2011IsNow

[20011isnow]

RPF

Is fanfic about politicians a thing? 

Does anyone know where to find Pete/Chasten (Buttigieg) fanfiction? 

It can’t be just me who thinks they are adorable. They are soooo in love!

[wnq-psychology]

“Loneliness isn’t the physical absence of other people, he said—it’s the sense that you’re not sharing anything that matters with anyone else. If you have lots of people around you—perhaps even a husband or wife, or a family, or a busy workplace—but you don’t share anything that matters with them, then you’ll still be lonely.

Johann Hari | @wnq-psychology

Lost Connections: Uncovering the Real Causes of Depression – and the Unexpected Solutions

(via drosophilase)

[johnnlocked]

IS THERE AN AU YET?!

[lindsay-elizabeth]

This moment in Younger’s episode 4.04 really struck me. As a woman who enjoys both reading and writing romance, it’s frustrating to feel like I have to defend myself whenever I tell people that. You’re often put into one of two boxes: a silly little girl obsessed with love or a horny, repressed housewife. What I love about great romantic fiction (besides that it’s just plain enjoyable) is its exploration of human emotion and vulnerability, because when are you more vulnerable than when you fall in love? That shit takes guts. Romance novels show characters going through the pain and heartache of life and finding love in spite of it all, and we get to share in the experience as it changes them.

What is more universal than our desire for love? Than the way it transforms us? What is more human than the joy and pain that comes with it?

Love requires vulnerability. True vulnerability requires courage, not weakness.

And uh, how come male authors can include graphic sex and it’s deemed “edgy,” but when women do it (and actually explore the human emotions attached to it), it’s “corny”? Seriously, fuck that.

[thetwistedrope]

Cptsd is a more sever form of ptsd. It is delineated from this better known trauma syndrome by five of its most common and troublesome features: emotional flashbacks, toxic shame, self-abandonment, a vicious inner-critic, and social anxiety. Emotional flashbacks are perhaps the most noticeable and characteristic feature of cptsd. Survivors of traumatizing abandonment are extremely susceptible to painful emotional flashbacks, which unlike ptsd do not typically have a visual component. These flashbacks are sudden and often prolonged regressions to the overwhelming feeling-states of being an abused/abandoned child. Toxic shame obliterates a cptsd survivor’s self-esteem with an overwhelming sense that he is loathsome, ugly, stupid or fatally flawed. Toxic shame often inhibits us from seeking comfort and support. If you are stuck viewing yourself as worthless, defective, or despicable, you are probably in an emotional flashback.

Complex PTSD: From Surviving to Thriving; Pete Walker; pg 3-6 (via thetwistedrope)

[helmsdeepwa]

A friend of mine on FB wrote this and, with their permission, told me that I could share it. I got more than a bit choked up reading it. Enjoy.

I’m 6 years old, and I’m Luke Skywalker, blowing up the Death Star in his X-Wing and using the Force… until I go outside to play Star Wars with the neighborhood kids, and I’m told I can’t be Luke because I’m a girl. I have to be Leia instead. Nothing wrong with Leia, but she’s the girl. She’s my only option, otherwise, I’m not allowed to play.

I’m 7 years old, and I’m She-Ra, with a pegasus and sword and… and no one wants to play She-Ra, because He-Man is better, stupid girl, duh. No boy wants to play a girl character. Duh. Stupid girl.

I’m 8 years old, and I’m Liono, with the Sword of Omens, telling me the future and defeating my enemies… until I can’t, because I’m a girl. I have to be Cheetara, even though I don’t like to run around really fast. She’s the girl. She’s my only option.

I’m 10 years old, and I’m a Ninja Turtle. I have these cool weapons and know martial arts… until I can’t be, because I’m a girl. I have to be April. She doesn’t get to do much, but she’s the girl. She’s my only option. If the other girl wants to play, she gets to be April, and I’m out, because she’s prettier.

I’m 14 years old, and my father yells at me again to stop being such a girl. Stop being weak. Stop being stupid. Stop being you.

I’m 17 years old, and set foot in a comic shop for the first time, only to be told girls don’t read comics. I must just be trying to impress my boyfriend. I don’t even get to ask if they had that book I read part of, with the beautiful woman who was Death, who saved a teenage boy.

I’m 24, and I’m Jean Grey, the powerful Phoenix, but turned into some weird Scarlet Witch hybrid who must die at the hands of Wolverine, because Logan just needed a little more angst.

I’m 28 and I’m Commander Shepard at the helm of the Normandy, but just having the OPTION of a female player character sends hordes of men into a blind rage, intent on stamping out any joy I might derive from this. I have to mute tons of keywords online and play in friends-only groups if I want to avoid being called a cunt for the sin of logging into multiplayer with a female avatar.

I’m 32 and I get a job running a comic shop. I tell my boss I’d like to have ladies nights. He asks, “But when is men’s night?”

I’m 33 and I’m Rey, facing down Kylo and digging deep to survive, despite being terrified. I’ve been fighting my whole life, though, and I manage to get out of it alive. I spend the next 6 months listening to every other guy who comes into my shop informing me that she’s a Mary Sue and how stupid it was to crowbar her in just for the sake of appeasing the females and pandering to feminazis.

I’m 34 and I get to be a Ghostbuster! My heart sings as I dual-wield proton guns, but when the battle’s over, I have to listen to all these guys trash it and talk about how women just aren’t funny and should stop trying.

I’m 34, and I am NOT MCU Black Widow, who categorizes herself as a monster because she can’t have children, who laughs as her male coworkers make rape jokes at the office party. I am NOT MCU Scarlet Witch, who is a problem for the men to deal with, who has to stay home and cook dinner while they take care of business, because she’s just too emotional.

Today, I’m 35, and I’m Diana of Themyscira, striding across a battlefield as everyone follows her lead. I’ve been waiting for this battle my whole life. Going into the movie, I had yet to see a single bad review, from anyone, regardless of gender. I had heard no one saying the movie was pointless or stupid or just another instance of women ruining everything. There is this tall, powerful, beautiful female hero, and no one is acting like it’s their job to tear her down. I look at the trending topics today, and everyone still loves it. The naysayers are a fringe minority. There is valid criticism, as the movie isn’t perfect. It has some problems, but overall, it’s GOOD. Finally. This is what it feels like. So yeah, I cried. I cried a lot. I’ll probably mist up a lot more times when I watch it. Everyone should get to feel like that.

[texnessa]

Read the fuck out of this of the day.

[humansofnewyork]

“What was the happiest moment of your life?” “I don’t think I have one yet but it’s probably coming up and it’s going to be a surprise.”

[johanirae]

… that is the most beautiful thing I read in my lifetime

[promptsforthesoul]

I love this

[max-riemelts-me]

So I tweeted Reed Hastings, Netflix Co-founder and CEO, yesterday and again today. I don’t know if he has even seen them, but some people interacted with the tweets, so maybe he noticed the notifications.

[fanhackers]

Russ, J. (1983). How to suppress women’s writing. University of Texas Press. The cover of Russ’s book does an excellent job of summarising its main argument: that women’s writing is deliberately devalued in a range of ways. It’s on the wrong subject matter, it’s the wrong genre, it’s morally objetionable, it’s not proper art. In 1983 Russ wasn’t writing specifically about fan fiction (yet), but fan fiction readers and writers will recognise these tactics employed against them. “She wrote about men banging! And it most definitely isn’t art - it’s derivative and unoriginal!”

One of my favourite moments in the book comes towards the end, when after some self-reflection Russ realises that she and other white women within academia and the feminist movement have been employing exactly the same tactics to devalue Black women’s writing. With recent debates on race in both fandom and Fan Studies, this powerful moment of realisation is worth keeping in mind.

Image description:

The cover of How to suppress women’s writing by Joanna Russ, which consists of the following text:

She didn’t write it. But if it’s clear she did the deed… She wrote it but she shouldn’t have. (It’s political, sexual, masculine, feminist.) She wrote it, but look what she wrote about. (The bedroom, the kitchen, her family. Other women!) She wrote it, but she wrote only one of it. (“Jane Eyre. Poor dear, that’s all she ever… “) She wrote it, but she isn’t really an artist, and it isn’t really art. (It’s a thriller, a romance, a children’s book. It’s sci fi!) She wrote it, but she had help. (Robert Browning. Branwell Brontë. Her own “masculine side.”) She wrote it, but she’s an anomaly. (Woolf. With Leonard’s help…) She wrote it BUT

[chriscolfernews]

chriscolfer Happy Birthday, Chris! Been a pleasure watching you grow up.

[sarahtaylorgibson]

Writing a novel when you imagine all you stories in film format is hard because there’s really no written equivalent of “lens flare” or “slow motion montage backed by Gregorian choir”

[audacityinblack]

You can get the same effect of a lens flare with close-detail descriptions, combined with breaks to new paragraphs.

Your slow-motion montage backed by a Gregorian choir can be done with a few technques that all involve repetition.

First is epizeuxis, the repeating of a word for emphasis.

Example:

Falling. Falling. Falling. There was nothing to keep Marie from plunging into the rolling river below. She could only hope for a miracle now, that she would come out alive somehow despite a twenty-foot drop into five-foot-deep water.

Then there’s anaphora, where you write a number of phrases with the same words at the beginning.

There were still mages out there living in terror of shining steel armor emblazoned with the Sword of Mercy.

There were still mages out there being forced by desperation into the clutches of demons.

There were mages out there being threatened with Tranquility as punishment for their disobedience, and the threats were being made good upon.

Mages who had attempted to flee, but knew nothing of the outside world and were forced to return to their prison out of need for sustenance and shelter.

Mages who only desired to find the families they were torn from.

Mages who only wanted to see the sun.

This kind of repetition effectively slows the pace of your writing and puts the focus on that small scene. That’s where you get your slow pan. The same repetition also has a subtle musicality to it depending on the words you use. That’s where you get the same vibe as you might get from a Gregorian choir.

[sarahtaylorgibson]

Damn I made relatable reblog- bait post and writer Tumblr went hard with it. This is legitimately very good advice. 

[ariaste]

For more neat tricks (aka figures of rhetoric) like epizeuxis and anaphora, read THE ELEMENTS OF ELOQUENCE by Mark Forsyth. It’s both educational and delightful, not to mention overflowing with wry wit. Great book. 

[just-a-jumbled-writer]

Holy shit.

[darrenandchrisnews]

Posted on August 5, 2016  4:25 p.m [est]

[Link to video]

[thatpadaleckipink]

period: *stops* me: finally me: *wears pretty undies again* period: biTCH YOU THOUGHT

[seriouslyamerica]

Because it doesn’t matter if a young girl is saying yes, it’s an adult man’s job to say no.

Emily McCombs, THE MYTH OF THE TEENAGE TEMPTRESS: OR WHY A YOUNG GIRL CAN NOT CONSENT TO SEX WITH AN ADULT MAN (via seriouslyamerica)

FREAKIN’ THIS!

(via pleasesendhelpp)

[kehinki]

I want an inverse spy flick. The spy is a woman. Her whole team is made up of diverse women. All the villains are women. There is only one man in the entire movie and he is a Strong Male Character who is like 25 and decently ripped and has a scene where he slowly steps out of a pool wearing speedos because he is Confident and In Control of His Sexuality. We see his ass when he has to tug down his pants to get at the knife strapped to his thigh. His nipples are always erect for no fucking reason.

[saskawitch]

They are undercover in a nightclub. In order to keep their cover from being blown, he has to kiss another man. 

He knits to relieve stress and to keep his mind sharp. It is never discussed by any of the characters. 

[followthebluebell]

Someone asks him how he knows how to do Traditionally Feminine Thing. “I have four sisters,” he answers.

This is also how he knows how to fight while armed with nothing but a purse, a high heel shoe, and a can of hair spray.  During this fight, he is, for no apparent reason, shirtless.

[roachpatrol]

The lead spy is Helen Mirren. She nails the Action Boy in the shower. There’s a lot of lingering closeups on the way the shower spray runs across his breathlessly ecstatic face. We also hear every breathless whimper of his climax, while out in the hallway Lucy Liu is smoking impatiently, a duffel bag full of rocket launchers slung over her shoulder. The President isn’t going to kidnap herself, here, christ. 

Action Boy emerges in a small towel, sheepish yet radiant. Helen Mirren emerges in a tuxedo, also smoking, also with a duffel bag of rocket launchers. 

[teashoesandhair]

In one scene, the lead villain captures the Strong Male Character. He is, once more, inexplicably shirtless as she ties him to the chair. He makes some quips about his sexual independence before he is rescued by a sweat-drenched Helen Mirren, who kicks down the door and nukes everyone in the room. Strong Male Character’s hair remains perfect throughout the ordeal. 

[gateswideopen]

Strong Male Character is heartlessly slain in front of Helen Mirren’s eyes despite all of his skills and combat prowess. His body slumps to the ground, lifeless but supple. Helen Mirren makes a witty quip at Strong Male Character’s killers before quickly and dramatically slaying them all.

She steals one last glance at Strong Male Character. His beautiful eyes stare back from a handsome face with perfectly tussled hair, lips positioned a if in a gentle sigh. There’s no bringing him back now. Helen Mirren walks away, stronger than before. Strong Male Character’s death has hardened her, but given her the strength and resolve to complete her task. 

[imorca]

Roll credits. 

An after credits preview clip comes on as a teaser. Helen Mirren with a huge explosion tearing things up behind her walks toward the camera with a new Strong Male Character wearing the tiny, tattered remnants of a burned shirt about his flexing pecs and deltoids, and he is carrying the bag of rocket launchers as he steps in behind her. 

[tygermama]

So Matt Bomer?

I’m seeing Matt Bomer

and then fandom burns itself to the ground trying to find some guy to slash him with

[valeria2067]

Nah, Matt Bomer is almost 40. Despite his good looks and great bod, he’s way too old to play the shaggable romantic supporting character to 70-year-old Helen Mirren.

Matt Bomer plays Helen Mirren’s sadder-but-wiser ex, computer-savvy, gorgeous but still single, fiercely independent (but it’s all an act).

Helen Mirren shows up on his doorstep to ask him for one last hacker job, for old time’s sake. Matt hauls off to slap Helen in the face, but Helen catches his wrist, pulls him close, and kisses him long and hard. Matt struggles at first but finally melts into her embrace.

Lucy Liu strolls past them into Matt’s chic apartment, slapping Matt on the ass as she mutters “Some things never change, do they?”

Late the next night, as Matt and Helen hack into the CIA database, Helen tucks a stray lock of Matt’s hair behind his ear and asks him why there’s no husband or kids in the picture after all this time.

Matt turns his sad, beautiful eyes toward her and confesses that there has only ever been Helen for him, but he couldn’t stand never knowing if she would come back alive when she left on a mission. Helen and Matt nearly have a moment, but the computer beeps with the results of their search.

The next morning, Helen goes into the kitchen to find Matt’s 20-year-old nephew has come to stay for the weekend. Helen and the camera slowly pan up and down his gorgeous, toned, oiled-up and glistening body as he stands, nearly-naked but for his tight, black satin booty-short underwear, and starts making a gourmet vegetarian omelet.

He turns around and smiles at Helen. “You must be a friend of Uncle Matt. I’m Caden. You hungry?”

Helen’s eyes drift down to Caden’s bulging crotch. “Oh, I could eat,” she quips.

[elementilda]

Helen Mirren and the actor who plays the 20 year old nephew get together in real life. Everyone is delighted by this. 

[fidelioscabinet-blog]

I don’t think financing this would be a problem; distribution probably would. We could hack into the network feed for the Super Bowl, perhaps.

[deep-fried-devil]

I would watch this a million times

[jennaambervisions]

I love this so much I’m gonna illustrate it.

Here is @kehinki‘s part 1

[glitterv4]

OK, seriously, why isn’t this movie already real?

[ospreyarcher]

Somewhere a male studio exec has woken up screaming in agony, and he doesn’t know why. 

[themarysue]

this post wins ALL OF THE AWARDS

(after-credits sequence reveals Ming Na-Wen was the REAL mastermind all along, as she lights a cigar and puts her feet up on The Rock’s naked, crouching form)

[ladaleda]

“It’s about being at ease in one’s own skin.”