1. sunjournal944 said: Granted wishing he'd make a better show is probably more central, but which GoT main cast member would you wish Lorne Michaels call up to guest host "Saturday Night Live"?

    Peter Dinklage is the obvious choice in every considerable way. He’s a legit pop-culture icon, and he was funny in his cameo appearance on Weekend Update a couple years back. Frankly I’m amazed it hasn’t happened already. Anyone else, I think they’d have to have a hit movie seen as being successful on account of their lead performance in some way to make the cut. I think Lena Headey would probably be good on it as-is but it’s possible her sense of humor is too dry and at any rate everything else I just said applies. Of course the smart thing would be to have a bunch of other cast members pop up in cameos. I say all this as someone who hasn’t watched an episode of SNL during airtime in over a decade.

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  3. the matrix


    yesterday in my film class my professor showed a brief clip from the matrix, which i definitely haven’t watched in over a decade, and i was just filled with mirth the whole way through. lately i have been wondering how badly the matrix must have aged, and what it would be like watching it now, and by god watching keanu reeves running through the matrix in his tucked in black shirt juxtaposed with CGI overworld worms hacking into the mainframe took me to another place, another time, occupied by a simpler, younger version of myself; the blessed year in which my family purchased our very first windows 98 desktop computer and in which we rented the matrix from blockbuster. memory fails me, but it’s possible that i hadn’t actually received the internet yet when i first watched the matrix. this kind of bizarre nostalgia just made me want to laugh while i was watching, but i wasn’t laughing at the wachowskis, i was laughing with them, delighting in lawrence fishburne’s straight-faced delivery of the line “they’re in” to a character named trinity. TRINITY and neo and morpheus were names presented to an ecstatic audience alongside his tiny tiny sunglasses and keanu reeves actually being a person who we all thought was cool and not an internet meme because it was 1999 and we didn’t have pictures of him eating sandwiches and being reincarnated yet. but now even those fleeting images are as lost to the rapidly increasing pace of time as bullet time and bent spoons and keanu reeves is 50. i need to watch the matrix again. i’m gonna watch the matrix


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  5. mramgine said: Arya condemns people for murder while committing murder herself, Dany condemns people for crucifying people while crucifying people herself... doesn't that make these girls hypocrites (or some other negative term)?

    Why single them out? This is true of virtually everyone in the series. It’s almost as though violence is an inherent evil that necessitates moral compromise!

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  7. mramgine said: I don't know if you're a Star Wars fan, but I'd like to hear your thoughts on this. A lot of people hate George Lucas for releasing special editions of the original trilogy, thinking he should just leave them alone. However, if a filmmaker wasn't satisfied with the product released, doesn't he have the right to release the version he wants? Cause movies like Kingdom of Heaven had terrible theatrical editions, and the director's cut is a brilliant work.

    They have the right to do whatever they want, but that doesn’t make whatever they want a good idea. I think people object to the special editions both because they are mostly a matter of tinkering with effects that were cutting-edge for the period but are no longer, which invites a level of ongoing revisionism of our cinematic heritage that’s difficult to countenance when one pursues the implication, and because he made the original versions, the ones people actually had watched and remembered and loved, that much harder to acquire. 

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  9. Pleasure and intimacy sell themselves, but the powerful role of utility in human sexuality deserves some unpacking. Life, if you hadn’t noticed, is a fucking mess, a maelstrom of complex and contradictory drives and demands that only the uniquely blessed or cursed feel confident in navigating. Not always, but certainly often enough to give it the old college try, sex is that tumult’s surcease. Here we have a body — ours, our partner’s — and we have parts of that body designed to create sensations in the body that trigger processes in the body, and we apply stimulation to those parts until those processes occur. Heteronormative reproductive aims are irrelevant, since it’s not as though those parts switch off outside those narrow parameters. We’re little machines. Turn us on and we will perform as we were manufactured to. We become useful. And if we’re lucky, and if we need them to, our overtaxed brains will simply shut down, our whole complex intellectual selves compressed and drawn through the the channel of neurobiological ecstasy. At last, a role we can inhabit with clarity and purpose! With apologies to the Prayer of Saint Francis, we become an instrument of one another’s peace.

    InSex Fantasy, Sophia Foster-Dimino reverse-engineers this process for wider application across the whole of a human life. Though the title promises an eroticism that never really materializes, it’s a mistake to view the appellation of this four-issue series of minicomics, available to read onFoster-Dimino’s Tumblr, as ironically applied. The title’s implication is that sex gives us an experience with utility — explored at length in the first two issues before being undermined in the third and smashed to pieces in the fourth — worth fantasizing about in the context of the rest of our existence.

    Foster-Dimino’s art itself can be considered Exhibit A. Her line is clear, clean, and precise, ideal for her geometric interpretations of the human face and figure. Her intrapanel layouts emphasize the diagonal, creating a sense of dynamism-in-stasis that largely abrogates the need for panel-to-panel continuity of motion or setting; she can draw what she needs to, and only what she needs to, to get her point across. She repeatedly nails gestures: A panel from issue #1 uses a pair of faces (one upturned and downturned), a blocked-black head of hair, hunched shoulders sloping down, long legs reaching up, and an arm the eye follows downward like a child on a slide to emphasize an outstretched hand gently proffering a much-needed tool as though it’s a drawing of the Childlike Empress giving Bastian the grain of sand that is all that is left of Fantasia. Her clothing and prop designs are inventive and singular, yet observed and easy to parse and contextualize. It’s hard to be this easy.

    I reviewed Sex Fantasy by Sophia Foster-Dimino for The Comics Journal.

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  11. czarevich said: Is there an omnibus Marvel's Civil War yet?If its crap, you would know better than I. But still, the basic consepts of that storyline which I have been able to glean whilst staying on the periphery ( The spoilers I've gotten make me angry because I dont usually mind spoilers but I wish I could have experianced the Captain America/Tony Stark plot tabula rasa) sound like my bread and butter.

    It’s very bad, please don’t bother

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  13. (Source: wearyvoices, via yuckytuna)

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  15. I interviewed Boardwalk Empire creator Terence Winter about the end of the series — and the start of his new one with Martin Scorsese, Mick Jagger, and Bobby Cannavale — for the TV Issue of Rolling Stone, on stands now. Says so right there on the cover and everything. I hope you like it!

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  17. nobodysuspectsthebutterfly said: Yahoo Style: It's like Yahoo Serious, but more stylish and less serious.

    nailed it

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  19. Power is a performance. It’s a matter of knowing your audience, picking up on whether you should be funny or scary, when to play to the cheap seats or act with awards-caliber subtlety. Isn’t this the obstacle faced by Steve Buscemi in the minds of many viewers? His quiet, hangdog intensity as Nucky Thompson is an outlier in an era of volcanic, Byronic TV antiheroes. But that’s the point: For all his successes before and after Prohibition, Thompson’s decision to become more than “half a gangster” has forced him into a role he can’t quite master. As Boardwalk Empire hits the halfway mark of its final season in tonight’s episode — “Cuanto” — it examines the nature of that performance, and those of other characters who’ve found themselves shoved onto stage.

    As a boy, the future chairman of the boardwalk is brought before the Commodore, who offers the young Nucky a glimpse of his grand plans for the Jersey shore (and an unwitting peek at his collection of photos of sexualized young girls), grinning when the kid notes that this is Atlantic City “as you wish it to be.” That wish includes everything from a stronger transportation infrastructure to segregated housing. But Nucky’s ability to follow along does nothing to placate his boss. “You think you’re a smart boy.” “If I say yes, you’ll think I’m boasting. If I say no you’ll think I’m lying.” “Don’t try to parse me.” The boy is trying his best, but this command performance is unscripted, in front of the toughest crowd in town.

    So he’s naturally flabbergasted when he and his brother Eli are rewarded for going off-book. After catching them breaking into the Commodore’s hotel for a taste of the good life (read: indoor plumbing), Sheriff Lindsay takes the Thompson boys to his own house for a home-cooked meal with his kind, politically minded wife and smart, friendly family. They eat good food, they tell corny jokes, they negotiate a role for the patriarch in Mrs. Lindsay's temperance crusade, over which the Sheriff conspiratorially shares a nod and a wink with Nucky. It's too much for the kid, who breaks down crying at his first glimpse of a life that's emotionally rewarding — a life where he can simply be himself. Cut to an hour later, when he's asking the Sheriff to assassinate his own father. The terms with which Lindsay demurs are revealing: “Don't go where you don't belong. Don't take what isn't yours. Don't pass your burdens on to others. Don't make me do my job — because I will.” Know your role, Deputy Sheriff Thompson.

    The rest of my review of tonight’s Boardwalk Empire for Rolling Stone continues along these lines.

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  21. edenliaothewomb:

    Thomas Brodie-Sangster, photographed by Van Sarki for INTERVIEW, Sep 2014.

    I’d imagine quite a few boiledleather readers wouldn’t mind eating a little Jojen paste HI-YOOOOOOOOOOOOOOOOOO

    (via homicidalbrunette)

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  23. edenliaothewomb:

    Natalie Dormer, photographed by Chad Pitman for Yahoo Style, 2014.

    The obvious, but also: Yahoo Style?

    (via homicidalbrunette)

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  25. johnnykitten-art:

    sansa & jeyne sharing gossip

    (via sansanfanart)

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  27. spectralworlds:

    Who speaks for the establishment? This should be pretty self-explanatory but just in case… It’s a political cartoon about the general decay of countercultures and how over time they take on a “boutique” quality while coming to hypocritically embody the values they apparently stand against.

    In time.

    This is a pretty cool picture of Gavin McInnes, Lane

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  29. Just want to say this to have said it


    I just wrote something like this in an email to friends who told me the latest (I’m off twitter), which is apparently that Ed Champion made a suicidal gesture and is in Bellevue (not confirmed.)

    I have a hard time even talking about how terrible the week that he published that rant was for me. A lot of people have tried to tell me that the net effect was positive for my book, but it put me in a position of talking about that rant instead of talking about the book. I hate that. I hate that that happened. I’ll never get that week or month or set of opportunities back; he poisoned them all. The worst part is that as cartoonishly evil and misogynistic and mentally ill as he is, there are still people who are like “well, it was a book review.” “Critics are allowed to call someone a bad writer.” Or worse, that it was a “subtweet war” or a “literary feud.” It was none of those things. It was an attack on women, meant to make us feel threatened and fundamentally unsafe in the online and physical spaces we inhabit. It is so bonkers that we even have to point that out or defend that point of view still, now, in 2014.

    I felt fear doing events around publication. Not stage fright, fear for my physical safety. Instead of planning celebrations I was arranging with bookstores and my publisher for adequate security at events. I felt worried that the location of my apartment had been revealed in so many profiles. It’s not like I experienced physical trauma or was tortured but I felt under attack. This wasn’t something that “happened on the internet” or something that could have been avoided by “just unplugging.” Talking to readers, doing events, and promoting books online is my job.

    I still haven’t sorted out what kind of damage was done. 


    If you’re not familiar with what’s being discussed here you can google the relevant names and get acquainted with a genuinely horrifying story involving friend of the blog Emily Gould and other women writers. As she says, even much of the coverage written from positions of ostensible sympathy are shockingly dismissive of the true nature and severity of what occurred. It matters.

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