this is for all the people who keep saying that they want to live with us

My friend told me a story he hadn’t told anyone for years. When he used to tell it years ago people would laugh and say, ‘Who’d believe that? How can that be true? That’s daft.’ So he didn’t tell it again for ages. But for some reason, last night, he knew it would be just the kind of story I would love.
 
When he was a kid, he said, they didn’t use the word autism, they just said ‘shy’, or ‘isn’t very good at being around strangers or lots of people.’ But that’s what he was, and is, and he doesn’t mind telling anyone. It’s just a matter of fact with him, and sometimes it makes him sound a little and act different, but that’s okay.
 
Anyway, when he was a kid it was the middle of the 1980s and they were still saying ‘shy’ or ‘withdrawn’ rather than ‘autistic’. He went to London with his mother to see a special screening of a new film he really loved. He must have won a competition or something, I think. Some of the details he can’t quite remember, but he thinks it must have been London they went to, and the film…! Well, the film is one of my all-time favourites, too. It’s a dark, mysterious fantasy movie. Every single frame is crammed with puppets and goblins. There are silly songs and a goblin king who wears clingy silver tights and who kidnaps a baby and this is what kickstarts the whole adventure.
 
It was ‘Labyrinth’, of course, and the star was David Bowie, and he was there to meet the children who had come to see this special screening.
 
‘I met David Bowie once,’ was the thing that my friend said, that caught my attention.
 
‘You did? When was this?’ I was amazed, and surprised, too, at the casual way he brought this revelation out. Almost anyone else I know would have told the tale a million times already.
 
He seemed surprised I would want to know, and he told me the whole thing, all out of order, and I eked the details out of him.
 
He told the story as if it was he’d been on an adventure back then, and he wasn’t quite allowed to tell the story. Like there was a pact, or a magic spell surrounding it. As if something profound and peculiar would occur if he broke the confidence.
 
It was thirty years ago and all us kids who’d loved Labyrinth then, and who still love it now, are all middle-aged. Saddest of all, the Goblin King is dead. Does the magic still exist?
 
I asked him what happened on his adventure.
 
‘I was withdrawn, more withdrawn than the other kids. We all got a signed poster. Because I was so shy, they put me in a separate room, to one side, and so I got to meet him alone. He’d heard I was shy and it was his idea. He spent thirty minutes with me.
 
‘He gave me this mask. This one. Look.
 
‘He said: ‘This is an invisible mask, you see?
 
‘He took it off his own face and looked around like he was scared and uncomfortable all of a sudden. He passed me his invisible mask. ‘Put it on,’ he told me. ‘It’s magic.’
 
‘And so I did.
 
‘Then he told me, ‘I always feel afraid, just the same as you. But I wear this mask every single day. And it doesn’t take the fear away, but it makes it feel a bit better. I feel brave enough then to face the whole world and all the people. And now you will, too.
 
‘I sat there in his magic mask, looking through the eyes at David Bowie and it was true, I did feel better.
 
‘Then I watched as he made another magic mask. He spun it out of thin air, out of nothing at all. He finished it and smiled and then he put it on. And he looked so relieved and pleased. He smiled at me.
 
‘'Now we’ve both got invisible masks. We can both see through them perfectly well and no one would know we’re even wearing them,’ he said.
 
‘So, I felt incredibly comfortable. It was the first time I felt safe in my whole life.
 
‘It was magic. He was a wizard. He was a goblin king, grinning at me.
 
‘I still keep the mask, of course. This is it, now. Look.’
 
I kept asking my friend questions, amazed by his story. I loved it and wanted all the details. How many other kids? Did they have puppets from the film there, as well? What was David Bowie wearing? I imagined him in his lilac suit from Live Aid. Or maybe he was dressed as the Goblin King in lacy ruffles and cobwebs and glitter.
 
What was the last thing he said to you, when you had to say goodbye?
 
‘David Bowie said, ‘I’m always afraid as well. But this is how you can feel brave in the world.’ And then it was over. I’ve never forgotten it. And years later I cried when I heard he had passed.’
 
My friend was surprised I was delighted by this tale.
 
‘The normal reaction is: that’s just a stupid story. Fancy believing in an invisible mask.’
 
But I do. I really believe in it.
 
And it’s the best story I’ve heard all year.
—  Paul Magrs
Harvey Weinsten sexually Harassed Lupita Nyong’o

Lupita: “I have been following the news and reading the accounts of women coming forward to talk about being assaulted by Harvey Weinstein and others. I had shelved my experience with Harvey far in the recesses of my mind, joining in the conspiracy of silence that has allowed this predator to prowl for so many years. I had felt very much alone when these things happened, and I had blamed myself for a lot of it, quite like many of the other women who have shared their stories.

But now that this is being discussed openly, I have not been able to avoid the memories resurfacing. I have felt sick in the pit of my stomach. I have felt such a flare of rage that the experience I recount below was not a unique incident with me, but rather part of a sinister pattern of behavior.

I met Harvey Weinstein in 2011 at an awards ceremony in Berlin, while I was still a student at the Yale School of Drama. An intermediary introduced him to me as “the most powerful producer in Hollywood.” As an aspiring actress, I was of course eager to meet people in the industry but cautious about strangers, and the intentions of men in general. So I tried to vet this famous producer by asking my dinner-table companions what they knew of him. A woman who was a producer herself cautiously advised me to “keep Harvey in your corner.” She said: “He is a good man to know in the business, but just be careful around him. He can be a bully.” And so I exchanged contacts with him in the hopes that I would be of consideration for one of his projects. I wanted to keep things professional, so I made a point of referring to him as “Mr. Weinstein.” But he insisted that I call him by his first name. In this first encounter, I found him to be very direct and authoritative, but also charming. He didn’t quite put me at ease, but he didn’t alarm me, either.

Not long after we met in Berlin, Harvey wrote to me inviting me to attend a screening of a film — a competitor’s film similar to one he had produced. He said we would be watching it with his family at his home in Westport, Conn., which was not far away from New Haven, where I was living at the time. He would send a car to pick me up. I accepted the invitation.

The driver and I met Harvey in the little town of Westport, where he informed me that we would be having lunch at a restaurant before getting to his home. I did not think much of this. It was a busy restaurant, and as soon as we sat down he ordered a vodka and diet soda for himself. I asked for a juice. Harvey was unimpressed with my choice and told the waiter to bring me a vodka and diet soda instead. I declined and said I wanted the juice. We went back and forth until finally he turned to the waiter and said, “Get her what I tell you to get her. I’m the one paying the bill.” I smiled and remained silent. The waiter left and returned with a vodka and diet soda for me. He placed it on the table beside my water. I drank the water. Harvey told me that I needed to drink the vodka and diet soda. I informed him that I would not.

“Why not?” I remember him asking. “Because I don’t like vodka, and I don’t like diet soda, and I don’t like them together,” I said. “You are going to drink that,” he insisted. I smiled again and said that I wouldn’t. He gave up and called me stubborn. I said, “I know.” And the meal proceeded without much further ado. In this second encounter with Harvey, I found him to be pushy and idiosyncratic more than anything.

We got to his home after lunch and I met his domestic staff and his young children. He took me on a brief tour of the house before he rounded us all up in the screening room to watch the film. He had just produced a similar film of his own, but everyone was raving about this rival version.

I settled in for the film, but about 15 minutes in, Harvey came for me, saying he wanted to show me something. I protested that I wanted to finish the film first, but he insisted I go with him, laying down the law as though I too was one of his children. I did not want another back-and-forth in front of his kids, so I complied and left the room with him. I explained that I really wanted to see the film. He said we’d go back shortly.

Harvey led me into a bedroom — his bedroom — and announced that he wanted to give me a massage. I thought he was joking at first. He was not. For the first time since I met him, I felt unsafe. I panicked a little and thought quickly to offer to give him one instead: It would allow me to be in control physically, to know exactly where his hands were at all times.

Part of our drama school curriculum at Yale included body work, using massage techniques on one another to understand the connection between body, mind and emotion, and so I felt I could rationalize giving him one and keep a semblance of professionalism in spite of the bizarre circumstance. He agreed to this and lay on the bed. I began to massage his back to buy myself time to figure out how to extricate myself from this undesirable situation. Before long he said he wanted to take off his pants. I told him not to do that and informed him that it would make me extremely uncomfortable. He got up anyway to do so and I headed for the door, saying that I was not at all comfortable with that. “If we’re not going to watch the film, I really should head back to school,” I said.

I opened the door and stood by the frame. He put his shirt on and again mentioned how stubborn I was. I agreed with an easy laugh, trying to get myself out of the situation safely. I was after all on his premises, and the members of his household, the potential witnesses, were all (strategically, it seems to me now) in a soundproof room.

Earlier Harvey had sent the driver to the store to buy a boxed collection of “The No. 1 Ladies’ Detective Agency,” an HBO show that he had produced. This was the project he thought I would be right for, he said. (I later found out that the show had not been on the air for some time.) As I prepared to leave his home, he presented it to me. He wanted me to check it out and let him know what I thought. He would be in touch about it. I left for New Haven with his driver.

I didn’t quite know how to process the massage incident. I reasoned that it had been inappropriate and uncalled-for, but not overtly sexual. I was entering into a business where the intimate is often professional and so the lines are blurred. I was in an educational program where I was giving massages to my classmates and colleagues every day. Though the incident with Harvey had made me uncomfortable, I was able to explain and justify it to myself, and shelve it as an awkward moment. His offer to me to be a part of the HBO show was a very attractive one and I was excited about it, especially as I would be graduating in another year. I didn’t know how to proceed without jeopardizing my future. But I knew I would not be accepting any more visits to private spaces with Harvey Weinstein.

I decided to invite Harvey to come to a production I was in at school. Perhaps that way he would really see what I had to offer, and he would see my colleagues, too. He accepted the invitation, but the night of the production, he sent a message saying he had been caught up in New York and would be unable to attend. He would make it up to me. So when I received an official invitation to a staged reading of his new Broadway show, “Finding Neverland,” I was not surprised. I was still debating whether I should accept his invitation, and so I responded saying I was not certain that I could make it because of my school schedule. He responded with exactly the words I needed to hear: Come with whomever you want to come with. And so I invited two of my trusted male friends.

We attended the reading, and afterward Harvey invited us all to a restaurant for dinner with his comrades and collaborators. He sat me next to him, and another actress sat across from me. He had my friends sit at a different table. The talk was shop the whole time and Harvey held court with ease. He was charming and funny once more, and I felt confused about the discomfort I had previously experienced. I looked at the actress who I was informed had just worked with him on a project, searching her face for any sort of indication that she too had been made to feel uncomfortable by this powerful man, but of course I saw nothing. We did not stay very long because we had to catch a train back to New Haven. My friends had been equally charmed by Harvey. He knew when to turn it on if he wanted something. He was definitely a bully, but he could be really charming, which was disarming and confusing. I left feeling that perhaps he had learned my boundaries and was going to respect them.

A couple of months later, I received an email from Harvey, inviting me again to New York for a screening of “W.E.” After the screening, we would have drinks in TriBeCa. I then received a phone call from one of his male assistants to arrange my transportation. Feeling more confident about the new sense of boundaries that we had established in our last meeting, I attended the screening on my own this time. Afterward, as planned, his male assistant arranged for me to get to the Tribeca Grill, where Harvey would be joining us. I met a female assistant when I arrived there. I was expecting that it would be a group of us, as it had been for the reading, but she informed me it would just be Mr. Weinstein. She would sit with me until he arrived. She seemed on edge, but I could only imagine how stressful it was to work for a man who had so much going on.

Harvey arrived and the assistant immediately disappeared. We ordered drinks and starters. Again he was offended by my nonalcoholic beverage choice but he didn’t fight me on it as hard. Before the starters arrived, he announced: “Let’s cut to the chase. I have a private room upstairs where we can have the rest of our meal.” I was stunned. I told him I preferred to eat in the restaurant. He told me not to be so naïve. If I wanted to be an actress, then I had to be willing to do this sort of thing. He said he had dated Famous Actress X and Y and look where that had gotten them.

I was silent for a while before I mustered up the courage to politely decline his offer. “You have no idea what you are passing up,” he said. “With all due respect, I would not be able to sleep at night if I did what you are asking, so I must pass,” I replied.

His whole demeanor changed at that point. “Then I guess we are two ships passing in the night.” I had never heard that saying before, so I remember asking him what it meant. “It means just that,” he said. “We are two ships going in two different directions.”

“Yes, I guess we are.”

“So we are done here,” he said. “You can leave.”

We got up, having not eaten anything, and he led me out of the restaurant. My heart was beating very fast. A cab was hailed for me. I said I would take the subway (I could not afford a cab at the time), but he handed me some money and told me not to be silly, take the cab. Before I got in, I needed to make sure that I had not awakened a beast that would go on to ruin my name and destroy my chances in the business even before I got there.

“I just want to know that we are good,” I said.

“I don’t know about your career, but you’ll be fine,” he said. It felt like both a threat and a reassurance at the same time; of what, I couldn’t be sure.

I did not see Harvey again until September 2013 when I was in Toronto for the premiere of “12 Years a Slave,” the first feature film I was in. At an after-party, he found me and evicted whoever was sitting next to me to sit beside me. He said he couldn’t believe how fast I had gotten to where I was, and that he had treated me so badly in the past. He was ashamed of his actions and he promised to respect me moving forward. I said thank you and left it at that. But I made a quiet promise to myself to never ever work with Harvey Weinstein.

Not long after I won the Academy Award in 2014, I received an offer to play a role in one of the Weinstein Company’s forthcoming films. I knew I would not do it simply because it was the Weinstein Company, but I did not feel comfortable telling this to anybody. I turned down the role, but Harvey would not take no for an answer. While at Cannes, he insisted on meeting with me in person. I agreed to do it only because my agent would be present. In the meeting, he was honest about intending to persuade me to do his movie. I told him I simply did not feel it was a role I needed to play. He said he was open to making it bigger, more significant, maybe they could add a love scene. He said if I did this one for him, he would do another one for me — basically guaranteeing backing a star-vehicle film for me. I ran out of ways of politely saying no and so did my agent. I was so exasperated by the end that I just kept quiet. Harvey finally accepted my position and expressed that he still wanted to work with me at some point. “Thank you, I hope so,” I lied.

And that was the last of my personal encounters with Harvey Weinstein. I share all of this now because I know now what I did not know then. I was part of a growing community of women who were secretly dealing with harassment by Harvey Weinstein. But I also did not know that there was a world in which anybody would care about my experience with him. You see, I was entering into a community that Harvey Weinstein had been in, and even shaped, long before I got there. He was one of the first people I met in the industry, and he told me, “This is the way it is.” And wherever I looked, everyone seemed to be bracing themselves and dealing with him, unchallenged. I did not know that things could change. I did not know that anybody wanted things to change. So my survival plan was to avoid Harvey and men like him at all costs, and I did not know that I had allies in this.

Fortunately for me, I have not dealt with any such incidents in the business since. And I think it is because all the projects I have been a part of have had women in positions of power, along with men who are feminists in their own right who have not abused their power. What I am most interested in now is combating the shame we go through that keeps us isolated and allows for harm to continue to be done. I wish I had known that there were women in the business I could have talked to. I wish I had known that there were ears to hear me. That justice could be served. There is clearly power in numbers. I thank the women who have spoken up and given me the strength to revisit this unfortunate moment in my past.

Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now.

Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”


I’m so happy Lupita shared her story and I have so much more respect for her and commend her for sticking by her morals. It’s disgusting that Harvey would even try something with her while his kids were in the other room, what a sick bastard

The Arkansas Sleep Experiments

by reddit user nazisharks

To Those Who Sleep

This happened a few years ago. You may have heard rumors if you’re on campus. Some even circulated online. Nobody knew what really happened. Because I’m the only one who knows and I kept quiet. For a multitude of reasons. None of them matter now. Here’s what really happened.

The four of us were handpicked for this experiment by Prof. Richardson because we’d all studied under him, worked under him, and, as much as anyone can, earned his confidence.

He said this one was different. We had to keep it quiet. He wanted to keep details to a minimum. All he would tell us before going in was that he required a month of our lives and that if he succeeded sleep would never again be a necessity.

Keep reading

Thoughts and theories post S307

We got a clue to how the different dimensions work. These three dudes are obviously iterations of the same Rick who all encountered the same event in varying degrees of severity. It could just be that these three dimensions are right next to each other, but the numbering convention suggests that they’re true splits from one original dimension, caused by that event. 

If that’s true, it means that every time a major event occurs, timelines splinter into different offshoot possibilities. The Ricks that stay most “normal” keep their original dimension number and the others take on an iteration of that number based on the level of divergence. This also helps account for how the population of the citadel bounced back so quickly after the massacre in S301. As time goes on more splits in dimensions means a constant influx of more Ricks and Mortys.

Not every rick invents the portal gun. The portal gun is rick’s ultimate source of power and what allows the citadel to exist. From what we learned from the half-truths in S301′s portal gun origin backstory, Ricks ostensibly go from dimension to dimension giving portal technology to other Ricks rather than each Rick inventing it on his own. Plus we saw in the last episode that the Mortytown Rick tries and fails to make portal fluid, and cop Rick calls it out “bootleg,” plus the factory Rick demands a portal gun because he must not be able to make one of his own. 

For the Ricks that didn’t invent their own, portal fluid and guns are regulated and not allowed to all Ricks freely. It begs the question of how many Ricks actually invented the portal gun on their own. In theory, it would only take just one figuring it out and then sharing it with all the others.

More evidence for Evil Morty = Rick’s original Morty. This has been a fan theory since Evil Morty first showed up but after S307 the evidence is even stronger. Evil Morty dodges questions about his original dimension and Rick, instead diverting with “we moved around a lot.” That basically leaves the door wide open for the reveal of him being Rick’s og Morty.

Plus, if the moving around part wasn’t a lie, that means he and Rick skipped universes Cronenberg-style more than once (Rick did say he’d pulled that stunt before). Think how disillusioned just one dimension move made our Morty, it’s no wonder Evil Morty turned into what he is if he went through multiple ruined dimensions. Beyond that, our Morty has been shown to be getting more jaded and downright cruel this season, enough that people were thinking he was turning into Evil Morty. If our Morty has devolved into his current state with just being around our Rick for a few years, imagine how the Morty our Rick was around since when he was a baby would have turned out.

Cop Rick is alive for a reason. He killed Cop Morty and turned himself in expecting to be shot off into space, but in the end he’s released by Ricks under evil Morty’s control. Him being alive still is not insignificant, even if just for the narrative and character implications more than plot reasons. 

Cop Rick’s first instinct is to trust. He trusted the Morty in the room with the crib. He trusted Cop Morty to do the right thing. He wants to believe in true justice and the goodness in people, and acts on that belief no matter the outcome for him. 

The real gut punch is he’s not just an outlier. He shows that Ricks do have an infallible sense of justice when it’s not smothered out by narcissism and nihilism. We’ve seen that our Rick, despite being an asshole, will choose to do the right thing- even if it’s the hard thing- at crucial moments: He puts the collar on Morty instead of himself when they’re falling to their deaths in the void, he turns himself in to the Galactic Federation in order to save his family. 

Cop Rick is still alive because he’s the hero our Rick would be if he wasn’t such a jaded asshole. He’s the proof that despite everything, Rick is at his core trying to be good. Maybe that kind of Rick is valuable to Evil Morty, or maybe it was just valuable to us to see this side of Rick so explicitly.

Evil Morty wants control. Evil Morty is living the ideal Morty existence, in control of himself and the universe around him. It’s all he’d want after a life where Rick was always in control, where he could do nothing to stop the machinations of the universe from nearly crushing him every adventure. As we saw really plainly with Copy Morty, when a Morty gets enough knowledge, experience, and freedom, they can’t stand being treated like sidekicks anymore. No wonder the Ricks put them in a school designed not to teach them to be more competent on adventures but instead to keep them helpless and subservient. 

It’s easy enough to follow the same trend in our Morty. He’s been fighting for more control all season– He chooses not to try to rescue Rick from prison. He’s fine with going against Rick’s plan in the Mad Max world. He’s the one who makes them go on the adventure with the Vindicators (and Rick loses his shit when he doesn’t get to be the only one saving the day anymore). And perhaps most telling, Morty’s ideal toxin-free self abandons Rick entirely and creates a situation where his whole job is to manipulate and control other people. 

Evil Morty is what happens when Morty’s struggle for power goes to it’s furthest degree. He wanted so bad to not be the sidekick anymore that he’d do anything, even if it meant becoming the villain. 

Aries: you’re faking happiness, again. With that big smile that I don’t believe in, even when you smile you want to cry. Don’t lie to me, I can hear it in your voice when you’re sad. You may fake your happiness but you’re unhappy in general because you keep trying to please everyone even when you say you don’t care what anyone thinks anymore.

Taurus: you’re forgetting to take care of yourself, you’re forgetting to stop and smell the flowers. You’re forgetting yourself because there are millions of other people who need help, but hey. Save the world: start with yourself.

Gemini: stop trying to please everyone and then go along with their plans like someone blinded you. You have your own opinions, plans. Use your voice, live. Communicate with everyone and show them what you’re good at because love, you’re burning out.

Cancer: the stars shine for you again, you’re in such a contradict with yourself and your mind. You’re stuck in a spiderweb, speaking words of dust and cobwebs. I’m afraid I can’t save you, the spider’s dead. Save yourself because last time I looked in your eyes and I lost everything, I lost everything.

Leo: call that friend you’ve been forgetting, they’re missing you. People need you more than you realize. People miss you when you don’t talk to them just like you miss them. Don’t put yourself down love.

Virgo: I always forget the coldness of your hands but I swear that when I touch you my fingers split open with pain. Something so painful is yet so beautiful. And I always dreamed of fairtytales until I saw your face and was reminded that they’re not real. They’re not real; but you’re pretty damn close.

Libra: the jewelry around your neck doesn’t make me wander me from your fake smile and glossy eyes. You’re strong, but you’ve been over this path of glass one too many times and the shards always make you bleed. I know familiarity is important for you but why don’t you try the path with warm sand instead? You keep making yourself bleed.

Scorpio: you won’t find yourself or your confidence when you keep hiding your face under the lid of your hoodie darling. You’re beautiful, dare to be brave, open. Shock them all with your contagious smile. They don’t need to understand, happiness is not understandable. It’s beautiful, like you. Be your unpredictable self.

Sagittarius: the moon slips ink down your throat and you keep choking on the lies you tell to keep yourself save. I have an adventure for you and it starts at the top of your personality and ends and your lifeline: seek your heartbeat, find your faith.

Capricorn: for the last time, you’re more important than you think you are. You’re worth more than they’ll ever know. There’s not much to say, the seas are spotted red and your eyes always end up getting lost in it at the end of the night. It’s alright because for the thousandth time, there’s someone by your side.

Aquarius: the unfamiliarity of the sunset that lights fires in your heart may be a welcome surprise but your hands are still cold and winter is about to make things a whole lot more chilly. Find a home, you’re save when you’re there.

Pisces: you’re making mistakes I don’t understand but I am not the one to judge for I don’t know the things in your head. And I will try my best and say I do the best that I can but I can’t defend your actions, you’re too special to go down for this. You’re trying, I know you are. You always are.

THIS MIGHT BE A REACH BUT I THINK I’M ONTO SOMETHING HERE.

OKAY OKAY SO LISTEN 
There’s a lot of discorse about the new season and that’s understandable BUT I want you guys to look at something with me for a second. 

 I wanna talk about Keith and Lance. We all know Keith’s going through a lot, the blade of marmora is convincing him his own life matters less than the mission, that if he died it would just be for the greater good of the cause. So he’s pulling away, trying to make it so that Voltron doesn’t need him so that he could be… disposable. 

So Keith talks to Shiro and tries to get him to go back to being the black paladin. And *cough cough* fake *cough* Shiro tells him to buckle the heck up and stop whining and just be the black paladin. He doesn’t see, in that moment just what Keith is trying to do. So he gets mad. 

This is a face of pure dissapointment in Shiro. And Keith sees it. He really sees it, and feels it too. But he doesnt know what to do about it.

He’s the lone wolf, right? He doesn’t know how to function in a team properly. In the B.O.M he’s much more independant. Yes, he gets orders and people he goes on with missions but if you really watch most of those missions involve very little teamwork. 

So Keith is pulling away, but at the same time he’s getting the rejection from everyone in the team that’s pushing him away. When he shows up late in the begining of episode one Hunk, Pidge and Lance are super pissed at him, right? 

Right? 

No, go back and look at Lance. He’s not angry. He’s worried. 

Yeah, he says “Are you even taking this seriously?” But think about it. Keith is someone who throws himself into missions. He takes everything he does seriously and he puts a 100% of himself into what he does. He doesn’t half ass things, and it pays off. He gets results. 

Lance is used to seeing Keith do well. At the Garrison he was top of the class, when he was still with Voltron he usually spent his free time training. And now, all of a sudden he’s late to missions, falling behind while he’s the leader. 

Not only that but remember this scene? 

 Again,everyone looks super pissed right? No look at Lance. 

And remember the dialogue? 

Allura:You keep saying you’re sorry but your actions say otherwise. Do you realise that your actions put the entire team in jeoprady? 
Lance: And not Just the team but the refugees too. 

and again, look at his face as he says it. 

He’s not angry. He’s confused there. Think about it. What did Keith tell Pidge when she tried to leave? That other people’s lives were at stake if she left. Keith cares about the people he’s out there protecting. Lance understands that this is not how Keith normally is. 

We know that they got closer in season 3 with Lance opening up to Keith and all and you might even call them friends. Sure he’s not as close as (the real) Shiro is to Keith, but he’s close enough to see Keith isn’t himself. 

But what if… what if Keith did open up. 

I get that this might be somewhat of a reach BUT if you watch Keith’s vlog, it’s very likely he wasn’t alone when he filmed it (he looks like he’s talking to someone off camera. but also tells them to get them out of there. Not only that but the camera turns off and from how emotional he got and the way he was walking its unlikely he turned it off and if you watch Allura’s vlog, she definitely gets closer to turn it off). Now my first thought would be that seeming it’s tech related it would be likely that Pidge would be with him. 

But it doesn’t seem like something that Pidge would be into. Sitting and making vlogs with the paladins. Not her style. 

Okay so maybe Coran? He was the first to upload a vlog, and the camera might be some castle gear? Sounds reasonable enough. But why only be there for Keith’s vlog? Allura was definitely alone during her’s. Also, I dont see them having the kind of bond where Keith would say any of that to Coran. No offense Space unc, we love you. 

OKAY so not Coran or Pidge… so maybe Allura? 

No, the bond isn’t strong enough. As someone who is pretty similar to Keith in defense mechanisms, I don’t see him trusting her to a point where he’s this open with her especially after what happened the last time he opened up about his Galra identity. 

(We all know where I’m going with this, but for argument’s sake; I will keep going. Feel free to skip ahead.) 

Okay so Hunk maybe? He has the tech know-how and stood up for Keith during the whole Galra thing. Even if he did tease him a little… Okay but even then they haven’t really had much bonding since then. I suppose it’s possible if Keith was feeling particularly vulnerable and whatever. But… Would Hunk really bother Keith to make a vlog? and would Keith ask Hunk to help with a vlog? 

It doesn’t really seem in character. Yes, they’re closer but still… not close enough. 

So that leaves Shiro and Lance. First, lets look at why I don’t think it’s Shiro. 

As we know Shiro is someone Keith looks up to. He’s always extremely respectful towards him and it shows in his facial expressions and way of speaking. 

but then look at this; 

Thats not a face Keith would make at Shiro.

You know who he does make faces like that at? 

L A N C E 

So lets think about this. Does Lance have the tech know how? Well he’s always stealing Pidge’s shit so I’mma go ahead and say, yeah to that one. Allura seems equally technically inclined as Lance, so seeming she has no trouble with it that makes sense. 

And even if Keith didn’t ask Lance to help him with his vlog, you know what does seem Lance like? Suggesting Keith makes a vlog. 

So lets asume here, for a moment that Lance knows about Keith’s abandonment issues. That would explain why he looks so worried in the screenshot from before, right? He knows Keith is feeling rejected by his team and he knows that Keith’s behaviour has changed since he started working more with the blade. 

But while they got closer in season 3, and Lance has a better understanding of Keith now, I also think Keith was eager to put some distance between them after that outburst. So he starts working with the blade a lot, right? Meaning Lance hardly sees him. 

So they take a few steps back in their friendship.

And then Kolivan calls Keith to a mission that they all know will be dangerous and look at Lance’s face. 

Yes, you could read it as Lance not wanting his spotlight gone BUT remember that Lance isn’t as shallow as he seems at first glance. He’s not the loverboy he pretends to be and few realise it, but he masks a lot of his emotions. 

Yes, Lance thrives on attention. But do you really think that he would prioritise a show over a mission that could give them a great boost in power? No, this isn’t about the show, this goes deeper. He’s worried. He’s worried about Keith. 

He doesn’t want him to go. He needs him around. But he cant tell him that. Especially not in front of everyone. 

So what does Lance do? 

He makes a stupid argument, its not much, but it’s all he’s got. “We can’t razzle dazzle the crowd with four lions.” 
We need you, I need you. Thats what he’s trying to say. 

And Keith refuses. 

So Lance has that same expression. He’s looking at Shiro in dissbelief this time because he can’t believe he’s letting him go. 

So what we’ve established thus far is the following; 

-Lance definitely feels closer to Keith than he used to. 
-Lance was probably there during Keith’s vlog.
-Lance isn’t as straight forward as people think he is. 
-There’s probably some distance between them right now. 
-Lance has noticed Keith’s change in behaviour. 

So with all that in mind, do you really think Lance doesn’t see that Keith is in a bad place. He knows something is up. He can feel Keith pulling and he’s trying to tell him that they need him around but he doesn’t know how to say it. And then… then Keith tells them he’s leaving. 

yeah, everyone looks sad, but look at Lance. He looks deep in thought. What do you think he’s thinking? He just realised he lost Keith. And he gets it. Suddenly it all makes sense. Keith more or less reforced the bond between Black and Shiro and he was acting strange, showing up late. This is what’s been up with Keith and Lance finally figure out that this whole time, he was losing Keith. 

But he gives it one last try. 

Who am I going to make fun of? 

It’s so much more than a playfull jab. Think about it. Really think about it. 

“Who am I going to make fun of?”

Who am I gonna talk to? 

Don’t go. 

The Dos and Don’ts of Beginning a Novel:  An Illustrated Guide

I’ve had a lot of asks lately for how to begin a book (or how not to), so here’s a post on my general rules of thumb for story openers and first chapters!  

Please note, these are incredibly broad generalizations;  if you think an opener is right for you, and your beta readers like it, there’s a good chance it’s A-OK.  When it comes to writing, one size does not fit all.  (Also note that this is for serious writers who are interested in improving their craft and/or professional publication, so kindly refrain from the obligatory handful of comments saying “umm, screw this, write however you want!!”)

So without further ado, let’s jump into it!

Don’t: 

1.  Open with a dream. 

“Just when Mary Sue was sure she’d disappear down the gullet of the monstrous, winged pig, she woke up bathed in sweat in her own bedroom.”

What?  So that entire winged pig confrontation took place in a dream and amounts to nothing?  I feel so cheated! 

Okay, not too many people open their novels with monstrous swine, but you get the idea:  false openings of any kind tend to make the reader feel as though you’ve wasted their time, and don’t usually jump into more meaty action of the story quickly enough.  It makes your opening feel lethargic and can leave your audience yawning.

Speaking of… 

2.  Open with a character waking up.  

This feels familiar to most of us, but unless your character is waking up to a zombie attack or an alien invasion, it’s generally a pretty easy recipe to get your story to drag.

No one picks a book to hear how your character brushes their teeth in the morning or what they’d like to have for dinner.  As a general rule of thumb, we read to explore things we wouldn’t otherwise get to experience.  And cussing out the alarm clock is not one of them.  

Granted, there are exceptions if your writing is exceptionally engaging, but in most cases it just sets a slow pace that will bore you and your reader to death and probably cause you to lose interest in your book within the first ten pages.  

3.  Bombard with exposition.  

Literary characters aren’t DeviantArt OCs.  And the best way to convey a character is not, in my experience, to devote the first ten pages to describing their physical appearance, personality, and backstory.  Develop your characters, and make sure their fully fleshed out – my tips on how to do so here – but you don’t need to dump all that on the reader before they have any reason to care about them.  Let the reader get to know the character gradually, learn about them, and fall in love with them as they would a person:  a little bit at a time.   

This is iffy when world building is involved, but even then it works best when the delivery feels organic and in tune with the book’s overall tone.  Think the opening of the Hobbit or Good Omens.

4.  Take yourself too seriously.

Your opener (and your novel in general) doesn’t need to be intellectually pretentious, nor is intellectual pretense the hallmark of good literature.  Good literature is, generally speaking, engaging, well-written, and enjoyable.  That’s it.  

So don’t concern yourself with creating a poetic masterpiece of an opening line/first chapter.  Just make one that’s – you guessed it – engaging, well-written, and enjoyable. 

5.  Be unintentionally hilarious.

Utilizing humor in your opening line is awesome, but check yourself to make sure your readers aren’t laughing for all the wrong reasons (this is another reason why betas are important.)  

These examples of the worst opening lines in published literature will show you what I mean – and possibly serve as a pleasant confidence booster as well: 

“As the dark and mysterious stranger approached, Angela bit her lip anxiously, hoping with every nerve, cell, and fiber of her being that this would be the one man who would understand – who would take her away from all this – and who would not just squeeze her boob and make a loud honking noise, as all the others had.”

– Ali Kawashima

“She sipped her latte gracefully, unaware of the milk foam droplets building on her mustache, which was not the peachy-fine baby fuzz that Nordic girls might have, but a really dense, dark, hirsute lip-lining row of fur common to southern Mediterranean ladies nearing menopause, and winked at the obviously charmed Spaniard at the next table.”

– Jeanne Villa

“As I gardened, gazing towards the autumnal sky, I longed to run my finger through the trail of mucus left by a single speckled slug – innocuously thrusting past my rhododendrons – and in feeling that warm slime, be swept back to planet Alderon, back into the tentacles of the alien who loved me.”

– Mary E. Patrick

“Before they met, his heart was a frozen block of ice, scarred by the skate blades of broken relationships, then she came along and like a beautiful Zamboni flooded his heart with warmth, scraped away the ugly slushy bits, and dumped them in the empty parking lot of his soul.”

– Howie McClennon

If these can get published, so can you.

Do:

1.  You know that one really interesting scene you’re itching to write?  Start with that.

Momentum is an important thing in storytelling.  If you set a fast, infectious beat, you and your reader will be itching to dance along with it.  

Similarly, slow, drowsy openers tend to lead to slow, drowsy stories that will put you both to sleep.

I see a lot of posts joking about “that awkward moment when you sit down to write but don’t know how to get to that one scene you actually wanted to write about.”  Write that scene!  If it’s at all possible, start off with it.  If not, there are still ways you can build your story around the scenes you actually want to write.

Keep in mind:  if you’re bored, your reader will almost certainly be bored as well.  So write what you want to write.  Write what makes you excited.  Don’t hold off until later, when it “really gets good.”  Odds are, the reader will not wait around that long, and you’re way more likely to become disillusioned with your story and quit.  If a scene is dragging, cut it out.  Burn bridges, find a way around.  Live, dammit. 

2.  Engage the reader.

There are several ways to go about this.  You can use wit and levity, you can present a question, and you can immerse the reader into the world you’ve created.  Just remember to do so with subtlety, and don’t try too hard;  believe me, it shows.  

Here are some of my personal favorite examples of engaging opening lines: 

“In the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move." 

– Douglas Adams, the Restaurant at the End of the Universe.

"It was the day my grandmother exploded.”

– Iain Banks, Crow Road.

“A white Pomeranian named Fluffy flew out of the a fifth-floor window in Panna, which was a grand-new building with the painter’s scaffolding still around it. Fluffy screamed.”

– Vikram Chandra, Sacred Games.

See what I’m saying?  They pull you in and do not let go.

3.  Introduce us to a main character (but do it right.)

“Shadow had done three years in prison. He was big enough and looked don’t-fuck-with-me enough that his biggest problem was killing time. So he kept himself in shape, and taught himself coin tricks, and thought a lot about how much he loved his wife.”

– Neil Gaiman, American Gods.

This is one of my favorite literary openings of all time, because right off the bat we know almost everything we need to know about Shadow’s character (i.e. that he’s rugged, pragmatic, and loving.)   

Also note that it doesn’t tell us everything about Shadow:  it presents questions that make us want to read more.  How did Shadow get into prison?  When will he get out?  Will he reunite with his wife?  There’s also more details about Shadow slowly sprinkled in throughout the book, about his past, personality, and physical appearance.  This makes him feel more real and rounded as a character, and doesn’t pull the reader out of the story.

Obviously, I’m not saying you should rip off American Gods.  You don’t even need to include a hooker eating a guy with her cooch if you don’t want to.  

But this, and other successful openers, will give you just enough information about the main character to get the story started;  rarely any good comes from infodumping, and allowing your reader to get to know your character gradually will make them feel more real.   

4.  Learn from the greats.

My list of my favorite opening lines (and why I love them) is right here.

5.  Keep moving.  

The toughest part of being a writer is that it’s a rare and glorious occasion when you’re actually satisfied with something you write.  And to add another layer of complication, what you like best probably won’t be what your readers will like best. 

If you refuse to keep moving until you have the perfect first chapter, you will never write anything beyond your first chapter.  

Set a plan, and stick to it:  having a daily/weekly word or page goal can be extremely helpful, especially when you’re starting out.  Plotting is a lifesaver (some of my favorite posts on how to do so here, here, and here.)

Keep writing, keep moving, and rewrite later.  If you stay in one place for too long, you’ll never keep going. 

Best of luck, and happy writing.  <3

1930s Animation: How it came about, What happened to it, What it influenced.

Hey guys! So recently as I’m sure a lot of you know, the 1930s style of animation has made a resurgence in the forms of Bendy and the Ink Machine and Cuphead! So I’m just making this to show where it comes from c:

Before you start though, I’ll be mentioning Max Fleischer in this post, and you can find out more about his life in the book Out of the Inkwell. I don’t have it myself as I’m pretty poor, but I’d love to read it soon <3

Was It Walt Disney?

It depends on what kind of style you’re thinking! Walt Disney’s work began with an animation known as Alice’s Wonderland (1923).

which, looking onto his future works, is a lot more different. The cartoon look is there; however, those famed Pac-Man eyes aren’t, neither are the rubberhose limbs and thick black characters. Those came into his work later on with his Mickey Mouse shorts such as Plane Crazy (1928) and the first animation to feature synchronized sound, Steamboat Willie (1928). The bouncy animation is there, squashing and stretching all the characters and objects!

Though, Steamboat Willie was actually not the first animation to feature Synchronized sound! That would be credited to  “Oh, Mabel, Mother, Pin a Rose on Me” (1924) (Which I actually can’t find…Here’s the song though!) and later on, My Ole Kentucky Home (1926).

There is a lot of…Drama….surrounding the relationship between the studios of Disney and Fleischer, but this isn’t going to be about that (though I may touch on it), I would definitely recommend looking it up though, it’s very fascinating.

Around this time, the scary looking Lip-Sync animation started to come along and the styles were fairly similar, though the Fleischer Car-Tunes were a lot more, in my opinion, clean, however didn’t fully stretch their characters as much as Disney had been doing later on.

Who are Fleischer Studios?

Fleischer Studios first opened around the 1920s as Inkwell Studios. It was created by brothers Max and Dave Fleischer, whom were Born and Raised in Poland. In 1914, Max Fleischer created the Rotoscope, a device that could allow the animator to create smoother productions as they had been drawn over Filmed reference.

Using this Process, they created the Out of the Inkwell (1918 - 1929) series, starring Koko the Clown!

Max included a lot more Live Action in his animations than Walt Disney and even revolutionised the way it worked due to his own inventions, including The Stereoptical Process (which I’ll show more on later), that gave him a good edge forwards during their prime. However, due to A Series of Not Quite Fortunate Events, he never quite overcame Disney and, unfortunately, his studio met a sad end. 

What other Cartoons did they make?

Fleischer Studios made a surprising turn with bringing in Less Live action footage over time and creating more Lovable characters such as Bimbo The Dog and Betty Boop (1931). (Betty Boop being another can of worms entirely with the problems her design created and the blow it dealt the studio)

It was around this time that people could start to notice the style’s true beginnings. The famed Eyes had begun to appear, the Clearly Animated Flat props and characters over the detailed painted environments, and the rubberhose stretchiness of their movements.

Bringing in Cuphead as reference, both Hilda Berg and Cala Maria were heavily inspired by Betty boop’s design as mentioned by Studio MDHR’s Jake Clark in their GDC (Game Developer Conference) talk, which I’d definitely recommend watching.

Besides these characters, perhaps one of their other most Well known characters was Popeye the sailor man! featuring Sinbad, a character I’m fairly sure inspired the design of Cuphead’s Captain Brinybeard.

In this animation you can see every part of the style’s inspiration. The watercolour backgrounds, the flat Cel characters and their stretchy, rubbery movements, and, shown in the image above, the Two-Tone Technicolor process (A secret in Cuphead for those who don’t know). This was another issue between Disney and Fleischer, as well as their own Financial problems with Paramount Pictures, so they had to resort to using cheaper methods, resulting in the above image being created by layering a negative-spaced film reel through red and green filters (basically, it was complicated back in the day, no easy layers then).

I’d definitely recommend looking up more Fleischer cartoons too if you’d like inspirations for your own works or for the animation practise, such as Swing you Sinners (1930) which I honestly think is one of the biggest influences in terms of the recent style too!

Why does Disney have this style in their animations now?

Honestly I couldn’t tell you that myself, as personally I myself am not really a huge Disney fan. Considering his past with the studios he worked in or rivalled, I never really had a soft spot for him. However, I like to hope that he took inspiration from Max Fleischer. Max was unfortunately met with the worst circumstances with working under Paramount Pictures, The Great Depression hugely hitting his work, and his relationship with his brother Dave deteriorating. (honestly I wish this studio was still here and Paramount not).

You could say the style was stolen, or developed, or inspired, being shown in Mickey Mouse’s more updated designs as well as just a general staple of “Old Animation” with the eyes and Thick Black characters. Either way, it’s the fact Fleischer inspired generations with the little miracles he created that is the important thing. I wish people would stop attributing these qualities initially refined by Fleischer to Walt Disney and giving him more credit than he deserves, but that’s just my own opinion. 

Should we keep making animation in this style, or move on?

Please keep making things in the old rubberhose animation styles. Yes it’s an old aesthetic and yes it’s not…the best out there, but it’s an incredibly endearing look that I think is a love letter to the old days of animation. 

You will get those who pick at the details of how it doesn’t fit quite with the style (With Bendy being a victim, his proportions and shapes being very inaccurate if put into the Fleischer/Old Disney style), however, it’s how you bring that style and adapt it to the modern world, how you make it so that you’re not merely just going by the original rules of how you create these characters and worlds. Yes, Cuphead strictly stuck to these details as beautifully as possible, but Bendy was, though I’m not a fan of his design myself, a great addition and evolution of the style into the modern day.

As nice as it is to remember these styles for when they came from and what they were inspired by, it’s always nice to know it’s just that, a style. You can continue to create in that style as much as you want!

However, if you ever want to say/credit where the style came from, though Disney did create a style similar to this and adapted some of its individual aspects into their work later on after, the Vast majority of it comes from Fleischer Studios. It’s a common misconception, but an understandable one considering the studio no longer exists and how popular Disney is.

If you ever have more questions about it, go ahead and ask! I’d love to research more about animation and give you information on any specifics within the studio, the troubles they faced within themselves/with eachother or other studios that were present back then :D <3

why some teens believe everything the light of their internet-capable device touches is their kingdom

(‘what about that shadowy place over there?’

‘that’s pornhub, simba. you must never go there.’)

we all see plenty of posts about how adults on the internet need to remember that ‘kids’ (read: teens) are around and we must bear that in mind. and these posts are not entirely without merit. It’s important to keep conversations being held with teens carefully teen-friendly and appropriately distant. but the entirety of tumblr and twitter aren’t designed to cater to the safety of minors, and all the adult self-policing in the world won’t make all the kid-unfriendly content go away.

not all teens believe the internet should have gutter bumpers for them, either. but those that do have mystified me for a while … until I started to understand just how pervasive ‘helicopter parenting’ is in parts of American (and UK) culture, and how that affects the adolescents and young adults of today.

anonymous asked:

a thing worth noting re anyone who pulls the ‘you can’t blacklist on mobile, minors can still see it’ thing to say even tagged content isn’t okay: even if washboard didn’t exist, the tumblr app is rated 17/18+ in app stores. if people under that age get on the app and see things they shouldn’t, that’s on them and their parents/guardians, because they shouldn’t actually have been using the app in the first place.

agreed.

Honestly, though, the argument has moved past this in some ways. It’s not so much about whether or not teenagers are allowed to see this thing or that thing; it’s a well-known fact that most teenagers will break rules if it suits them and they can get away with it, and internet time is a prime space wherein they can do so.

What’s happened is that some adolescents - teens with parents that are overly protective and crowd their schedules with supervised activities, usually - have been taught by their life experience that:

  • all adults in their vicinity are there to protect them. and no wonder: the large majority of their contact with adults will have been as supervisors. Teachers, teacher assistants, instructors, daycare employees, and coaches are all adults who are paid to watch their activity and will be held responsible for the teen’s wellbeing by their guardians. when have they ever spent time with adults who aren’t in charge of making sure they’re safe?
  • any space they are in will be designed and maintained with their safety and comfort in mind (no matter how they obtained access). all spaces they enter are specifically meant to revolve around them: schools, sports, playgrounds, etc. The few occasions that they have to enter spaces not meant specifically for them (stores, etc) they are closely watched by adults and any harm they experience will be blamed on adults as a result.
  • if they can get access, it must be a space that’s safe for them. Having spent very little of their lives unsupervised, they have always been actively prevented from entering spaces that are not meant for them. They’ve never had to learn to set boundaries for themselves, so they naturally reason that if a boundary is not actively enforced, it must actually be a space they’re meant to enter.
  • they are not responsible for themselves. adults around them are responsible for them. if they come to harm, it’s because an adult wasn’t doing their job properly.

for teens of this mindset, ‘18+ ONLY’ warnings are merely a suggestion. Nobody is stopping them, after all, and it has never been their job to stop themselves. and if they can get access, the space is now theirs - because all spaces they are in are theirs. they couldn’t get there unless it was meant for them; that’s how it works, right?

This is why some teens are utterly flabbergasted by the idea that adults on the internet want to interact with fellow adults on an adult level in a space the teen can access. They’re here! That means the space is specifically meant to cater to them! The adults are automatically tasked with their safety! If teens do get into trouble, it’s because the adults weren’t responsible enough! that’s how this has always worked.

And when adults say ‘no, I do not take responsibility for your actions, the internet is full of things that may frighten or harm you and you must set your own boundaries,’ it’s distressing and scary all at once.

(no wonder so many people in their late teens/early 20′s want to still be considered as children.)

EDIT (10/9/2017, 4 days after originally posting): if you’re seeing this post in its original form, I hope you’ll read some of the excellent reblogs disagreeing with it. I think that this post kind of misses the point, which is: some of it may be emotionally invaded teens, but some is just that teens who grew up around this kind of behavior from their parents and adults have learned that they can use their minor status as a kind of power play and thus stand up to demand coddling in fandom spaces.

the culprit that I still maintain is the heart of the problem is the structure of sites like tumblr and twitter, which knocked down all barriers and moderation in fandom and made fandom feel chaotic and uncontrollable. we’re all looking for ways to control our experience in an environment of this kind; some find it by demanding others change what they produce, and others do it by curating what what they see of the production of others. this post doesn’t reflect that well, however, and I apologize for talking down to teenagers who have the agency to think for themselves no matter how their parents behaved. 

I called Hugh Hefner a pimp, he threatened to sue. But that’s what he was

Now that he’s dead, the old sleaze in the Playboy mansion is being spoken of as some kind of liberator of women. Quite the opposite

Long ago, in another time, I got a call from a lawyer. Hugh Hefner was threatening a libel action against me and the paper I worked for at the time, for something I had written. Journalists live in dread of such calls. I had called Hefner a pimp. To me this was not even controversial; it was self-evident. And he was just one of the many “libertines” who had threatened me with court action over the years.

It is strange that these outlaws have recourse in this way, but they do. But at the time, part of me wanted my allegation to be tested in a court of law. What a case it could have made. What a hoot it would have been to argue whether a man who procured, solicited and made profits from women selling sex could be called a pimp. Of course, central to Playboy’s ideology is the idea that women do this kind of thing willingly; that at 23 they want nothing more than to jump octogenarians.

Now that he’s dead, the disgusting old sleaze in the smoking jacket is being spoken of as some kind of liberator of women. Kim Kardashian is honoured to have been involved. Righty ho.

I don’t really know which which women were liberated by Hefner’s fantasies. I guess if you aspired to be a living Barbie it was as fabulous as it is to be in Donald Trump’s entourage. Had we gone to court, I would like to have heard some of the former playmates and bunnies speak up in court – because over the years they have.

The accounts of the “privileged few” who made it into the inner sanctum of the 29-room Playboy mansion as wives/girlfriends/bunny rabbits are quite something. In Hefner’s petting zoo/harem/brothel, these interchangeable blondes were put on a curfew. They were not allowed to have friends to visit. And certainly not boyfriends. They were given an “allowance”. The big metal gates on the mansion that everyone claimed were to keep people out of this “nirvana” were described by one-time Hefner “girlfriend no 1” Holly Madison in her autobiography thus: “I grew to feel it was meant to lock me in.”

The fantasy that Hefner sold was not a fantasy of freedom for women, but for men. Women had to be strangely chaste but constantly available for the right price. Dressing grown women as rabbits – once seen as the height of sophistication – is now seen as camp and ironic. There are those today who want to celebrate Hefner’s contribution to magazine journalism, and I don’t dispute that Playboy did use some fantastic writers. of Hefner’s business acumen was to make the selling of female flesh respectable and hip, to make soft porn acceptable. Every man’s dream was to have Hefner’s lifestyle. Apparently. Every picture of him, right to the end, shows him with his lizard smirk surrounded by blonde clones. Every half-wit on Twitter is asking if Hefner will go to heaven when he already lived in it.

But listen to what the women say about this heaven. Every week, Izabella St James recalls, they had to go to his room and “wait while he picked the dog poo off the carpet – and then ask for our allowance. A thousand dollars counted out in crisp hundred dollar bills from a safe in one of his bookcases.”

If any of them left the mansion and were not available for club nights where they were paraded, they didn’t get their allowance. The sheets in the mansion were stained. There was to be no bickering between girlfriends. No condoms could be used. A nurse sometimes had to be called to Hefner’s “grotto” if he’d had a fall. Nonetheless, these young women would have to perform.

Hefner – repeatedly described as an icon for sexual liberation – would lie there with, I guess, an iconic erection, Viagra-ed to the eyeballs. The main girlfriend would then be called to give him oral sex. There was no protection and no testing. He didn’t care, wrote Jill Ann Spaulding. Then the other women would take turns to get on top of him for two minutes while the girls in the background enacted lesbian scenarios to keep “Daddy” excited. Is there no end to this glamour?

Well now there is, of course. But this man is still being celebrated by people who should know better. You can dress it up with talk of glamour and bunny ears and fishnets, you can talk about his contribution to gonzo journalism, you can contextualise his drive to free up sex as part of the sexual revolution. But strip it all back and he was a man who bought and sold women to other men. Isn’t that the definition of a pimp? I couldn’t possibly say.

https://www.theguardian.com/commentisfree/2017/sep/28/hugh-hefner-pimp-sue-playboy-mansion

just a bet

HEY HI WADDUP

so this is based LOOSELY on will and emma from the scream tv series. if you havent seen it, that doesnt matter bc like…. its not important

ANYWAY

THEY ARE SENIORS IN THIS

THAT MEANS THEY ARE 18!!!!!!!!!!!!!!!!!!

PLEASE DONT ATTACK ME FOR THIS BC THE ACTORS HAVE NO RELATION TO THE CHARACTER IM WRITING K THX

there won’t be nsfw but there are MENTIONS of it sooooo

YEAH

anyway enjoy ily all

summary: beverly bets richie he can’t get with the new kid, eddie, in under three months. richie disagrees

pairing: richie and eddie

words: 1870

Everyone at Derry High School knew of the senior Richie Tozier. No matter who they were, what social group they were apart of, they all knew of the trashmouth. Every girl swooned over him and every gay (and possibly ‘not’ gay) guy would beg for his number. He was the ‘It’ guy in his high school and even the other high schools in the Derry school district. It was common knowledge that Richie was bi. Some people said it was fake and that he said it for more attention, but his real friends knew it wasn’t bullshit at all. 


Richie strode into the school building that Monday morning, casually sliding off his sunglasses and hooking them in his shirt. People in the hallways snuck glances at him, some even saying hello to him politely as he passed. He nodded in response, flashing them a smile. Richie approached his locker and opened it with ease, getting his few textbooks out. Despite being a ‘jock’, he still cared about his grades. 


“Hey, Rich, did you hear about the new kid?” Beverly asked casually, making her presence known. She leaned against the navy blue lockers, a small smile playing on her lips.

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satanslesbianmother  asked:

I am creating a black female character for a story that takes place in an area where...well, she's surrounded by white people who are almost obsessively politically correct, to the point of enforcing "colorblindness." I feel it's important to her character and to authenticity for her to react to her white friends being intimidated around the subject of race, but I don't want to end up writing the white person's "ideal black response" unintentionally. Any pointers?

Black Girl Living in a “Colorblind” Environment

Hey there,

Wooow, that’s like my entire life over here. Yes, I do have some pointers, but they’ll mostly just be my thoughts and experiences. Not everyone will have the same reactions as I do, but I hope this will help.

Internalized Racism

So I’ll just start by saying this is the perfect breeding ground for internalized racism. It is an everyday thing so subtle, so normalized absolutely every time, that the racism is hardly ever recognized for what it is. If your character is somewhat like me or people I know, they will struggle with the urge to not stand out, try to assimilate into the dominant culture or distance themselves from their culture(s) at the expense of their own identity, feeling the need to compensate and deflect stereotypes. They’ll be gaslit left and right, and replying with anything other than silence or agreement will most of the time start discussions or fights. They might at times feel like they’re living a lie, feel out of place and start questioning themselves. There’s more but you get the gist of it.

Reactions to Environment

Now most reactions will come down to: 

1) completely rejecting the white people and their culture,

2) trying to become like the white people and take on their views, 

3) or social withdrawal. 

What they all have in common is A LOT of unease surrounding your roots, your race and expressing your true self. 

Daily Struggles

There will be a lot of tension and anxiety when matters of race surface, even when they don’t end up mentioned or discussed. Feeling like you don’t belong, that you’ll only be accepted as long as you keep your mouth shut about racism.

Feeling unsafe comes to mind. I imagine your character desperately searching for people who might be different, looking for friends of color online, trying to make sense of their experiences by searching online, that sort of thing. If they do try to express themselves it’s because that person gives them the feeling that they just might be a bit more understanding than others and might get into discussions desperately trying for them to understand them. I imagine them not wanting to be seen as a stereotype while not wanting their race/roots/ethnicity pushed aside. High chances they will be passive aggressive about it because they lack any other meaningful way to express themselves. 

Of course there will be Black and brown people who’re content with assimilating into a culture like this. Good for them. But plenty of people also force themselves to believe that in order to survive. 

That’s what most of it comes down to. Surviving an environment that’s hostile towards you while it masquerades as your dear friend. 

~ Mod Alice

Daily Struggles - Racism & Racial Tension

In middle school, I had this friend. I was telling her a story involving someone else when she asked a strangely-worded question. 

“Did she look like you or me?” 

I was all “huh” until she pointed to my arm, my skin.

“Like you…” She said, then pointed to her own arm. “Or like me?”

I instantly fed off of the race-is-scary vibe and just muttered “Oh, like you…”

I grew up in a slightly less intense version of Alice’s environment, and my experience was passive-aggressive racism (micro-aggressions) with both the micro-aggressions and aggressive racism brushed over and kept low key. (That lady moved her purse when you walked by because she thinks you’ll steal it? Nah, she just needed it to warm her lap!)

I rarely felt the heat of racism. It wasn’t as blatant. Still, it happened in pockets.

Daily “racial tension” would be stares in public because seeing a Black person in the supermarket was a marvel. At school and other frequented places, well, they get used to you, so unless you’re the very new kid, it’s not likely she’d be made awkward on the day-to-day for existing (At least not until slavery is discussed and everyone is turning their heads to stare at her..).

Colorblind Environment and Balancing Culture

Alice hit the main points. Some reject the dominant culture, some embrace it (and may even allow and make race jokes at their own expense to cope) and some withdraw completely. I don’t think anyone fits into any neat category. 

Consider that your character may fall on a scale of embracing her situation, and rejecting some aspects. No one person is the same. 

I think background and home life will affect how she copes in this environment. I moved into my super-white town at a pretty young age, prior to that growing up in a culturally-diverse city and had sisters who did as well. We were able to embrace our culture at home among each other and other family even if that openness could not be experienced with most people in the neighborhood. If I’d been older before I moved, I probably wouldn’t have given a damn a bit more, or rejected more of the environment’s culture, but hey. 

Either way, it’s very possible for her to blend and embrace more than one culture. But how one embraces or how much, depends on the person.

Now, embracing different culture depending on the environment and code-switching doesn’t mean you’re at a cultural crisis or both sides cannot co-exist. For example, while I was made awkward about race in one experience, around that same age and time, I brought a bigger celebration of Black History Month to that same school by approaching administration on the severe lack of it. With permission and the help of friends, we made posters and announcements celebrating prominent Black leaders and inventors. That would not have happened if I didn’t have cultural pride being nourished elsewhere.

In Short

With maturity, self-realization, getting away from that environment and/or connecting with a knowledgeable and accepting group of people comes accepting what living in the dominant culture has made you, and hopefully embracing and not losing the culture you might’ve experienced without its influence.

As always, we’d also recommend having appropriate beta-readers take a look at your story for sensitivity and accuracy.

~Mod Colette

P.S. Based on some responses defending colorblindness as a good thing, which it’s not and is in fact racist (!) I would urge you to research the harms of the colorblind approach and learn of the huge disservice it is to People of Color to ignore the beauty that is diversity and in recognizing cultural differences.

PSA: “Seeing color” isn’t the same as “judging color.” 

Won’t dwell on it here. I do want to quote mod Brei from a different ask

Colorblindness is an act of racism by denying to acknowledge differences. I mean, no one ever says “I don’t see gender” so why apply such ignorance to race?

Niall Horan reveals a secret lover he had in 1D inspired his best songs — and it has inspired his emotional debut album Flicker

FOR his five years in ONE DIRECTION – and the nearly two years since they went on hiatus – NIALL HORAN has been linked to a string of beautiful women.

But while his bandmates HARRY STYLES, LIAM PAYNE, LOUIS TOMLINSON and ZAYN MALIK have had plenty of girlfriends since shooting to fame, Niall always insisted he was single . . . until now.

In his first Bizarre guest-edit since going solo, Niall revealed his incredible debut album Flicker, out today, was inspired by a secret relationship.

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⇁plums & melons | 02

Originally posted by parkejimins

pairing⇁Jimin x Reader

genre⇁drama, smut || brother’s best friend!au

warnings⇁public indecency, masturbation, dry humping, jungkook, things that shouldn’t happen in a closet, a brief mention of tentacle porn;;

word count⇁7.3k

The long time running game between you and your brother’s best friend started when you noticed his fascination with boobs—yours specifically. It was never supposed to amount to more than harmless flirting and lingering glances, but now, one year later, Jimin was ready to change that.

alternatively: Jimin and you play a game. the loser is fucked. metaphorically. literally. all the above??

01 || 02 

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It’s something he was planning on saying all night but had been trying to hold in simultaneously. Now he says it, like breeze.

“Stay here tonight.”

Castiel turns around and looks at him. Dean thought he’d never see him again, but he’s back. Alive and real and Cas. Dean feels like he’s been constantly out of breath ever since Cas returned that morning, suddenly on the doorstep of Dean’s motel room.

Dean can’t quite seem to settle, unable to keep his eyes from Castiel. One moment, and he could fade.

“Why?” Castiel asks, curious more so than confused.

“Because,” Dean manages, “…because you’ve been gone, alright? You were dead, and we…. I thought we would never see you again. And I-” Dean’s voice falters. He walks over to Castiel and stands in front of him, his eyes gliding over his face. Every inch of him is real, solid, not like the dreams he’d been having. 

Sam and Dean had been getting separate rooms ever since Dean was awake for hours every night and just paced around the room aimlessly. When Dean slept, he’d been having dreams of Castiel being alive and he’d wake up and realize it wasn’t real. He’d rather not sleep than go through that every single night. But this, he wasn’t going to let this be a dream as well.

“Take off your coat, come on.” When Cas just frowns again, Dean does it himself. He slides the beige coat from Castiel’s shoulders and drapes it over the back of a chair.

“Dean, I’m fine with sleeping in the other motel room.”

“I’m not.” Dean rasps. “Please, Cas, don’t go.” Having Castiel around is worth sharing his emotions for. “Not again.”

Cas looks down. He looks different without his trench coat, more human. Maybe he is, in fact, a little more human. Castiel said he isn’t sure, and it’s how he’s been acting all day. Insecure. Dean can feel it whenever he looks at him, and that’s also what scares him.

“I’m sorry.” Castiel looks up to him. “I tried so hard, Dean, I tried so hard to live. For you, for Sam. I tried to stay with you and I failed.  I didn’t come back with a win for you.”

“Cas-” Dean grabs his shoulder, solid and real and warm. He looks in Castiel’s blue eyes and realizes how much he’d actually missed him. “Listen.” He begins unsteadily. “You coming back is a win for us, you hear me? You being here is enough.” Dean’s hand slides from Cas’ shoulder. “It’s all I wanted. And that’s why I want you to stay here tonight.”

“I don’t think I’m following.”

“Come on, Cas! What if you leave tonight and I come into your room tomorrow and you’re gone? What if something happens and you- you are gone for good? What if you die? What if- what if I can’t…” Dean curls his fingers into a fist. “What if I can’t let you go again?”

There’s something in Castiel’s eyes that change. It’s surprise, mostly, surprise and confusion and something Dean only recognizes from very few people in his life.

“The last thing I want is to leave another time,” Cas says. “And I- I understand now.”

Dean nods, suddenly empty where words should be, and swallows.

“Then stay. Come on, bed’s big enough.”

As Dean undresses in the darkness, with Castiel on the other side of the bed, Castiel suddenly speaks.

“Dean?”

Dean turns around, with his shirt almost off but still hanging on his neck and arm. He can’t see Cas’ face, but he can hear his breathing.   

“Yeah?”

“I love you, too.”

Time to float - Bill Skarsgard x Reader

Title: Time to float

Pairing: Bill Skarsgard x Reader

Warnings: None

Prompts: If you’re taking requests for Bill Skarsgård can you write one where the reader is a famous actress and also little Jackson Scott’s big sister (the kid who plays Georgie) so she attends the premiere with him wearing a stunning dress as usual, she meets Bill who is awestruck bc hes a huge fan with a massive crush on her, the kids who played in the movie myb tease him a little bit, and she’s flattered and thinks hes adorable idk i like this idea 
— 
YN is Jackson older sister and Bill is her fan!so when he finds out he tries his best to get Jackson to introduce them,and when he does,Jackson can’t help and teels big sis that Bill has a crush on her and he’s just super adorkable to admit! later they all say that on an interview,and the kids love to make fun of them

“Jackson please don’t run! Be careful, sweetie, you’re gonna-” you stopped yourself when you heard you little brother giggle and you realized what you’d just said “Oh gosh I am turning into mom!” you breathed out, eyes wide.

Your little brother ran back to you, wrapping his small arms around your legs and you looked down to be met with his adorable smile “Yes you are! But I am always going to love you the most! More than mom and dad, and more than anyone else in the world!” he said and you giggled.

“And you will always be the number one man in my heart, JR!” you leaned down to pick him up and kiss his cheek as he wrapped his arms around your neck with a big smile.

“Even before dad?” he asked and you grinned, nodding your head.

“But we’re not gonna tell him that, because it’s gonna break his heart.” you pouted, and he giggled.

“You bet it will!” your father piped in, saying with a serious nod and you laughed with Jackson as he kissed your cheek before going to help your mother.

“And… even more than him?” he said with what was supposed to be a smirk on his face and you chuckled, tickling his belly.

“You sly little tease!” you grinned as he squirmed in your arms “Alright, maybe I really do like him a little bit but-”

He rolled his eyes so dramatically at you and shook his head “A lot!”

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A Little Description of The Signs

Aries: you’re faking happiness, again. With that big smile that I don’t believe in, even when you smile you want to cry. Don’t lie to me, I can hear it in your voice when you’re sad. You may fake your happiness but you’re unhappy in general because you keep trying to please everyone even when you say you don’t care what anyone thinks anymore.

Taurus: you’re forgetting to take care of yourself, you’re forgetting to stop and smell the flowers. You’re forgetting yourself because there are millions of other people who need help, but hey. Save the world: start with yourself.

Gemini: stop trying to please everyone and then go along with their plans like someone blinded you. You have your own opinions, plans. Use your voice, live. Communicate with everyone and show them what you’re good at because love, you’re burning out.

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to anyone who lives in the uk or anywhere in europe and didnt go to the first secret session, please have hope that there well and truly could be more where that came from, and that either way, there is still tumblr and insta to reach out to t for the time being, and we will have the world tour to come. please never lose hope, for the best things come unexpected.

to anyone who lives in a country that t has never visited/toured, please never lose faith in her ability to swap things up this era and to reach out to as many of you as possible. also remember we have tumblr and insta and the new app to utilise. she’ll do everything in her power to meet as many of you as she possibly can.

to my fellow aussies, please keep the positive vibes going for an event to be made here, but also try to not get your hopes up as we probably did last time haha. we’re so lucky to have her come here so often, and to have her even take a holiday here last year (!!!!) we are very grateful to have her tour here every single time, and i’m so incredibly excited to go to a few shows this time!

and finally to anyone who constantly doubts meeting taylor, she’s just proven that she may never touch a single thing of yours but can know everything about you. we truly will never know just how much she knows and how many people she keeps up with, but what we DO know is that she cares more about us than anything in the world, and it’s us who have gotten her to where she is today. so please always keep the faith - after all, she’s always 2 steps ahead of the game :)

💛💛💛

It’s time for a continuation of the post where Andrew keeps giving reporters different conflicting answers to their questions about why he and his ex-teammate turned rival Neil wear matching armbands.

So, get ready for Neil’s responses to reporters reading Andrew’s latest responses plus Andrew and Neil getting asked about them together after their teams play each other.

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Sangwoo got everything he wanted…. and everyone else paid the price

Let’s review…

Bum keeping quite about Sangwoo upsets Seungbae so much he just starts whoopin Sangwoo’s ass in the parking lot. Sangwoo knows better than to retaliate. Officer Kwak sees this and gives Seungbae a smack across the face, him in front of everyone.

Inside the station tending to Sangwoo’s wounds the police knowing they’re in hot water for police brutality. Sangwoo makes the situation even worse claiming it was a hate crime for his sexuality. He demands 30 million won which is around 2,6182 in US dollars oooooh bitch we rich! Right?…


Nope! Sangwoo gave that outrageous demand so his real demand of Seungbae to be fired seemed more reasonable.

Bonus points too since he drops the money deal just so he could go home with Bum and Seungbae never harass them again making everyone in that room believe that he is an innocent loving person. (Even Bum believes it)

As they arrive home Bum still believes he will have a happy ending with Sangwoo living in his house that this is where he’s meant to be…

But where is Sangwoo looking? This sumbitch is looking to see if the cop is far enough gone so he could “punish” Bum for putting him through that whole experience. That whole time Sangwoo was masking his annoyance, he felt no fear of going to prison just anger if he would be betrayed…. to lose!

He gets Bum to turn using endearing words like “Honey” then just smacks him. Bum is confused, he did everything right he keep Sangwoo from being convicted. Sangwoo was affectionate to him at the station. But as I said before that’s why Sangwoo was a tape recorder in that special chapter. His affections are lies that lead to dead ends. His beautiful words are meaningless.

Blames Bum for Seungbae hitting him. A tactic narcissistic people or abusers use where they blame their victim for things they had no control over so feel guilty and whatever punishment follows after they feel they deserve it.

Bum doesn’t even try to stop Sangwoo from hurting him anymore he instead wants to help him hide his abuse to protect Sangwoo.

Seriously dude…. SERIOUSLY?! I’m not shocked I swear but I fucking swear man, this mofo.

As he makes Bum endure his “treat” Bum expressing to Sangwoo he’s in pain Sangwoo always makes Bum feel like he’s ungrateful. He uses Bum’s words against him, “you said we were dating” the same words Sangwoo wanted Bum to say to they could leave the station. But when the cops felt Bum sounded too robotic and not real Sangwoo was the one who caused a scene and kissed him.

So so all in all it was a pretty good chapter for Sangwoo, I didn’t for one second think neither was going to prison. Season 2 was great. I can’t wait for the next season. How the dynamic will change.

Sangwoo is free range now with the police off his back, and Bum no longer looking for freedom will all this go to Sangwoo’s head and be his downfall? Bum doesn’t fear Sangwoo’s abuse, he would take a sock to the stomach as long as 10 or so minutes later he’s met with affection… that’s just sad 😦.

Will Sangwoo continue killing women like Jieun or is his next target Seungbae?