth a couple hundred dollars.

A tiny scrap of paper flutters out, landing on the sticky hallway floor. Probably another one of the notes Jared has taken to slipping in his lockers between classes. They usually involve dick jokes or sarcastic commentary on Evan’s behavior during their shared chemistry class—because apparently Evan needs to be told how pathetic it was when he dumped watered down hydrochloric acid on his hands and refused to tell the teacher, preferring instead to let his hands tingle uncomfortably until he could wash them after class—or whatever juicy piece of gossip that’s been circulating through the student body. He sighs as he leans over and collects the paper off the floor, bracing himself for a sentence or two on how ridiculous Evan looked when he was startled by a loud noise and nearly dropped his beaker.

Instead, he finds a barely legible phrase scrawled in the messiest chicken scratch Evan has ever seen. The writing looks like it was erased and rewritten about a dozen times, making it seem like whoever penned it wasn’t sure how to phrase what they were trying to say—or whether they should say it at all.

Keep reading

Casey Affleck : *wins like 98% awards during the season, including Golden Globe, Critic’s Choice, BAFTA, Independent Spirit Award*

Tumblr: HOW hhOW could he… win..the Oscar?!?! hOW is it possible?!


Originally posted by realitytvgifs

anonymous asked:

I'm sorry, but I don't quite understand the context of your my/your kink argument, esp. the examples you are using. While I do obviously agree that writing about something is not the same as condoning it, is that where the statement ends? I mean, if someone were to write exclusively about rape/pedophilia/sexual abuse and portray it in a positive light, I wouldn't merely regard it as a kink (afaik kink implies practice, implies consent) and morally I would condemn it. Could you elaborate?

I have (at least) five answers.

1.  The vast majority of the moral meaning lies in both the consumer’s and creator’s contexts.  Martha writes a fic in which two sixteen-year-olds explore one another’s bodies.  Pedophilia?  Which country are you living in? What about the characters? What’s the time period and context?  José writes a fic in which one character sexually abuses another but they both come to a better place.  Endorsement of abuse?  Darkfic?  Hurt/comfort?  Akane writes a senpai/kohai fic that mirrors material in the original manga.  Is writing drawn from  a culpable (see point 3) source automatically culpable itself? In specific, there’s an ancient tradition of rape-as-seduction fiction, and an enormous body of documentation showing that it’s a common female fantasy. Rape-as-seduction is rape culture, sure, but we’re embedded in it: see my point in the original post about ids. You cannot responsibly make a moral judgment unless you consider all of these, as well as the context of your own reaction.

2. Consider the creator’s point of view.  You don’t know what the creator was thinking, and you don’t have the right to ask.  The creator may be working through a painful experience and getting catharsis through fiction.  The creator may be trying to convey as subtext that a particular situation is wrong and bad.  (With or without success.) The creator may be fantasizing a situation without any intention of putting it into practice – see the very relevant quotations in my post.  And, of course, the creator may be deliberately getting off on something that the vast majority of people in the creator’s culture consider morally wrong. (To whom is the creator accountable? Transformative media is created and consumed worldwide now.)  You can’t know which of these is going on.  Intent is not 100% of an immoral act, but when it comes to writing fiction, it’s a very, very high percentage.

3.  Consider the consumer’s point of view.   All of the possibilities in 2 apply, plus “I’m reading/viewing this to avoid doing it in real life.”

4.  Consider the likely consequences of consuming the transformative work.   There is no evidence that a person not already disposed to commit rape/incest/pedophilia/abuse is likely to be moved by fiction to commit those acts.  There just isn’t.   The evidence that people who are so disposed are more likely to commit those acts after viewing supportive media is, at best, mixed; there’s a lot of “post hoc versus propter hoc” going on there.  

5. Finally we come to “What are you going to do with your moral condemnation”?  You have carefully considered 1, 2, 3, and 4, and have determined that “applying contemporary community standards, the dominant theme of the material taken as a whole appeals to the prurient interest.”  ( Roth v. United States, and you bet your booty I’m being ironic.)   Are you going to draw a conclusion and move on?  Are you going to speak privately to your friends about why the fic offended you?  Or are you going to drop the wrath of Tumblr on the head of the offending creator?   

If your answer is “unleash the hounds of Hell”, I think you’re the one who’s morally wrong.  Period.   Your moral act also has a context, and part of the context is  the expected result.  You are not going to change what the writer thinks about morality.   You are going to create a mob of haters, most of whom are not going to present a reasoned argument based on evidence, but instead are going to tell the creator, and the world, that the creator is a terrible person. Not that the creator makes terrible works, but that they are a terrible person, and there is an ENORMOUS difference.  The experience of the last (at least) fifteen years demonstrates that hate mobs are emotionally satisfying to the haters, are not a force for any moral good, and routinely drive their victims out of fandom and even off the internet.

tl;dr:  It all depends.   I lived through the fallout of 1970s feminist consciousness-raising groups, and I don’t need to watch the hi-def remake.  I am sick beyond words of callout culture.

anonymous asked:

if jk and jm really were dating, could u give us ur opinion on how/when u think they romantically started getting involved?? I never really here people talking about their friendship before and the lead up

If jikook are really dating (key word: if!!), I have a few theories about them and when or how they got together. I think it’s one of those things I imagine a lot because of how much I ship them. But I’ll share my most realistic theories (once again stressing this post is for fun, not saying jikook are actually real). This is really long (it also took me hours bc tumblr crashed 2 times when making it smh). 

Keep reading

anonymous asked:

prompt;;; post-reveal, Adrien and Marinette are dating each other. Ladybug and Chat noir are dating each other. So, they are both cheating on each other with the other persons ego. They both feel really bad and say something about it !!! maybe a reveal too hmmmm

I think you meant pre-reveal anon. That being said, I don’t believe they would cheat on each other. I simply can’t see them doing that. That being said, I can twist it. In this thing, Ladybug and Chat have a ‘heat’ period, but it only acts up with Ladybug and Chat Noir are in love with each other. It makes like 0 sense but whatever im shit at angst

Marinette was a wreck. How, just how did she manage to ruin it like that? She had been dating Adrien for two months now. Adrien as in, Adrien, the love of her life. That Adrien she had fallen in love with because of his kindness. The same Adrien who she had wonderful dates with, and who was a true dork and got an adorable pout whenever he lost at video games and loved all the sweets her family was making and liked to cuddle and… Marinette bit her lip to keep from erupting in another sob. This wasn’t supposed to happen. Tikki said it wouldn’t happen, as long as she wasn’t in love with Chat. She asked one hundred times before leaving or patrol that night.

‘Your pheromones will act up, but as long as there is no love tie between the two of you, all you’ll feel is the need for hugs and cuddles.’

That’s what Tikki said. That’s what didn’t happen. The moment they met, it took only a second for them to jump at each other’s bones. Marinette bit her lip to keep from erupting in another sob. She was in public, dammit. She needed to control herself. She
dragged her feet, not really caring if she is late to class anymore. She knew that she won’t be able to hold a conversation with Adrien without breaking up in tears. It wasn’t supposed to be like this. She didn’t love Chat, not like that. She wasn’t in love with him. She was in love with Adrien. She knew it! So why… ?

“Marinette!” her eyes shot up to meet Adrien’s. Bloodshot eyes with dark circles under them. What happened to him?

“Adrien.” she whispered, not entirely sure where to start.

“We need to talk.” they said together, before looking at each other. With a look and a nod, they began walking, away from the school building, trying to find a peaceful place. Or as peaceful as a place in a city like Paris could be. Once they reached a bench by the Seine, they took a seat. Glancing at each other, they took a deep breath before speaking simultaneously again.

“I cheated on you.”

Marinette felt her heart shatter into pieces. No matter how much she tried, the tears fell. She knew she deserved it, she cheated on him too, as she just admitted a few seconds prior. But it didn’t hurt any less. Adrien didn’t love her. Maybe hat’s why the pheromones acted up. Because even if she loved him, he didn’t love her.

“With… with who?” her voice was trembling. Adrien tried to reach for her, but she flinched away. She wasn’t any better though, was she?

He rubbed the back of his neck, as tears run dow his cheeks as well. “Ladybug.” he said, finally.

Marinette whipped around in shock. “What?!”

“Please, please, don’t blame her! It was all my fault.” the last thing he wanted was for Marinette to lose her trust in Ladybug. Her or anybody else in Paris. Ladybug didn’t deserve this. “I was the one jumping at her last night. Please, it is only my fault.”

“Last… last night?” Marinette stuttered.

Adrien nodded. He wasn’t sure how to explain without giving up he was Chat Noir. He turned shyly to Marinette, seeing her look at him with wild eyes and running tears. He wasn’t sure if he should ask. “And you… ”


Her voice was barely above a whisper, but he heard loud and clear. Adrien gasped. How did she know? He opened and closed his mouth, looking very much like a fish, not sure what he should say.

“For the record,” Marinette whipped the tears off her cheeks with the back of her hand. “I also jumped on you. So I’m not as blameless as you say.”

It took him a few seconds.


Marinette nodded and Adrien wanted to cry again, but from joy. “So this means, we were drawn to each other cause… ”

“… cause we are in love with each other.” she finished.

Adrien reached for her and pulled her into a tight hug. He didn’t remember when was the last time he felt this happy and relieved.

From Colouring Shakespeare

Read Simon Callow’s foreword from Colouring Shakespeare, a new book from Modern Books featuring stunning illustrations from Shakespeare’s most famous sonnets and speeches.

How well I remember, as a little boy, working my way through my grandmothers’ libraries, systematically colouring in all the illustrations with my trusty crayons: The Cricket on the Hearth, A Tale of Two Cities, and that scary cautionary tale, Eric or, Little by Little. By far my favourite was Peter Pan – the hours I lavished on Captain Hook and the crocodile! My grandmothers were kindly, encouraging women, and they could see that the colouring in made the books more my own – it made reading them an interactive experience. The books I thus collaborated on were mostly children’s books, the ones I had read. There was, however, a set of books that I longed to get my hands on – the plays of William Shakespeare.

I adored those books, four big volumes: Tragedies, Comedies, Histories and Romances and Poems. I read them out loud, weeping and laughing and orating. I hardly knew what I was saying, half the time, but the combination of the sounds and the illustrations on the pages brought the world of the plays vividly before my eyes. The pictures were rather brilliantly done, black and white engravings, each very different in character – clean lines for Rome, lovely florid ornamentation for Italy, an earthy sort of quality for the English History plays.

And there were all the towering figures from the plays – Richard III, Brutus, Juliet, Lady Macbeth, Bottom, Titania and her fairies, Shylock, Falstaff – all modelled, I now realise, on productions of the late Victorian period, revealing the acting styles of their epoch. Their great merit was that they were clear: they told the story. They seemed to be inviting me to flesh them out in colour. I was stopped from doing so – they were venerable volumes, and my additions would not have added to their market value – but I wish there had been Shakespeare colouring books then.

Colouring Shakespeare by Judy Stevens and Simon Callow, published by Modern Books, will be available to be in-store at the Globe Shop. 

What’s more, we’re giving away a copy, signed by Simon Callow, on Twitter – so keep your eyes on our social media for the chance to win one.

Musical Playlist When You’re on Your Period

Act 1 (the “im in love” part): Hopelessly Devoted to you-Grease, The Next Ten Minutes- The Last Five Years, Younger Than Springtime- South Pacific, People Will Say We’re in Love-Oklahoma!, Something to Believe in- Newsies, You’re the One that I Want-Grease, All I Ask of You- Phantom of the Opera, Ten Minutes Ago- Cinderella, Something Good- The Sound of Music, Do I Love You Because You’re Beautiful?- Cinderella, I’ll Cover You- Rent, Goodnight my Someone- The Music Man, It’s Delovely-Anything Goes

Act 2 (Where it all turns to shit): On my Own- Les Miserables, I’ll Cover You (reprise)- Rent, Falling Slowly (reprise)- Once, I Could Never Rescue You- The Last Five Years, Memory- Cats, Finale-  Phantom of the Opera, A Little Fall of Rain- Les Miserables, My Man- Funny Girl, See I’m Smiling- The Last Five Years, Sleeping- Once, 525,600 Minutes- Rent, Drink With Me- Les Miserables, The Hill- Once, For Good- WIcked, Losing my Mind- Follies

Act 3  (Self Acceptance and Excitement): Being Alive- Company, Carrying the Banner- Newsies, Defying Gravity- Wicked, Moving Too Fast- The Last Five Years,  Another Day- Rent, Seize the Day- Newsies, Another Hundred People- Company, Sunday- Sunday in the Park with George,Something’s Coming- West Side Story

anonymous asked:

Hello! First of all, I really love your writings! Secondly, I think you're the person that could help me with something. I like writing and I usually do it in English, but I'm not a native English speaker, and I get confused with the punctuation and the quote marks if it's spoken (I mean when a character speaks to another). Could you please explain it or give some tips or a source where I can read about it? Thank you so much!

Sure, I’ll do my best! So I actually find other country’s punctuation super interesting. Like how in Spanish, they put the question marks on both sides so the reader knows right away that it’s a question. But that’s beside the point!

(Keep in mind, also, that I know American English. That means my punctuation is going to be a little different than British English.)

So, in English, we use quotation marks when a character speaks! Let’s try to break it down a little!

“We went there.”

Now, with quotation marks, the punctuation ALWAYS goes inside with the sentence. It doesn’t matter if it’s one word like “apples.” If it’s the end of the sentence, the period or exclamation point goes inside with the word/sentence! (Unless you are British, you bastards. (I love you))

“We went there,” he said.

If there’s someone saying the words, you use a comma instead of a period. The comma is acting like a period for the statement, but lets the sentence continue to include the speaker. 

“We went there,” he said.

“I know,” she said.

Always start a new paragraph when another character speaks! English readers get very confused if it’s all in one paragraph because we start a new paragraph every time a character does/says something new!

Here are some cool sources I found: (X) (X) (X)

Hope this helps! These are the three basics, I think, but if you have any more questions let me know!

For the first time it’s little Aria against the rest of them, so things get weird. Aria gets to do some real cool stuff this season. This was the first time in the course of the show that I went to Marlene and I went to the writers and was like, ‘Please, can Aria just do something really cool and different for the last 10 episodes?’ And they gave me my way, and I was really surprised. Not only was it stuff I never got to do on the show, but I got to do things I’ve never done in acting, period.
—  Lucy Hale
With people saying Snape had to join the death eaters:

No matter what his situation was with his family and the fact he was in Slytherin, he didn’t have to treat his students like shit, and verbally abuse them, especially Harry, Hermione and Neville. No matter how much you can excuse him for joining the death eaters, he did not have to keep the petty grudges from when he was a teenager, and have them effect his job, and the way he acted. Period.