mizoguchi

filmantidote:

Seeing the two women, [Vanda’s character Clotilde and real life-named Clotilde Montron], together in Pedro Costa’s Ossos is striking – the unkempt unwashed hair, the ungroomed eyebrows, the upper lip hair, lack of even natural cinematic makeup – help establish the elements of realism. Both are gender ambiguous to the typical spectator, illustrating the expectancy of gender performance for women in cinema, as well as the expectation of the operation of the gender binary (women are clearly demarcated as “feminine” cis females).  I would even say that Vanda’s challenging of this expectation is what makes her so “dangerous” [as Costa described her]. This refreshing imagery, coupled with the unapologetic look of confidence Duarte exudes when Clotilde and Tina dress for work as housemaids, reinforces why Duarte is so magnetic and fascinating to observe. The contrast of her more delicately-featured friend does nothing to deter her confidence, which makes the description “total lack of respect” further apply to gendered beauty standards. More than this, Vanda represents a woman often not seen in cinema: a woman unconcerned  with expected gender performance and appearance.

— Apexa M. - Vanda’s Resistance: Exploration of Vanda Duarte in Pedro Costa’s Fontainhas trilogy | FilmAntidote.com

shinka

Your real son did come back — he came back and he showed you his real self and you killed him for it! (requested by thefirstrisenisbeautiful)

#imagine that though   #the boy you loved so much that you ended your own life because you just couldn’t live without him comes back   #you both come back and you have this new chance   #a new chance to have what you could have had before you both died   #and you get it into your head that things are going to be okay different this time around   #and then it all gets ruined   #what you could have had is taken again by the same man’s ignorance   #but this time there’s no quick way out like before because you’re pretty much immortal   #and you’re stuck to live with that pain and anger forever and still the person who caused it doesn’t understand   #this show is one giant tragedy caused by ignorance   #this show is so painfully real (x)

drakesquad

drakesquad:

tuggywuggy:

drakesquad:

i’ll be like 40 w/no kids and people will say “aw i’m so sorry for you” and i’ll be like how was the fucking wiggles reunion tour asshole i went to italy last week for fun and didn’t have to hire a sitter

This is a very sad mentality. To think oneself more important than that of progeny is the sign of a failed human life.

so the wiggles concert wasn’t as good as you thought it would be huh

shinka

Dissecting a character to fit a heteronormative box is sloppy and irresponsible. Bisexuals deserve to be represented in media too — not erased or straight-washed. If NBC can’t handle portraying a bisexual male character, then perhaps the network shouldn’t take on John Constantine.

Sexuality is always a part of a character — however minimal — but some sort of romantic or sexual relationship is usually a significant plot point in superhero stories. A bisexual male superhero would disrupt the hetero male template of, “hero saves damsel in distress” that we see consistently in iconic stories like Superman, Spiderman, and Captain America. But it’s 2014, and sometimes men need saving too.

There’s something particularly elusive about bisexual male characters. There is a deeply ingrained misconception that a man can’t be romantically involved with another man and still be interested in women as well. It’s centered on the idea that masculinity requires a wanting, and “getting” of women, and not men. But the depiction of Constantine in Hellblazer proves that is a false assumption.