Have you seen Stephen Amell's Nerd HQ panel? It's so beautiful. He actually takes a bow & quiver from an audience member and puts it next to his chair because it makes him 'feel safer'.


No I haven’t yet.  Links anyone!

I did just watch his table interview with the various reporters where he talks about Felicity being the only woman in his life.  And I also just watched the Marc Guggenheim interview where he says they’re in love with each other!

I don’t know why they’re spoiling so much of the season’s romantic themes this early but it’s making my dash explode. I am kinda glad I wasn’t online all weekend bc I was at the con. I wouldn’t have been able to see anything but olicity posts, LOL.

I’ve still got to watch the Arrow panel, and if anyone else has recs for relevant videos, please reblog with links!  I’ve seen the Arrow trailer, thankfully, and I watched the DC panel live so that was fun.  Never gonna be over the awkward hilarity of Amell’s abs blown up to fill an entire jumbotron screen.  If you guys could only see the video feed that the audience saw, you’d be laughing too.  I wanted to see it but I also wanted to run up to camera operator and say “Pull back!  Pull back!  The poor guy has to live with this decision forever!” haha.  Catie telling him to stop was hilarious and then John Barrowman voting yes.   I admit it…I raised my hand to vote in the audience. I did.  /shame LOL

I’m dying to see the Marvel teasers. I hope they come out soon.



Everyone should watch Princess Tutu.  Here it is on Hulu for free, even. The above video is my favorite fanvid for the show, and while it’s kinda spoilery, the show is too complex to worry over that.

  • The Protagonist: a duck with a metaphysical crisis pretending to be a girl
  • The Damsel in Distress: prince charming
  • The Friendships: female characters who choose loyalty beyond rivalry
  • The Romance: the pairings are so great I CAN’T EVEN TELL YOU OMG
  • The Plot:  every fairy tale that was ever made into an opera
  • The Music: every piece of classical written for a ballet
  • The Villain:  writer’s block

I’m not shitting you, “writer’s block” is literally the big bad of this show, how awesome is that?!?  It’s the most indirectly feminist anime I’ve ever seen and I’ve seen it 4 times, twice in each language. It’s wonderful in both. It’s meta beyond meta, a story for people who love stories.

And so, the prince and the princess lived happily ever… Happily!? Happiness in stories is at most a trifling matter of a couple of lines at the end — the epitome of boredom. Now, show me a magnificent tragedy! A cataclysm of tears from which not one of the players is saved, and to which a happy ending never comes!

I wanted to rec this vid so I checked to see if it was already on tumblr, and look it comes with a cool series-pitch too! Princess Tutu is awesome, and it’s likely you may have already seen this vid. But, it’s famous for a reason (SO GOOD) so in case you haven’t seen it I’m reblogging/re-reccing it here!

  • Baby: Da-, Da-
  • Parents: Da- ? Daddy? Is it daddy?!
  • Baby: Da-, Da-, Daenerys Stormborn of the House Targaryen, the First of Her Name, the Unburnt, Queen of Meereen, Queen of the Andals and the Rhoynar and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons.

Best of Mark Ruffalo at San Diego Comic Con 2014

(Source: markfluffyruffalo)


balance and symmetry. find it. | @mrcreatistic did this.


balance and symmetry. find it. | @mrcreatistic did this.

For many of these women, the reading experience begins from a place of seething rage. Take Sara Marcus’ initial impression of Jack Kerouac: “I remember putting On the Road down the first time a woman was mentioned. I was just like: ‘Fuck. You.’ I was probably 15 or 16. And over the coming years I realized that it was this canonical work, so I tried to return to it, but every time I was just like, ‘Fuck you.’” Tortorici had a similarly visceral reaction to Charles Bukowski: “I will never forget reading Bukowski’s Post Office and feeling so horrible, the way that the narrator describes the thickness of ugly women’s legs. I think it was the first time I felt like a book that I was trying to identify with rejected me. Though I did absorb it, and of course it made me hate my body or whatever.” Emily Witt turned to masculine texts to access a sexual language that was absent from books about women, but found herself turned off by their take: “many of the great classic coming-of-age novels about the female experience don’t openly discuss sex,” she says in No Regrets. “I read the ones by men instead, until I was like, ‘I cannot read another passage about masturbation. I can’t. It was like a pile of Kleenex.”

This isn’t just about the books. When young women read the hyper-masculine literary canon—what Emily Gould calls the “midcentury misogynists,” staffed with the likes of Roth, Mailer, and Miller—their discomfort is punctuated by the knowledge that their male peers are reading these books, identifying with them, and acting out their perspectives and narratives. These writers are celebrated by the society that we live in, even the one who stabbed his wife. In No Regrets, Elif Bautman talks about reading Henry Miller for the first time because she had a “serious crush” on a guy who said his were “the best books ever,” and that guy’s real-life recommendation exacerbated her distaste for the fictional. When she read Miller, “I felt so alienated by the books, and then thinking about this guy, and it was so hot and summertime … I just wanted to kill myself. … He compared women to soup.”


In No Regrets, women writers talk about what it was like to read literature’s “midcentury misogynists.” (via becauseiamawoman)

Here’s a fun thing you learn when you study literature: the western canon is not universally beloved. Those books are not the Truth any more than the New York Post is skilled journalism. The main reason they’re held in such high esteem is because they were written by boring white dudes with rage fantasies and boring white dudes with rage fantasies also happen to be largely in charge of deciding which books are deemed classics and taught forever in the American school system.
So if your boyfriend tells you he loves Kerouac then you tell your boyfriend Kerouac was a fucking second rate hack who wrote Beat style because he didn’t have the skill or talent to write any other way, which is probably also why he just copied every adolescent male wanderlust story since the beginning of time. That shit’s derivative and boring.

(via saintthecla)

Everyone go read this immediately. As I decided last week, my life motto has been expanded from “Do your thing and don’t care if they like it” to include “If all your favorite books are by white men, I probably don’t think you’re a very interesting person.”

(via pollums)

i have so many professors i want to force to read this post

(via transyoite

(via languagebarriers)


CB: How are you finding the fandom so far? Many of our readers objected very strongly to a non-white Iris at first, only to back off when they saw the pilot and how well you worked with Gustin.

CANDICE PATTON: Yeah, how amazing is that? But that’s the thing — that’s what I was hoping for….

(Source: flashfans)


assassinregrets | assassinregrets:














god bless sdcc


anyone else noticing a trend here?


anyone else noticing a trend here?


"You don’t remember your name?"”No, but for some reason I remember yours”


"You don’t remember your name?"
No, but for some reason I remember yours”



#peter’s first words in the series is ‘you must be stiles’

At first you’re like “oh wow that’s interesting” but then you’re like “wait what has Derek been saying about Stiles to a comatose Peter to make him that recognizable”

But at this point Peter (the “unknown” alpha) has been stalking Scott & co for several episodes, so I’m not seeing what this has to do with Derek?

This is what I’m most excited for, more than dating or kissing or shippy feelings. I’m thrilled that Oliver is finally opening up to someone willingly, and that he’s doing so as part of the first date with Felicity. He feels comfortable/confident enough to share the deeper parts of himself EARLY in their relationship and that is amazing character growth. I hope he initiates the conversation. I hope that part of how he sees them being together is necessitated on his honesty and letting her see all of what kind of person he was.

I know its TV so they won’t get that far before disaster strikes, but even the attempt is so huge for Oliver and I love that.

(Source: dopedaenerys)


I will never argue that critique and discourse with media is something that shouldn’t happen but -

I’m so fundamentally uncomfortable with the idea of “blackouts” for TV shows, especially when they’re so transparently brought about by fairly innocuous sparks on what’s already a powder keg of completely unproductive shipping hostility. 

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It’s a big step for both of these characters [Oliver and Felicity] because they’ve been dancing around each other since episode three. So basically for 43 episodes, they have had this connection, and we’re finally going to explore it. And what’s most important is that they’re finally acknowledging it. They’ve never really acknowledged it to each other. They’ve always talked around it. And they came really close in 2.06. Oliver came really, really close, but he was always speaking obtuse, and then at the end of season 2, he was ehhh…. “We both sold it.” Again, very obtuse. Now we’re finally getting to it. And that’s a lot of fun for us.

- Marc Guggenheim, talking about Oliver and Felicity at SDCC 2014. (via smoakandarrow)

I’m so excited for all this! I have to go back and watch the Arrow panels.