#learn about us

[aph-norducks]

Sweetie, without trying to sound creepy or stalkerish... what's your timezone? You don't have to say if you're not comfortable doing so.

Well, where I live, from the UTC, I’m -5 (or 7, depending at what map you look at); in other words, I’m in the Eastern Time Zone in the U.S. For Madi, however, she’s in -6 (or 6); aka Central Time Zone in the U.S. Hopefully this is a good enough answer!

~Ash

[careerbuildingforteens-blog]

Admins

Hey i’m Cassi! Im cis (she/her) and bisexual. I like music(i’ll listen to anything really) and binge watching on Netflix. You can check out my aesthetic blog littlejayybird or my main blog akage69, please know that they both contain nsfw content!!

Hello, I’m Alexandria (or Alex)! I am cis (she/her) and heterosexual. I love all forms of art (music especially), I’m a massive supporter of Destiel/Sabriel, and I will support anyone through anything if they need help. You can check out my personal tumblr too if you’d like where I will accept any form of messages from fanfiction prompts to “how was your day?” (satanismysidebitch.tumblr.com) ^_^

hi! i’m katee. i’m gay, cisgender female. i love singing, youtube, video games and photography. You can check out some of my videos on youtube at Katee Tv!

Hi i’m Tara. I’m a cis female and heterosexual. I like movies and books/comic! if you want to follow me on tumblr its bubbleempire :)

[exobtsimagination]

Podcast 10/12/15

This is our first podcast! It had to be done in two separate files because my recording messed up. I really hope you like it. Sorry if I am louder than the other girls, this was done over skype, so it

First podcast!!!!! Really hope you all enjoy! <3

-War of Overdose Team

Feel free to leave comments and ideas for the next blog in our ask box! <3

[tea-and-liminality]

Since this will be on a publicly accessible pdf anyway, for anyone who's interested here's an example of the kind of research I do (the abstract for an upcoming conference paper):

Rationalized Passions: Sherlock and Nation-Branded Boy Booms in Japan

In December 2012, Benedict Cumberbatch arrived in Japan for the first of two Star Trek Into Darkness junkets and was greeted at the airport by 500 Japanese fans of his work in the BBC drama Sherlock (2010-), the first two seasons of which had aired on subscription satellite channels to niche acclaim. This unanticipated turnout did not go unnoticed by the Japanese press, which quickly launched a Sherlock-centered Cumberbatch publishing storm that culminated in his crowning as the "King of Magazines" by the editor of Screen magazine in July 2013. By the end of the year, Cumberbatch's popularity had been parlayed into a full-blown boom that foregrounded the perceived gentlemanly 'Britishness' of not only Cumberbatch, but also such stars as Tom Hiddleston, Ben Whishaw, James McAvoy and other 'princes'of the UK film and television world. Their emerging popularity was described on the cover of one publication as "the second coming of the British boy boom." (Yamazaki 2014), and certainly at first glance this phenomenon recalls nothing so much as the late-1980s popularity of the 'beautiful princes' of British heritage film. Together, these two booms seem to beg consideration of the apparently Anglophilic appeal of British actors in Japan. However, their congruity with the Hong Kong star boom of the 1990s, as well as the Korean Wave of the 2000s, suggests a more far-reaching and increasingly rationalized strategy of channeling fan passions into star-centered nation branding within the Japanese media. Nation branding is typically conceived as the mobilization of media-inclusive 'soft power' (Nye 2005) in the promotion of the combined commercial and political interests of a given country (Huang 2011). Within this calculus, it has been argued that fans of such media are complicit in "banal nationalism" (Billig 1995) by virtue of their "participation in the inter-national media culture fiesta" (Iwabuchi 2010, 93); yet such criticism has been notably devoid of significant engagement with actual fan practices within a nationally overdetermined media marketing context. In this paper, I posit the recent Sherlock-spurred 'British boy boom' in Japan as a continuation of Japanese mass media nation-branding strategies that began in the late 1980s, focusing on the ways in which fan responses to media attempts to (re)write Cumberbatch's popularity along national lines paint a complex, contradictory picture of complicity and resistance to such discourse.

Works Cited

Billig, Michael. Banal Nationalism. London: Sage Publications (1995).

Huang, Shuling. "Nation-branding and transnational consumption: Japan-mania and the Korean wave in Taiwan" Media, Culture & Society 33.1 (2011): 3-18.

Iwabuchi, Koichi. "Undoing Inter-National Fandom in the Age of Brand Nationalism" Mechademia 5 (2010): 87-96.

Nye, Joseph S. Soft Power: The Means to Success in World Politics. New York: Public Affairs (2005). 

Yamazaki, Madoka, ed. Eikoku danshi (British boys) [Special issue], EyesCream, March 2014.

[laughingatallthewrongthings]

[es-hana]

Heading offline now. But Please message me for plotting or just drop a random start and tell me. 

Take a look at her About & her Stats for more info! Come to lovelies.