still frame

anonymous asked:

I agree that ML's choice to sleep with others has nothing to do with her being a role model. But I think others are just criticizing the act, which would not exactly be exemplary given the circumstances. She "can" sleep with whoever she wants, but that doesn't mean it'd be good of her to. Maybe it's not so much slut shaming as it is disapproval of her easily getting over Danny. I dunno, just my opinion.

“But I think others are just criticizing the act, which would not exactly be exemplary given the circumstances. She "can” sleep with whoever she wants, but that doesn’t mean it’d be good of her to.“

I can understand the nuance in being frustrated that Mindy is moving on so quickly from Danny. But I still think framing it in terms of "exemplary” or “good” is slut shaming, however mild and gentle.

rynosaur94 asked:

Hello, Greg. I just got around to watching the newest MAS episode, and it was great. Not quite as good as the last, but only because the last was amazing and will be hard to beat. However your last bit about skipping ahead worries me. I really don't like the idea, though I haven't been around in the streams to discuss it. Could you elaborate more on why you're considering doing that, maybe talk about the pros and cons.

The main advantage to skipping ahead is that I’ll be doing episodes that I have more inspiration for. When I first started doing MAS, I believe it was before the second season of the show had aired. Then when I started doing the still frames, I was able to put them out fast enough it wasn’t an issue. Now that it’s animated, it can be a lot of work to do an episode that’s trying its hardest not to do the same jokes a second time.
I’m thinking I might start by skipping ahead to “Party of One”, which is the last thing I made using screen caps of the show before Content ID took them. Speaking of - serious question, if the main ponies had to be described as geometric shapes or pieces of pony-sized furniture, what would they be?

Beyonce's Super Bowl show bringing both praise and criticism

A day after the Super Bowl, people are still parsing over each frame from Beyonce’s halftime performance, trying to glean the messages, both subtle and overt, that made for a stunning display of unapologetic blackness and political activism during one of the most-watched events of the year.

The halftime show — seen by an estimated 112 million people — is drawing praise from her fans and consternation from critics.

While Beyonce hasn’t commented on the specifics of the show, and her rep declined comment, the imagery speaks for itself. Beyonce’s dancers donned berets, sported Afros and wore all black, similar to the style of the Black Panther party, founded 50 years ago by Huey P. Newton and Bobby Seale in the Bay area — the location of this year’s Super Bowl. At one point during their routine, the dancers formed an “X” on the field, which some people are taking as a tribute to slain black activist Malcolm X.

In addition, Beyonc� and her dancers raised a fist to the sky, reminiscent of the black power salutes of the 1960-70s, made popular internationally by Tommie Smith and John Carlos, who raised their fists to the sky after winning gold and bronze at the 1968 Summer Olympics.

Several people applauded her embracing the history of black activism and of her own identity. Her new song “Formation,” which she sang during her performance, includes the lyrics “I like my baby hair, with baby hair and Afros. I like my negro nose with Jackson Five nostrils.”

“I think that you’re hard-pressed to find that demonstrative an example of performative blackness on stage, on such a high profile stage,” said Damon Young, editor in chief of the website , on Monday. “Between the dancers coming out dressed as Black Panthers to the lyrics to the song, again … I can’t recall another time you saw that unambiguousness with a performance on a large scale.”

Melina Abdullah, a Black Lives Matter activist and leader in California, said it’s wonderful that artists like Beyonce “are willing to raise social consciousness and use their artistry to advance social justice.”

But not everyone appreciated Beyonc�’s performance. Republican Congressman Peter King of New York immediately condemned Beyonc� for her performance, saying on Facebook “her pro-Black Panther and anti-cop video ‘Formation’ and her Super Bowl appearance is just one more example of how acceptable it has become to be anti-police.”

(While there were no direct references to police on the Super Bowl field, the video, released Saturday, features a young black child in a hoodie dancing in front of a line of police officers, and graffiti that reads “Stop Shooting Us.”)

And all of this comes during heightened racial tensions across the country, particularly in regards to allegations of police brutality. Hollywood is grappling with issues of race as well, with Spike Lee, Will Smith and Jada Pinkett Smith planning to skip the Academy Awards after no actors of colour received Oscar nominations for a second year in a row.

Lakeyta Bonnette, a Georgia State University political science professor, said more and more celebrities like Beyonce are moving toward public activism. In 2014, basketball superstar LeBron James and other NBA players wore “I can’t breathe” T-shirts to their basketball games: “I can’t breathe” were the last words of Eric Garner, a black man who died after a physical altercation with police in New York City.

But some people have complained that Beyonce injected politics into a sports event. On Monday’s Fox & Friends, former New York City Mayor Rudolph Giuliani slammed her tributes to black activism during the halftime show when performers are “talking to Middle America.”

“I thought it was really outrageous that she used it as a platform to attack police officers who are the people who protect her and protect us, and keep us alive,” said Giuliani, who said he would have preferred “decent wholesome entertainment.”

To be fair, it wasn’t just Beyonc� that the 71-year old Giuliani didn’t like. He called the whole halftime show “ridiculous.”

“I don’t know what the heck it was. A bunch of people bouncing around and all strange things. It was terrible,” he said. “Actually don’t even know why we have this. I mean, this is football.”


Jesse J. Holland covers race, ethnicity and demographics for The Associated Press. Contact him at jholland @, on Twitter at and on Facebook at


tvN Cheese in the Trap Episode 7