wind up men

Note to MCU fan artists:

You don’t “love” black characters if you’re not incorporating them in your work (beyond nanny/support roles for your white faves).

Don’t tell me how much you looooove Tchalla and Sam and Rhodey when your entire art tag is filled with all of the white dudes the MCU could pull out of its ass.

I’m not going to believe you.

Reincarnation (Mummy AU Jungkook) Pt2

Originally posted by jjks

Type: Angst Fluff

Part 1

The light dulled as it traveled along the ground, like water running along cracks it began pulling around the base of the sarcophagus before soaking upwards to the body of Jeongguk. “The hell. I’m going crazy this is a mirage and I’m curled up at home with some beautiful model” Hoseok spoke to himself “that’s more mirage worthy than this” Yoongi comments as you looked down into the sarcophagus and screamed. “His eyes are open” you call out as the head snapped towards your voice. You backed up into Yoongi who backed up as well. “This isn’t logical-” “screw logic the dead guy is moving” Hoseok squealed as he grabbed onto you.

“Maat” a new voice filled the room as Jeongguk sat up. “Screw this” Yoongi says shoving you running down the hall of the tomb with Hoseok hot on his tail. “My love” Jeongguk spoke as he climbed out of the spot “woah” Namjoon said as he was getting the rear of the dead male “hide your shame man” Namjoon called as he rushed over to you blocking you from the ‘mummy’ “remember me right?” Namjoon called to Jeongguk nervously. “Nour” he told Namjoon as he looked at him closely but Namjoon nodded. “I’m late I know” Namjoon told the young mummy “but reincarnation takes longer than thought” Namjoon finished as your head began spinning. “Namjoon what is going on?” you asked as he turned his head to look at you. “A lot you won’t understand Maat” he told “my name is Y/N” “it is now” he mumbled.

Namjoon stepped forward as he took his bag off and pulled out clothing “put these on” he told Jeongguk who looked confused “it’s been 5,000 years my friend. A lot has changed” Namjoon continued. “My love” Jeongguk spoke giving you a gorgeous smile “we can finally be together” he finished as he looked at the objects in his grip. “I’ll help you. Y/N wait outside please” Namjoon says as you instantly took off. “She doesn’t know yet my dear friend” Namjoon spoke in what seemed a different tongue completely “you’ll have to master new writings, new mannerisms, expectations, a new tongue. This land is no longer what you grew on” Namjoon told him. “You’re not exactly Nour” Jeongguk spoke “descendent. I opened a path of some sort, it unlocked the memories of a past life. If I can do it I promise you Maat will as well” Namjoon told him buttoning the male’s pants.


“I’m not staying” Hoseok spoke as you grabbed his arm “you were paid ass” you said as he made a face “I’ll give the money back” he told as a loud sound filled his ears sand bursted through the tomb as people emerged from inside. The tomb collapsed the moment Jeongguk stepped out. His eyes squinted as he was blinded by the beams of the sun before he looked around. He smiled as he saw you. Jeongguk began moving closer to you as you backed up more “don’t be forward” Namjoon told him as Jeongguk froze. “I want to hold her. I never got to” he spoke sadly “I know but please. This is much to take in” he told the boy.

“I’ll explain everything to you all” he told the three of you. “You’re all linked to this” he spoke “Jahi, Maat, Thoth” Namjoon whispered to Jeongguk who looked closely. How he wondered though. All reincarnations of the people dear to him came to be 5,000 years after they lived. “I made new friends as well. I don’t believe they have ever graced the presence of you before” Namjoon says as he began pulled Jeongguk with him. “Go” Namjoon spoke to the men behind him, a gust of wind picked up and the men that once stood there became dust. “I’m so done, nope nope nope. Done goodbye” Hoseok spoke as you gripped him harder “let me run away like a coward” he whined to you as you were to scared to move before your body collapsed onto him. “Hey this isn’t fair. You can’t faint if I can’t run” he spoke as the males moved closer to you.

Hosek and Yoongi stepped back more away from Jeongguk who looked closely at you, you were the only one who looked the exact same as the past. He bent down picking you up bridal style smiling as he brought you close.

Writing Jewish characters, and what to avoid

Anonymous said:

Do you have any advice for writing a Jewish character? Maybe a list of things to absolutely avoid doing?

Before I launch into the list of things to avoid, I want to say that the reason I love this blog so much is that they’re always responding to “how to write an X character” posts with “make sure they’re well-rounded outside of just that.” In other words, write a Jewish character so distinct that you could have two Jewish characters and they’d be different enough from each other that the reader could tell them apart.

I’m not saying you have to have two Jewish characters, just that if you have two Jewish lesbians in the same story, for example, then you can’t fall back on “Jewish” or “lesbian” as a way of defining the character and have to start building an actual personality. The book I’m writing now has three Jewish lesbians, plus a bisexual woman, and they have different interests, histories, outlooks, and roles in their world.

Read things by Jews. Try to stay away from anyone who seems to be too self-hating or “antisemisogynist”, i.e. that thing where Jewish men criticize Jewish women, which is dangerous because their intra-community misogyny gets picked up by the Gentile (non-Jewish) world and taken seriously because “oh, it’s their own people, so they must know.” No, it’s [some] men oppressing women, just as everywhere else.

Not all Jews are white or white-passing Ashkenazim. That’s something Gentiles often forget. So don’t think your Jewish characters have to look like me (or me with black hair.)

Some of us are atheists and still identify as Jews because of the way we often think of it as a tribe. Some of us feminize all the God nouns and verbs for feminist reasons. Some of us are very traditional and wear long skirts and sleeves. Some of us go to temple every week but have never, ever kept kosher (Hi. Nice to meet you.)

Here are all the stereotypes about us and, in a few cases, how I’d suggest getting around them if you find yourself written into a corner.

-Please don’t write us being either needlessly cheap (in other words, the character can afford to do X, but just doesn’t out of irrational stinginess) or cheap in a way that directly hurts others (in other words, not giving low-paid service employees a cost of living raise.) If for some reason your plot HAS to go there, it would help take away some of the anti-Semitic implications of rehashing these tropes if there are lots of other Jewish characters who aren’t acting like this or are acting in direct opposition to this. For example, if your greedy business owner won’t pay his employees above minimum wage, have the workers standing up to him and/or maybe a more generous owner from a competing business be Jewish as well. This is a character you would hurt us to write unless there are plenty of examples to the contrary showing that you don’t mean we’re all like this. This is the specific lie used to hurt us the most, in the past 150 years.

Note: broke college kids or struggling working-class people being cheap is different. Can you see why?

-Please don’t write us being the human version of the Volturi from Twilight. There is no secret Jewish conspiracy through which we control the media, banks, and politics. I used to joke that Jews don’t control the media because if we did, I’d have a book deal. I now have three book deals, so I need a new joke, but trust me, I’m in charge of nothing. Even my cat doesn’t obey me. She listens to my spouse, but not me. I think she thinks my spouse is the Mama Cat and I’m one of her littermates.

-Please don’t write a Jewish woman whose sexuality seems to be directly affected by the amount of money her partner is either making or buying her presents with. I’m not really sure there’s a way to fix this. It’s worse if she herself is already financially comfortable; I’m not really talking about a struggling single mom with three kids and a low-paid service job who’s turned on because a guy in an expensive suit offered to pay for her kid’s violin lessons. I’m talking about that caricature of a rich woman who’s used to good things that she didn’t earn herself, who requires more good things that she didn’t earn herself.

-Anything in which we are lizards or dragons is gonna have to be done delicately. I did it (spoiler, oops?) but that’s something that probably takes insider finesse. I mean, my dragon is definitely and unequivocally one of the good guys. A bad Jewish dragon would be playing into some of the most bizarre stereotypes I’ve ever encountered. (Google David Icke; I haven’t the stomach.)

-If you’re writing something with gore or fantasy violence, try to stay away from anything that evokes blood libel, the medieval myth that we use the blood of Christian kids to make ceremonial food. Vampires are also something that needs to be done with finesse because of the way “bloodsucking” can also be a metaphor for the stuff in the first bullet point, profiting financially off the hardship of others. (Side note: Abraham Lincoln, Vampire Hunter frames the white slave-owners in the American South as literal vampires who fed on their human captives. I thought this was a BRILLIANT metaphor because, well, it’s practically not even a metaphor.)

Some other less spectacularly awful stereotypes that you’d be doing us a favor to stay away from: our men being wimpy mama’s boys, our women being frigid after marriage, our women being tremendous nags, any gender but especially women being exceptionally whiny, and reducing the entire religion and culture down to “not eating pork” and “having a different winter holiday.”

If you must write a weak-willed man who dotes on his mother and lets her boss him around, please write at least two other Jewish male characters who aren’t like this, so that he doesn’t wind up representing all our men. If you must write a Jewish woman with a low sex drive, please make it clear she’s asexual or demisexual or something – or having a medical issue – and write her as a fully realized character and recognize that men are never, EVER “owed” sex anyway.


I just powered through 120 pages of The Godfather and now I’m like:

Garak is the son of Tain, a mafia leader. They have to get a new family doctor after their first doctor dies of old age. In an emergency, one of their men winds up in the ER and gets treated by the young and impressionable Julian Bashir. Arrangements are made and Garak and Julian meet to discuss a possible contract by which Julian could work for the family as their doctor. Over the next few months, they fall in love, and then Julian gets caught up in the family business, which includes a war against a rival mafia family likely run by Dukat.
'It's Very Hard To Find a Good Man Here'
The disappearance of manufacturing and the rise of opioid abuse has hit men in the Rust Belt hard. That’s meant women are left to pick up the pieces.
By Alana Semuels

Men were once the primary breadwinners in areas like Ross County, where they worked good manufacturing jobs and came home at the end of the day to wives like Kemper-Hermann, who sometimes worked, but sometimes stayed home. But today in Ross County, manufacturing jobs have been outsourced or automated, and men have more time on their hands and less income to support their families. Some have turned to alcohol or drugs to fill their time—Ross County is one of the areas of Ohio hit hardest by the opioid epidemic—and are dying early of drug overdoses or other health problems. Others are just spending more and more time watching TV and playing video games. Women like Kemper-Hermann are left to raise children, work full-time jobs, and generally pick up the pieces of a region ravaged by the opioid epidemic and the decline of manufacturing.

This really raises the question: What good are men to women? At least the old-fashioned model had men financially supporting women who had to sacrifice their own earning potential to marry and raise children. But now women marry, raise children, sacrifice their earning potential, *and* wind up financially supporting men who won’t provide for the family. What a great deal!

Fuck off with that shiiittee

I love winding up men who message me with gross intentions. For example:

‘I would make your pussy so swollen and sore’

‘Why? Are you festered with infections?’

- I just can’t handle talk like that! My first response is to be sarcastic 😂


On September 4th 1964 the Forth Road bridge was officially opened to the public.

Soldiers of Lowland regiments from the south linked up symbolically with a Highland brigade from the north to mark the opening of the new crossing, which cut more than an hour off the journey-time by road.

The Forth Road Bridge at the time the fourth longest in the world. The opening of the Forth Road Bridge marked end of the Ferries across the Forth an 800-year-old service.

At its peak, the service was running 40,000 trips a year, carrying 1.5m people. The four ferryboats have been run by 70 men only 30 of whom were be re-employed on the new bridge collecting tolls. 

Up to 400 men have worked on the bridge sometimes in very dangerous conditions with winds up to 100mph. Seven men lost their lives - others were saved by the terylene safety nets suspended beneath them. It took 39,000 tons of steel, 30,800 miles of wire in the suspension cables, and is 163ft above the river at its highest point.

53 years later, to the day the official opening of The new Queensferry Crossing takes place today. The structure spans 1.7 miles (2.7km) making it the longest three-tower, cable-stayed bridge in the world. Another record was set when New  in 2013 they had the largest continuous underwater concrete pour over 14 days the 24-hour non-stop operation successfully poured 16,869 cubic metres of concrete into the water-filled south tower caisson.The building work was also hit by tragedy with the death of one worker last year. 

The need for the new bridge became clear after the FRB began to show signs of significant deterioration early in the 21st century, with corrosion resulting in loss of strength in the main cables. It is 25 percent higher than the Forth Road Bridge. The Queensferry Crossing will be 207 metres above high tide (683ft), which is 50 metres higher than the Road Bridge. 23,000 miles of cabling was used. Laying out all the wire used to support the bridge deck would very nearly stretch around the entire planet Earth.

While we welcome the new bridge take a minute to remember the poor man who lost his life to help bring it to us, John Cousin, 62, from Northumberland, was struck by the boom of a crane he was directing on the north tower deck at about midday on Thursday April 28. 

We also remember those who died on the Forth Bridge, and over 50 who died while constructing the The original Forth Bridge, which opened in 1890


Did you know that when making an adaption of Charles Addams’ work, the Charles and Tee Addams Foundation requires you to always start from scratch with the cartoons he drew himself, rather than adapting a previous adaption like the movie or TV series? That’s a really great rule and I think it shows why every time you see the Addams Family, it has a very different and distinct flavor.

If I were starting a new Addams Family movie / series, this is where I’d start with it. The Addamses themselves have always been an outpost of weirdness in a comparatively normal world; as you can see here, though, Charles Addams almost never drew a ‘normal’ world! Instead I’d present them, as they are– guillotines, cyanide and all– as an example of a perfectly normal family, and they’d sort of be the audience’s guide through this bizarre, violent, supernatural world that Charles Addams has created for us. Sort of like Leave It To Beaver through a lens of nightmares; the only thing not normal about this world would be the audience viewing it.

Irene Adler’s POV

“Look at this, another pathetic man who thinks he’s a match for me. They’re always so predictable and booooring.  It shouldn’t take more than 5 seconds to figure out what winds him up.  Men are always devastatingly simple.  I’ll find the right outfit, make a quick impression, he’ll be out of here in five minutes.”

“What the fuck…. he BROUGHT another man WITH him?  To my home?  The last thing men want when they come here is for MORE MEN to be here.  Mr. Holmes has no idea that I’m a threat to him, he has no idea he needs any sort of back up.  This man he brought is here simply because Mr. Holmes wants him here.  Ooo this is easier than I thought in a way I didn’t expect.”

“Don’t need to use my body for this round; he doesn’t know where to look anyway.  God, men are so obvious.  Check and Mate.” 



(Or, Kickstarting without Kickstarter, pt. 3)

1. We make it fun.

Cartozia is not your typical “fantasy” setting, because it’s loaded with the peculiar creations of several cartoonists’ active imaginations. I mean, I guess there are technically elves and sea serpents in Cartozia, but they don’t act like the ones you’re familiar with. We avoid the standard set-dressing of inherited folklore and high fantasy in favor of philosopher birds, phibbits, wind-up men, underdraaks, mask bears, and shambling towers. We keep the tone light enough to allow puns and other silly hijinks, while still keeping the stakes high enough that the adventures really need to be resolved.

2. We do “all-ages” right.

We write stories that will be engaging for grown-ups, but not awkward to read with kids. There’s more to say about this (and a Tumblr post that says it), but I think what it boils down to is that we know kids and adults respond to the same things about a good story. And we know that kids can tell when they’re being condescended to, so we don’t dumb things down.

3. Maps. Seriously.

One of the inspirations for this project is the narrative potential of a map — the way that a thousand different stories could unfold as characters’ paths crisscross on a shared piece of terrain. When you open a fantasy novel and see a map before the table of contents, that’s a passport into a whole world, though most novels can only draw a single line onto the two-dimensional map of the world. At Cartozia Tales, we try to make the whole map come alive.

Each issue has nine stories in it, all set in different parts of Cartozia, and each new issue adds more detail to the map, more spaces in between the places we’ve seen already. Because, as our modern (Google) maps remind us, every map codes a sort of infinite potential resolution, from infinite possible points of view.

4. We know how to collaborate.

There’s a lot to say about this, and really we’re planning to write a little pamphlet about it before the end of the summer. But to sum up: Cartozia Tales is a densely, richly collaborative project, with dozens of creative people pulling toward a shared goal. And we are all happy to hand our characters and plots over to our colleagues, and to play with our collaborators’ toys in return.

If you’re an artist, you’ll see a lot of potential for ways to share your work with your compatriots. If you’re a parent, you’ll see a model for a way kids can play imaginatively together.

5. Our awesome corps of regular contributors.

The exuberance of Lucy Bellwood. The heart of Sarah Becan. The design chops of Shawn Cheng. The hilarity of Lupi McGinty. The collaborative smarts of Isaac Cates & Mike Wenthe. The expansive imagination of Jen Vaughn. The wit and wiles of Tom Motley. The goony finesse of Caitlin Lehman.

All these, In every issue, and working together brilliantly: that by itself would be enough to make this book a prize of any indie-cartooning collection. But then there’s…

6. Our astounding guest stars.

If the regular crew of cartoonists isn’t enough to draw you in, imagine a world co-created by James Kochalka and Kelly Sue Deconnick, by Maris Wicks and Luke Pearson, by Jon Chad and Dylan Horrocks and Jon Lewis and Meredith Gran and Pete Wartman and Corinne Mucha. Every one of those awesome storytellers builds on the material we’re building together, and the result is something surprising and wonderful.

Plus, you are almost guaranteed to discover some cartoonist in Cartozia Tales whose work you’ll want to dig deeper into. If you’re new to indie comics, we’re a great starting point.

7. We’re feminist, though we don’t make a big deal about it.

More than half of our regular contributors are women, and strong girl characters are at the center of several of the main Cartozia stories. We don’t talk a lot about it, probably because we don’t think it’s something we should have to call attention to — like, in a better world, no one would be surprised that an all-ages comic was appealing to both girls and boys, both women and men. And I don’t want to make a big deal of it now. But we try to set a good example.

And I think that’s a big part of Cartozia’s flavor in the final analysis: just as we want to open up the narrative potential of a map by telling stories with lots of different geographical centers, we also want to a range of personalities and identities for our protagonists. Smart, fearful, capable, willful, tricky, open-hearted, foolish, or mysterious — these are traits that can define either a boy or a girl (though not all in the same character). 

Why not include everyone?

8. The comics are really nice physical objects.

You can get Cartozia Tales as a PDF for a pretty low price, and this is probably your best option if you’re on a tight budget, or if you’re in another country and want to avoid the crazy cost of overseas shipping. But if you have a chance to hold the actual books in your hands, you won’t regret buying them. We use creamy, sumptuous, high-quality paper, so the books feel good in your hands and will stand up to a lot of re-reading. We offset print the whole thing locally so the editor can do a press check on every color cover. We put little things into each issue that exploit the physical form of the book — paper dolls, board games, mazes and so forth. It’s meant to be a book that takes a while to read, and a book you return to.

9. We need your help.

We successfully raised a lot of money (and found a lot of readers) on Kickstarter two years ago, but that money was never supposed to reach all the way to the end of our ten-issue run. The piggy bank is almost empty, with three issues left to pay for. We have plenty of comics to sell to new readers, and we’re running a sale right now to make it easy for you to decide whether to jump in.

Go ahead and download our first issue for free or our first three issues for $2.50. You won’t regret it. And if you like those stories, sign on for the rest of the series. You’ll be supporting a beautiful thing, and you’ll get to read some of the best-looking and smartest indie storytelling out there today.


OH HEY, IT’S NOT JUST HEROES OF SONTAR. BB4 Extra broadcasts various Doctor Who audios. Each is available on BBC iPlayer for the week following the broadcast.

  • Sep 27: First half of Heroes of Sontar
  • Oct 3: Second half of Heroes of Sontar
  • Nov 16: Doctor Who and the Daleks, an audiobook of the first-ever Dalek story read by William Russell, aka Ian Chesterton, one of the original First Doctor companions.
  • Nov 17: Protect and Survive - Seventh Doctor, Ace & Hex (This is scary and depressing. Good, but dear gods it gave me flashbacks to growing up in the 80s. I still have nightmares like this.)
  • Nov 18: Fanfare for the Common Men. LISTEN TO THIS ONE! IT’S SO MUCH FUN. The Doctor, teaching Nyssa about his favorite planet, tries to introduce her to the Beatles. Instead, they wind up meeting the Common Men, the band that his granddaughter was dancing to in the first Doctor Who episode ever. One of my very favorite Big Finishes.
  • Nov 20: Farewell Great Macedon. An unproduced First Doctor script in the same vein as Marco Polo, set in the time of Alexander the Great. It’s ably brought to life by Big Finish, with William Russell (Ian) and Carole Anne Ford (Susan) taking over for the Doctor and Barbara as well as their own characters. It’s a fantastic historical. I love this one, except that it pains me it was never on TV.
  • Nov 21: Human Resources: Eighth Doctor adventure with Lucie Miller. I haven’t heard this one yet but I gather it’s a good one.
  • Nov 22: Blue Veils and Golden Sands: the story of Delia Derbyshire, the woman who made the sounds of Doctor Who back at the beginning.
  • Nov 22: The Dalek Invasion of Earth. Audio adaptation of another great First Doctor TV serial read by William Russell.
  • Nov 23: Who Made Who documentary; I’m interested to hear what they’ll say for “Whatever Happened to …Susan Foreman?”
  • Nov 24: Lucie Miller. Eighth Doctor Adventure. Again, I’m not up to the Lucie Miller audios yet, but everyone seems to like her.
  • To the Death. Eighth Doctor adventure, sounds like it’s got the Meddling Monk in it too. (And yet more Daleks).

Thanks to partingoodfaith for pointing this out!

anonymous asked:

I'm surprised you buy in to the whole "Women's right's" crap. Thought you were smarter than that. Women pretty much run this country. Divorce? Woman gets half the stuff. Women abuse child support, and men are destroyed by it. No inspection, no nothing. Miss a payment, JAIL. Some women live off it, like Honey-Boo-Boo's mother. Women scream for fairness in the workforce, but still expect to be treated BETTER than other men, but the men. I could go on! I'm disappointed in you Dan. Please respond.

Your argument is sometimes divorce happens and men wind up paying child support? That’s it? That’s women running this country? I consider this a challenge to my personal policy of not using certain four letter words on the internet.