1. 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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  3. (Source: wearyvoices, via yuckytuna)

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

    nailed it

     
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  9. 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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  11. 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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  13. edenliaothewomb:

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

    The obvious, but also: Yahoo Style?

    (via homicidalbrunette)

     
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  15. johnnykitten-art:

    sansa & jeyne sharing gossip

    (via sansanfanart)

     
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  17. 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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  19. Just want to say this to have said it

    emilygould:

    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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  21. jhscomics:

    Habit #1 is now available at Comixology.  The story “Seaside Home” from this issue was recently- amazingly- nominated for an Eisner.  Still available in paper form from Oily, too.

    "Seaside Home" is literally one of the greatest short comics stories ever made. Please buy and read it.

     
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  23. gpoy

    (Source: vooduud3, via smilingblackmoon)

     
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  25. BLAH BLAH BLAH

    Stefan and I had planned to record a new episode this week but exigent circumstances prevented it. Soon, we promise. We swore an oath.

     
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  27. Many critics (Lester Bangs, for instance) have made the mistake of reading Bowie as all image—a chameleon with no substance. But Critchley, who teaches philosophy at the New School of Social Research in New York and has written books on subjectivity and “the ethics of deconstruction,” is explicitly opposed to the idea of rock “authenticity.” Even the structure of Bowie—an eclectic little pocket-sized volume of short essays, illustrated with sketches by Eric Hanson, and interwoven with stories from Critchley’s life and with meditations on art, music, identity, and life itself—argues against narrative unity or a stable identity. “Art’s filthy lesson is inauthenticity all the way down, a series of repetitions and reenactments: fakes that strip away the illusion of reality in which we live and confront us with the reality of illusion,” Critchley writes. Embracing that “reality of illusion” allows us to find freedom and pleasure in trying on different identities and casting them off when they no longer fit. “Just as Bowie seemingly reinvented himself without limits,” Critchley writes, “he allowed us to believe that our own capacity for changes was limitless.”
     
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