1. If you could sum me up in one expression, this would be it.

    (Source: ribbonchocolate, via ohmysailormoon)

    Tagged #gpoy
  2. (Source: shevathegun, via undeadbilly)

  3. apesmovies:

    Our past shapes our future. #HailCaesar


  4. Reblog if you’ve ever yelled at a book.






    Are there people who don’t reblog this?

    I can only assume that the ones who haven’t aren’t reading the right books.


    If it doesn’t make you mad, it’s not good enough.


    (via lexie-ram)

    Tagged #books
  5. durnedscribblingwoman:






    leeandlow submitted to medievalpoc:

    The Diversity Gap in the highest grossing science fiction and fantasy films. Sad, right? You can see the full study here.

    I highly recommend reading the entire article.

    from the infographic:

    Among the top 100 domestic grossing films:

    • only 8% of films star a protagonist of color
    • of the 8 protagonists of color, all are men; 6 are played by Will Smith and 1 is a cartoon character (Aladdin)
    • 0% of protagonists are women of color
    • 0% of protagonists are LGBTQ
    • 1% of protagonists are people with a disability

    Wait a mother fucking second. Don’t start this argument with a science fiction fan. In the genre of science fiction you have to spread it much boarder than just science fiction. Because scifi can be anywhere from It’s Alive to Star Wars to Guardians of the Galaxy.

    Science fiction deals with race in a way any film in today’s standards can’t even touch.
    Star Trek had the first biracial kiss.
    Star Wars has employed actors that would have never been able to receive jobs because of height. Lando owned the millennium falcon before Han!
    Firefly the first mate is an African American female!

    You can not speak of science fiction without speaking of how ground breaking it can be in the space genre. So don’t think a chart means you truly know the facts when it seems you believe you can lump over a thousand different movies into one genre of just science fiction.

    Boo ya.


    I could say a lot of things here. I could try to explain to you what a “percentage” is, and how listing 5 casting decisions you consider ‘enough’ diversity don’t make much, if any, impact on the overall numbers. Especially ones from forty plus years ago.

    I could point out that you’re talking about TV shows as well, which aren’t a part of what this chart ^^ is measuring, which is the Top 100 Domestic Grossing Sci Fi and Fantasy Films, which is clearly states at the top.

    I could try and interpret the, uh, sentence: “In the genre of science fiction you have to spread it much boarder than just science fiction.” as meaning analyzing genres beyond Science Fiction, like Fantasy, which is included in the chart. Once again, big block letters “& FANTASY” at the top of the chart. Not only that, if you want to “spread it boarder”, the article already has that covered:

    This is not an isolated incident, but a wide reaching societal problem.

    Read more Diversity Gap studies on:

    The Academy Awards

    The Tony Awards

    The Emmy Awards

    The children’s book industry

    The New York Times Top 10 Bestseller List

    US politics

    But the real gist of what you are saying is that I or anyone who criticizes the SFF genre for lacking racial diversity isn’t a real fan, and that we should be satisfied with whatever bit parts (Lando and Ewoks?? Are you kidding??) and token representation actors of color are cast in.

    If you ask me, “real fans” of the genre believe that it is capable of better, and can survive and thrive on our critical consumption of it. If the sciences exist because of inquiry, research, and analysis, why wouldn’t science fiction do the same? After all, if something is to become a reality, it must first be imagined.


    They tried to use Firefly, a show that uses an entire culture as a backdrop for a space drama and two characters with the surname Tam who are not Chinese, to tell people that we should be grateful for scraps from Joss Whedon, who is not actually a feminist writer or producer. Who are they kidding?

    1. I am a huge fan of Firefly/Serenity

    2. I agree with this so hard it needs an onomatopoeia


    And that’s how you consume media critically.

    Off topic, but this discussion tweaked on some thoughts I’ve been having about Joss Whedon and how he’s been hailed uncritically as a Feminist writer and producer and director because he writes active, physically strong female leads when, actually, he’s really not Feminist in the way he uses those leads.

    Let me start by saying that I was and am a huge Buffy/Angel fan. I cannot express how much these shows meant to me, how much I adored them, what a difference they made to me during a difficult period of my life (my mid to late teens). BUT. That show is fucking awful to the female characters. The treatment of female as opposed to male characters is startling when you look at it in retrospect. Female characters are infinitely more disposable than male.

    Angel? Left and got his own show. Spike? Left, came back, left, came back and left again ad nauseum. Riley? Left and came back then left again. Oz? Left and came back and left again. Giles? Left and came back. Wesley? Left and got his own show.

    Now let’s look at female characters who bore roughly equal importance within the story as love interests, friends, or allies.

    Jenny? Dead. Kendra? Dead. Joyce? Dead. Tara? Dead. Cordelia? Dead. Anya? Dead. Fred? Dead.

    Every time that Joss really needed to hammer in a message about tragedy, hopelessness or darkness, the first tool he reached for was fridging the female. Did a beloved MALE character ever die in Buffy or Angel in order to increase the emotional stakes, tension, or sense of peril? No. The only time a male main character died for good in either show was Doyle, and that was because the actor was leaving, and they needed to get shot of the character fast. Generally, even when you thought one of the guys had died, they would come back, like Angel, and be fully reintegrated into the plot.

    Female characters who died only got to return briefly as avatars of evil, such as Jenny being used as the face of Buffy’s most dangerous enemy, the First Evil, Cordelia’s stint as the mother of Jasmine (and then for one further episode as herself, before dying again). Fred’s *actress* got to stay, but her soul got ripped to shreds so finally that there was no hope she’d ever return, and her body was left as the host for an evil goddess who later turned out to be not so bad, really, apart from that whole… murdering Fred, thing.

    What I’m saying here isn’t that Joss Whedon is an evil, terrible, no good misogynist. What I’m saying is that we shouldn’t so easily accept a male creator as a force for Feminism when his work displays such a stereotypical disregard for the female characters.

    Other factors to consider:

    The Goddamn infuriating Nice Guy Xander Harris, who slut-shames, assaults, judges, and dumps his way through the female cast and is still somehow billed as the series’ ‘heart’.

    The way that female sexuality is consistently punished. Buffy has sex with Angel = Angel turns evil and tries to kill everything she loves. Oz and Willow shown having sex = Oz turns feral and leaves her. Willow and Tara get back together and have sex = Tara dies and Willow turns evil. Buffy has a relationship with Spike = Xander shames her and then victim-blames her when Spike assaults her. Every other relationship Buffy has = Buffy gets dumped and has her heart broken.

    The way male sexuality is treated neutrally or rewarded. Xander sexually assaults Buffy while under magical influence and pretends to forget about it = no consequences. Xander tries to force Cordelia to love him and casts a love spell on all the women in town = no consequences. Xander has sex with Faith = no consequences. Xander jilts Anya at the alter = no consequences for Xander AT ALL OMG.

    This presents, to me, a picture of a male creator who WANTS to write a Feminist show full of strong characters, female, but is so mired in the tropes and conventions of our patriarchal media that he literally cannot help himself from conforming to them without even realising it.

    So basically… Joss Whedon isn’t in any position to be calling himself a Feminist. Even if he wanted to, which he doesn’t because he thinks we should call ourselves Humanists even though that completely misses the point and also already means something else anyway. *Sigh*




    (via medievalpoc)


  6. kirkspocks:

    i want the “steve rogers is bi” movement to become so strong that people who arent in on it begin to question it. they’ll be like “he isn’t canonically bi… is he?” but they’ll never find a real answer bc so many people will be like “no. he is. he definitely is” and everyone will be confused and then his bisexuality will get written into movies

    (via fandomsandfeminism)

  7. (Source: nashlikesmusic, via collegehumor)

  8. comicallyvintage:


    (Source: entrecomics)

  9. makanidotdot:

    lok is my fave sitcom



    1. Guy: What do girls do at sleepovers?
    2. Me: Pass the Bechdel test.
  10. shockybabes:



    You’re driving down the street

    There’s no one around and you’re stuck at a red light

    Out of the corner of your eye, you spot him

    Shia LaBeouf

    Trying to drive far from Shia LaBeouf

    He’s in a fucking car it’s Shia LaBeouf,

    Driving round the cornerrrr


    (Source: a-chreative--characterr099, via sherlock-and-his-hedgehog)


  12. How I feel when a tourist asks me for directions and I’m actually able to tell them where to go

  13. thecomicsvault:


    S T O R M
    X-Men Classics #2
    Dave Cockrum (Pencils), Bob McLeod (Inks) & Glynis Oliver (Colors)

    (via ororomunroe)

  14. brianmichaelbendis:

    Catwoman by Mike Mignola

    (Source: browsethestacks)