Addicted & Obsessed.

Addicted & Obsessed.

Laura Carman.
I live to travel & love to blog.

busket:

rookerie:

teenbitch:

our government is in a meme war

I can’t believe this is real

you know if someone had shown me this picture about 4 years ago i would have believed that it was some hamfisted attempt at satire or some sort of surreal distopian world but here we are 2014

busket:

rookerie:

teenbitch:

our government is in a meme war

I can’t believe this is real

you know if someone had shown me this picture about 4 years ago i would have believed that it was some hamfisted attempt at satire or some sort of surreal distopian world but here we are 2014

(via creppymulder)

fallohmeintothedark:

if u wanna date me I hope u like excessive swearing and long talks about feminism

(via creppymulder)

spikeluv84:

mycroftssgoldfish:

the-mountains-are-calling:

ryanpanos:

Frozen Venice | Robert Jahns | Via

O MY MARY MOTHER OF JESUS.  THINK OF ALL THE HOCKEY THAT COULD BE HAD.

I found a Canadian

The world will look like this one day.

She removes her wig, her eyelashes, her makeup, never breaking eye contact with the reflection of her natural self. It’s an intimate, powerful moment television doesn’t often show: A black woman removing all the elements white supremacy tells her she has to wear to be beautiful, successful, powerful. And let’s not forget that that wasn’t just Annalise taking it off: It was Davis, too—Davis, who remains brave in a world where a New York Times critic can get away with calling her ‘less classically beautiful.’x

(Source: fistoffight, via naughticals)

travellerintime:

CORNFLAKES THIEF!!! 

travellerintime:

CORNFLAKES THIEF!!! 
image

Sanjai, a 20-years old bull (male elephant), sees himself for the first time in front of a mirror. [x]

(Source: memoriesofelephants, via gemimalee)


Tales from the Shadowhunter Academy #1: Welcome to the Shadowhunter Academy 
Release date: February 17, 2015

Recently, my husband and I burned through S1 of Orphan Black, which, as promised by virtually the entire internet, was awesome. But in all the praise I’d seen for it, a line from one review in particular stuck in my mind. The reviewer noted that, although the protagonist, Sarah, is an unlikeable character, her grifter skills make her perfectly suited to unravelling the mystery in which she finds herself. And as this was a positive review, I kept that quote in mind when we started watching, sort of by way of prewarning myself: you maybe won’t like Sarah, but that’s OK.

But here’s the thing: I fucking loved Sarah. I mean, I get what the reviewer was trying to say, in that she’s not always a sympathetic character, but that’s not the same as her actually being unlikeable. And the more I watched, the more I found myself thinking: why is this quality, the idea of likeability, considered so important for women, but so optional for men – not just in real life, but in narrative? Because when it comes to guys, we have whole fandoms bending over backwards to write soulful meta humanising male characters whose actions, regardless of their motives, are far less complex than monstrous. We take male villains and redeem them a hundred, a thousand times over – men who are murderers, stalkers, abusers, kinslayers, traitors, attempted or successful rapists; men with personal histories so bloody and tortured, it’s like looking at a battlefield. In doing this, we exhibit enormous compassion for and understanding of the nuances of human behaviour – sympathy for circumstance, for context, for motive and character and passion and rage, the heartache and, to steal a phrase, the thousand natural shocks that flesh is heir to; and as such, regardless of how I might feel about the practice as applied in specific instances, in general, it’s a praiseworthy endeavour. It helps us to see human beings, not as wholly black and white, but as flawed and complicated creatures, and we need to do that, because it’s what we are.

But when it comes to women, a single selfish or not-nice act – a stolen kiss, a lie, a brushoff – is somehow enough to see them condemned as whores and bitches forever. We readily excuse our favourite male characters of murder, but if a woman politely turns down a date with someone she has no interest in, she’s a timewasting user bimbo and god, what does he even see in her? Don’t get me wrong, I’ve seen some great online meta about, for instance, the soulfulness and moral ambiguity of Black Widow, but I’ve also seen a metric fucktonne more about what that particular jaw-spasm means in that one GIF of Cumberbatch/Ackles/Hiddleston/Smith alone, and that’s before you get into the pages-long pieces about why Rumplestiltskin or Hook or Spike or Bucky Barnes or whoever is really just a tortured woobie who needs a hug. Hell, I’m guilty of writing some of that stuff myself, because see above: plus, it’s meaty and fun and exactly the kind of analysis I like to write.

And yet, we tend overwhelmingly not to write it about ladies. It’s not just our cultural obsession with pushing increasingly specific variants of the Madonna/Whore complex onto women, such that audiences are disinclined to extend to female characters the same moral/emotional licenses they extend to men; it’s also a failure to create narratives where the women aren’t just flawed, but where the audience is still encouraged to like them when they are.

Returning to Orphan Black, for instance, if Sarah were male, he’d be unequivocally viewed as either a complex, sympathetic antihero or a loving battler with a heart of gold. I mean, the ex-con trying to go straight and get his daughter back while still battling the illegalities of his old life and punching bad guys? Let me introduce you to Swordfish, Death Race, and about a millionty other stories where a father’s separation from a beloved child, whether as a consequence of his actual criminal actions, shiftless neglect, sheer bad luck or a combination of all three, is never couched as a reason why he might not be a fit parent. We tend to accept, both culturally and narratively, that men who abandon their children aren’t automatically bad dads; they just have other, important things to be doing first, like coming to terms with parenthood, saving the world, escaping from prison or otherwise getting their shit together. But Sarah, who left her child in the care of someone she trusted absolutely, has to jump through hoops to prove her maternal readiness on returning; has to answer for her absence over and over again. And on one level, that’s fine; that’s as it should be, because Sarah’s life is dangerous. And yet, her situation stands in glaring contrast to every returning father who’s never been asked to do half so much, because women aren’t meant to struggle with motherhood, to have to try to succeed: we’re either maternal angels or selfish absentees, and the idea that we might sometimes be both or neither isn’t one you often see depicted with such nuance.

—   

Gender, Orphan Black & The Meta Of Meta

read this, read it right now it’s absolutely genius.

(via hartbleed)

I think this is best piece on Orphan Black and Sarah that I have ever read. Seriously. I see them fandom going “Yeah, Sarah is cool, but that one time she lied/ran away/tricked people/shot someone” and I am like “shit are you even paying attention to this wonderful complex deep character?” And this just explained why that bothered me so much

(via samanticshift)

(Source: knowlesian, via bisexual-rogers)

officialunitedstates:

why’d we have to color so much in school.  it didnt teach us anything.  is “staying in the lines” a subconscious metaphor for not revolting against the bourgeoisie

(via gemimalee)

X

(Source: niallar, via aki-anyway)

“When I was a student at Cambridge I remember an anthropology professor holding up a picture of a bone with 28 incisions carved in it. “This is often considered to be man’s first attempt at a calendar,” she explained. She paused as we dutifully wrote this down. “My question to you is this – what man needs to mark 28 days? I would suggest to you that this is woman’s first attempt at a calendar.”
It was a moment that changed my life. In that second I stopped to question almost everything I had been taught about the past. How often had I overlooked women’s contributions? How often had I sped past them as I learned of male achievement and men’s place in the history books? Then I read Rosalind Miles’s book “The Women’s History of the World” (recently republished as “Who Cooked the Last Supper?”) and I knew I needed to look again. History is full of fabulous females who have been systematically ignored, forgotten or simply written out of the records. They’re not all saints, they’re not all geniuses, but they do deserve remembering.”

—   Sandi Toksvig, ‘Top 10 unsung heroines’  (via starbuckara)

(Source: ninestories, via dancingonsteelwire)

Connor Walsh in “Let’s get to scooping”

(Source: bbuchanann, via sebstantialvampire)

Sam Claflin & Lily Collins for Net-A-Porter

(Source: lilycollinsnews, via cheriemoss)

(Source: drunkswifts, via sebastixnstan)

tennants-hair:

hundredpacesfromhome:

blackdutchess:

Reminder to Australia: Hogwarts survived Umbridge. We can do this.

Hogwarts survived Umbridge by forming an army behind her back then leaving her in the forest for dead…

that’s right. take notes

(via birdie-on-the-wire)