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s/v season 2

Hey everyone, as we all know, the season finale of sweet/vicious is soon. However, it still hasn’t been renewed for a second season. The creators of the show have stated that if it is renewed, next season will include more lgbt characters and more storylines revolving around poc, along with storylines dealing with male victims of sexual assault. We should let mtv know how important this show is and how much it means to people. Please watch the finale tomorrow, along with tweeting/emailing/etc. mtv and let them know it is important that we’re addressing such difficult subjects, and that a second season would only further the conversation about sexual assault, and to thank them for creating a show like this.


Safety Harbor derailment in 1976 (Part 1 of 2) by Tom Pavluvcik
Via Flickr:
On February 15, 1976, the afternoon Amtrak passenger train headed for Clearwater and St. Petersburg derailed about three quarters of a mile north of Safety Harbor. Looking north alongside the twisted rails of the main line, this photo shows how the Champion created its own right of way between a passing siding and the main after splitting a vandalized switch. Courtesy Fred Clark Jr.

anonymous asked:

It's always bothered me how little they do with Bonnie's character. She has so much potential; I'd even argue that she has the most potential since she is a witch and within the show mythology, witches practically created everything. And to top it all off, she's from an exceedingly powerful lineage that doesn't even need a coven. But Julie had no idea what to do with her. BONNIES STORY COULD WRITE ITSELF! If only Julie wasn't so antiblack, she could probably be a competent writer for Bonnie.

Oh definitely, Bonnie would be the perfect heroine because she’s active, she drives the plot and so much depends on her plus her lineage and history would be fascinating but alas anti-blackness.

anonymous asked:

How about YouTube red or Apple (who's looking into creating tv shows and gaining rights all of a sudden) if all else fails? I mean if anyone can battle disney out for the rights it's Google and Apple.

That’s the plan if these others fall through!


Richard Pryor, coked out of his mind, appears on a Mormon public access show (1980) and creates jobs: “I’m about to put 800 motherfuckers to work editing this.”


 I’ve seen a few posts around saying that Andy was problematic or that the episode would have worked just fine without him. The thing to remember is that the crewniverse creates this show to be relatable not only in ways that have us singing from the mountain tops, but also in ways that are a little harder for us to face. Maybe in ways that make us uncomfortable, but are very much issues that we need to address as well. 

How many people were reminded of their own closed minded family members while watching Andy? My literal thoughts were ‘oh look, it’s my dad in an SU ep!’, before wanting to sink away from second hand embarrassment for the comments he made. Because man, have I been there before. 

Because who hasn’t had their sort of uncle freak out over the illegal hippy martian immigrant farmers your dad said could live in his barn? 

No but really. Especially that part about hearing about this on AM radio? Yeah, at least one writer has come up close and personal with this type of specimen. It may seem that given the timing of certain current events, the last thing anyone wants to see on SU is one of THOSE types. 

But here’s the thing: they exist. You can hide your head under a rock all you want, but they’re still there. So what do we do? We actually get two points of view on this. One: the gems as literal aliens. On a good day they really don’t understand even the most open minded of humans. So here they are running smack into one that’s mad about a world that’s changing even without the interference of the gems. And he’s upset that they’re not acting in the “traditional” roles he’s use to seeing human women in. Never mind that they’re not human, or technically speaking, women. They’re there in his barn, messing with his things, and really there’s no way this can end well. 

Until you bring in the nephew he never knew he had. Who just so happens to be very, very interested in learning about his human family.And who just wants everyone to get along. Because let’s face it, that’s Steven’s MO. He’s so focused on finding out that his family name is ‘Demayo’ that Andy’s comment to Greg ‘not even marrying an American’ floats right by him. But it was very much meant for the audience to hear. 

Not that any of that matters to Steven, he’s already planning the most awkward family reunion in the galaxy. 

And the Gems, bless their hearts, are eager to make Steven happy.

And honestly, for all his misgivings, so is Andy.

To a point anyway. Until he realizes that maybe, just maybe things are changing. That change is coming whether he likes it or not. And that change can never, ever be one sided. 

And at the first Thanksgiving, the gems and the humans gave thanks for polyamorous wedding cake, corn, this table, and traumatizing life events.

The thing about change is that it’s never simple. It never happens over night. Both sides are scared or angry, or very probably both. They’re also sure that their side is the right side. 

And even when it seems like everything is going right, you’re trying so hard include everyone in your new vision and it seems like you’re really getting through to them, they just… slip away. Because change is scary. Because they’re going through the motions without really understanding why. Because sometimes it’s easier to go along with things even if they don’t agree, even if their heart isn’t in it. So again, what do you do?

You listen. You hear their fears. You let them come to their own conclusions that maybe, just maybe, things HAVE to change. 

But that doesn’t mean being left behind. 

Now for reality: It’s never as simple as this. Bigotry isn’t faced and solved in 20 minutes. No one is saying it is. Sometimes it’s safer not to face it, and sometimes you just can’t. 

But I think overall its meant to be a message of hope- just like the overall message of Steven Universe is a positive one. People have opposing points of view. Talk. Listen. See that in the end you have more in common than you ever thought possible and go from there. Also: family is what you make of it. Even if it’s a dad, an estranged uncle, an alien hybrid child and his hippy illegal martian immigrant aunts. It can work, as long as you work together.


So, I just watched this video on Youtube called How Hamilton Works: Eliza’s Chord Progression by Howard Ho. Basically, it’s a wonderful synthesis and explanation of the musical themes that pervade the show and combine to create Eliza’s own musical theme. This is particularly present in the songs “Burn” and “Who Lives, Who Dies, Who Tells Your Story?”

At many points in Hamilton, the “Alexander Hamilton” chord progression is played. (The chords that open the show) This chord progression is always accompanied by Aaron Burr asking a question. i.e. “How does a bastard, orphan, son of a whore…etc, etc” In essence, these chords represent the narrative drive. They further the story. Except, there is one instance (the last instance, in fact) where the chord progression appears without a question. Without Aaron Burr at all, in fact. This is in “Burn”. Most people recognize the Satisfied-sounding chords played by the right hand on piano, but the left hand is the hand that plays a slight variant of the “Alexander Hamilton” chord progression. This is important, because these chords further the narrative. Yet, in this case, the narrative is being destroyed. On the other hand (quite literally, in this sense) the “Satisfied” chords represent family obligation. Combine these two, a variant of the “Alexander Hamilton” chord progression, and a variant of the “Satisfied” chord progression, and we see something special.

In the words of Howard Ho, “So, why would Lin-Manuel Miranda combine these two themes together? He’s trying to tell us something musically. In a song where Eliza sings “I’m erasing myself from the narrative”, it’s even more heartbreaking that she uses the Alexander Hamilton chord progression, which symbolizes forward narrative motion in order to sing about stopping the narrative. No longer a narrative device, the Alexander Hamilton chord progression becomes here a commentary on narrative devices. And it’s combined with the Satisfied run which represents family duty because Eliza is burning the letters to protect her family. But, the Satisfied run has been altered, turned into the minor mode with a more angular presence. This is the dark side of family duty. That, sometimes in order to preserve your family’s history, you have to destroy it.”

However, when we enter the final song, “Who Lives, Who Dies, Who Tells Your Story?” Eliza has finally put her self back in the narrative. She has forgiven Hamilton for all his wrongs, and is telling his story, yet in her own way. She tells it in a less villainous way than many would. She emphasizes all the great things his ambition provided. Here, we see the same chords of the “Alexander Hamilton” chord progression, the representation of the narrative and of ambition alike, but we see these chords rearranged to something much sweeter. These are Eliza’s chords now. 

“Did you really think it was going to be canon?” You’re right. Silly fucking me for thinking queerbaiting wouldn’t come from a show co created by a gay man, with excessive amounts of queer text and subtext, created in 2010 into the year of 2017. How fucking ridiculous of me. I guess I shouldn’t ask for so much

after hearing about what happened to “Very Important House”, a really cute show created by Jhonen Vasquez and JR Goldberg, I couldn’t help but feel immense sadness.

If you don’t know what happened, you can read about it here. I can’t help but imagine what could’ve been if Disney didn’t can this idea, so i made an appreciation drawing for what could’ve been an amazing show.   it seems not a lot of people know about this.  Please give @jhonenv VIH back. this is what it looked like btw (Arin Hanson voices the dimension character!!):

Important things about Phineas & Ferb:

  • The Flynn-Fletchers being a blended family 
    • they all love each other so unconditionally I’m going to cry
  • Also re: the Flynn-Fletchers, Linda and Lawrence have such a loving and healthy relationship they’re honestly #goals.
  • Dr. Doofenshmirtz being a super engaged dad and always trying to be involved in Vanessa’s life
  • Dr. Doofenshmirtz being a super loving dad despite having a horrible childhood and terrible parents
  • The fact that Isabella is Jewish comes up more than just during the obligatory mention in the Christmas special
  • The show was also so entertaining and funny and had some of the greatest comedic timing
  • Weird moments of surrealism like the giant floating baby head or the zebra that calls Candace “Kevin”
  • The songs are all catchy as hell
  • This is the greatest show ever created that is all

Big-name movie/tv producers with lots of money and resources: claim that minorities make less money and that nobody wants to watch content about women/ poc/ lgbtq people.

Small independent theatre troupe that relies on internet crowdfunding to create their shows: Makes a musical with a diverse cast, is female-led and has a female majority cast, includes a non-binary character and queer relationships without it being a big deal, posts it on youtube after its run is over and gets over 35,000 views within the first day.

do u ever actually forget that a character is dead in canon because the fandom denies it so consistently