Rosa Centifolia Rosier de Provence (detail), Pierre-Joseph RedoutĂ© (French, 1759â1840)

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Rosa Centifolia Rosier de Provence (detail), Pierre-Joseph RedoutĂ© (French, 1759â1840)
HOW DO I REBLOG THIS FOR THE REST OF MY LIFE
Watching this (and fearing broken ankles with each loop) I canât helping thinking about that old quote Ginger Rogers did everything Fred Astaire did, except backwards and in high heels.
But no, if you watch closely youâll see she doesnât even step on the last chair. That means she had to trust that fucker to lift her gently to the ground while he was spinning down onto that chair. That takes major guts. Iâd be pissing myself and fearing a broken neck if I were in her place. Kudos to her.Â
I canât stop watching this.Â
#I watched this for too long to not reblog
Whoa.
Okay so this is true, but a tiny part of a wider truth.Â
Ginger Rogers was a FUCKING BADASS. Ignore for a sec the rampant sexism in Hollywood (they once bleached  her hair blonde in wardrobe without telling her beforehand), the fact that she fought her whole career against typecasting and stereotyping from fellow actors (Katharine Hepburn famously said of the Astaire/Rogers partnership âshe gave him sex. He gave her classâ ) for starting out in musicals, and went on to have a career lasting over fifty years, winning a Best Actress Oscar (Kitty Foyle, 1940). But⊠JUST focusing on the Astaire moviesâŠ
Not only did she dance âbackwardsâ in high heels, the dances were a task in themselves. Astaire was an absolute perfectionist and choreographed for himself, so as a younger, less experienced dancer Rogers came in at a disadvantage and worked her ass off to match him.Â
Then thereâs the filming complications⊠these numbers were filmed in ONE TAKE. So one thing goes wrong and you have to start over. Maybe you make a mistake or maybe your dress flies up becauseâŠ
Ginger had to contend with her wardrobe. Dancing in heels is the norm at this time, but dancing in a dress designed for cinema cameras⊠not so much. They were heavy, embellished, uncomfortable, restrictive and cumbersome and essentially a third member of the dance, strapped to the body of one partner.Not only did she have to dance and look good, she had to control the dress too!
Take this routine from Swing Time⊠(it gets going proper at 1:30ish)
This dress has weights, YES WEIGHTS, sewn in to the hem to make it fly out and create a visual effect. So itâs heavy, it hurts if it hits you, and your partner gets mad if it hits him. So you gotta control it.Â
Well it turns out all these factors on this set, this particular day arenât going so well. So youâre doing take after take, hereâs no labour laws, so at 4am after 18 hours youâre still going, even though part of the routine requires you to spin up those curved stairs with no rail at high speedâŠ.
Okay so now back to those high heels. In Gingerâs autobiography she vividly remembers this night as the night she bled though her shoes. They did so many takes, her feet blistered, bled, and the white satin high heels she was wearing finished he night pink because they were literally full of blood. And still they keep shooting. She keeps dancing.
The take they use in the film is the last. Early hours. Bloody feet. And she spins, acts and bosses out until that last second. Because she was that professional, talented and bloody minded. This is the last set of spinsâŠÂ
So I say once again. Ginger Rogers was a badass.
She did everything Fred Astaire did backwards, in high heels, wearing a 20 pound dress, exhausted, injured and standing in a pool of her own blood. And watching her perform, you would never know.
This is why I despise Hollywood, I love a lot of the women (and certain men) of Hollywood Bc they tend to work so fucking hard (obv excluding certain people Bc theyâre toxic) but I hate the industry itself because it makes them do shit like this, not to this extent anymore but if youâre willing to make someone do something like that then youâre literal trash.
How do I tell people that sometimes if you turn your shipping brain off you can interact with media better
Like I hate to say it but if you canât engage with any media without descending into full-on fandom-style shipping at the expense of the themes, characterization, non-romantic relationships, and general content of the work. You might need to take a step back from shipping and maybe fandom in general. (Also to the people in the notes of this post who are acting like I said shipping in general is terrible: What this post is saying is that if you interact with all media exclusively through a shipping lens you miss a lot of stuff. Iâm not saying donât ship things, Iâm saying use your critical thinking skills.)
âThereâs more to media than romantic relationshipsâ should not be a take which causes so much anger, and yet
Star Wars Lightsaber Battles | by Eli Hyder
I thought this was my hometown for a second
So this has actually been cited by academics as part of the major draw to online spaces is the fact that just existing in public is reacted to with hostility and punishment. Gretchen McCulloch discussed this is in her book Because Internet, citing research that shows teens and young adults want to be outside! We want to spend time in social places, itâs just that there arenât any places to exist in public without being charged for it.
When I was homeless as a kid my little brother and I loved to go to the library. We would keep warm in there reading good books all day long. Until residents of the town complained about us âloiteringâ at the library each day. The library staff then told us we were no longer allowed to stay more than an hour at a time. Imagine seeing two homeless children spending their entire days quietly reading just to keep out of the cold and having a damn problem with it.
Hereâs a relevant passage from Because Internet!Â
Even the fact that teens use all kinds of social networks at higher rates than twenty-somethings doesnât necessarily mean that they prefer to hang out online. Studies consistently show that most teens would rather hang out with their friends in person. The reasons are telling: teens prefer offline interaction because itâs âmore funâ and you âcan understand what people mean better.â But suburban isolation, the hostility of malls and other public places to groups of loitering teenagers, and schedules packed with extracurriculars make these in-person hangouts difficult, so instead teens turn to whatever social site or app contains their friends (and not their parents). As danah boyd puts it, âMost teens arenât addicted to social media; if anything, theyâre addicted to each other.â
Just like the teens who whiled away hours in mall food courts or on landline telephones became adults who spent entirely reasonable amounts of time in malls and on phone calls, the amount of time that current teens spend on social media or their phones is not necessarily a harbinger of what they or we are all going to be doing in a decade. After all, adults have much better social options. They can go out, sans curfew, to bars, pubs, concerts, restaurants, clubs, and parties, or choose to stay in with friends, roommates, or romantic partners. Why, adults can even invite people over without parental permission and keep the bedroom door closed! (page 102-103)Â
The source Iâd really recommend for lots more on this topic is Itâs Complicated: The Social Lives of Networked Teens by danah boyd, a highly readable ethnography spanning a decade of observation of how teens use social media. Here are a couple relevant excerpts:Â
I often heard parents complain that their children preferred computers to ârealâ people. Meanwhile, the teens I met repeatedly indicated that they would much rather get together with friends in person. A gap in perspective exists because teens and parents have different ideas of what sociality should look like. Whereas parents often highlighted the classroom, after-school activities, and prearranged in-home visits as opportunities for teens to gather with friends, teens were more interested in informal gatherings with broader groups of peers, free from adult surveillance. Many parents felt as though teens had plenty of social opportunities whereas the teens I met felt the opposite.
Todayâs teenagers have less freedom to wander than any previous generation. Many middle-class teenagers once grew up with the option to âdo whatever you please, but be home by dark.â While race, socioeconomic class, and urban and suburban localities shaped particular dynamics of childhood, walking or bicycling to school was ordinary, and gathering with friends in public or commercial placesâparks, malls, diners, parking lots, and so onâwas commonplace. Until fears about âlatchkey kidsâ emerged in the 1980s, it was normal for children, tweens, and teenagers to be alone. It was also common for youth in their preteen and early teenage years to take care of younger siblings and to earn their own money through paper routes, babysitting, and odd jobs before they could find work in more formal settings. Sneaking out of the house at night was not sanctioned, but it wasnât rare either. (page 85-86)
From wealthy suburbs to small towns, teenagers reported that parental fear, lack of transportation options, and heavily structured lives restricted their ability to meet and hang out with their friends face to face. Even in urban environments, where public transportation presumably affords more freedom, teens talked about how their parents often forbade them from riding subways and buses out of fear. At home, teens grappled with lurking parents. The formal activities teens described were often so highly structured that they allowed little room for casual sociality. And even when parents gave teens some freedom, they found that their friendsâ mobility was stifled by their parents. While parental restrictions and pressures are often well intended, they obliterate unstructured time and unintentionally position teen sociality as abnormal. This prompts teens to desperatelyâand, in some cases, sneakilyâseek it out. As a result, many teens turn to what they see as the least common denominator: asynchronous social media, texting, and other mediated interactions. (page 90)
Anyway, more people need to read Itâs Complicated, danah boyd really takes young people and technology seriously and doesnât patronize or sensationalize, and it was a huge influence on me in figuring out the tone for Because Internet so I want to make sure it gets credit!Â
Modern! AU
Edit by @chryssadirewolf
An Archive of Our Own, a project of the Organization for Transformative Works
Still alive, y'all.
FUCK YOU DISNEY
Anyways, yâall better start saving your fave fanfics and fanart under the Disney labels cause it looks like theyâre trying to curb fair use/fanworks and Iâm sure thereâs going to be mass panicked deletions even though itâs probably unnecessary cause AO3âČs legal team will fight for us.
You know that 400K yall were so fucking mad about OTW raising? Yeah, its gonna pay for the travel expenses and court costs that the legal team at AO3/OTW when they protect your shit from getting C&Ded. DO NOT DELETE YOUR STUFF! IF YOU GET CONTACTED BY DISNEY - GO TO THE ORGANIZATION OF TRANSFORMATIVE WORKS , CONTACT THEIR LEGAL ADVOCACY DEPARTMENT! ASK FOR HELP!! THIS SHIT RIGHT HERE IS *WHY* *THEY* *EXIST*
Note that Disney would have one Hell of a time serving C&Ds to authors at AO3 - because there is no âcontact authorâ option other than leaving a comment.
Theyâd have to contact the SITE, which is to say, the Organization for Transformative Works, to deliver a C&D order or a DMCA takedown order.
And the OTW is not going to remove fics because someone sent a letter that says âactually those characters belong to me and you canât use them that way.â The OTW was created to FIGHT that kind of claim. They are ready.Â
Donât delete your fics out of fear. WE OWN THE SERVERS. They canât threaten the hosts into deleting anything.
And if Disney thought they had a strong legal case against fanfic, theyâdâve shut down the archive a decade ago, when it was penniless and unknown, instead of waiting until it had won several battles in Congress and got worldwide acclaim for a Hugo Award.
This is important!
This is why we say you arenât allowed Patreon and Ko-Fi links on AO3. Because it gives these parasites their legal back door to fuck your shit up.
âWorldbuildingâ is a very sophisticated word for the process of âYOOOOOO wouldnât it be cool if...â
I hate how forgotten Rogue One is. Itâs genuinely one of the best Star Wars movies to date. The lead characters all manage to stand out as individuals with stories of their own and the ending is an emotional roller coaster. This movie took a semi-plothole from way back in ANH and spun a story that enriched the franchise incredibly. R1 is how a âdarkâ SW movie should be done, taking a twist to the classic format and making it more grounded in the true perils of war while retaining the core messages of hope and (found) family.
THE MUMMY (1999) dir. Stephen Sommers </
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dynamics of the MCU â Scott Lang & Hope Van Dyne
Beauty and the Beast (1991) dir. Gary Trousdale and Kirk Wise