posts grey morality, bright colours, tactile acting, the odd bout of meta. ships queens with their huntsmen, in all guises. borgias, lannisters, and theatrefolk, oh my.
Lara Pulver singing “Buenos Aires” in Trafalgar Square, London [x]
“I am not seducing you!”
“You are, though,” said Marya, and she heard her own voice fill up with familiarity, with longing. She almost turned. She almost called him Vanya, Ivanushka, as though they were already lovers. Her hip moved toward him a little, as though her whole self meant to fix him with a gentle expression and forgive him, in the beginning, so she would not have to, later. She could not explain it, the pull of him, like Viy pulling at her breasts with his pinprick sting. The dead Tsar had caught her by the death and spun her around. Ivan, oh, just his voice, had caught her by the life.
Deleted scene from “Scattered” (Battlestar Galactica 2x01)
The Like- “Fair Game” (by craziumguy)
just a teeny bit amoral
fiercely pessimistic but we’re one big family
what’s that, darling?
who says family doesn’t kiss?
oh, every gang’s a bit incestuous
I’ve never seen such a blatant instance of losing the plot as s4 Gaius—it’s like they forgot about what the point of Gaius was and tried to cobble together a character thesis out of confused hindsight. It’s killing me because he had such a clear, consistent place before, and every now and again I can see it in glimpses amidst the yards of stupid cult bullshit; at least once every episode, there’s a moment of you! you! I see you, I see the point of you, have they remembered the point of you?—and then, no, no, it blinks away into another fucking miracle, another fucking weirdly sincere Jesus tableau, another fundamental fucking misread of THE ENTIRE POINT OF GAIUS BALTAR.
saladlaughingalonewithwoman said,Haha, I’ll like the finale? That’s a new one.
And I tried to write out a coherent response re. STUPID GAIUS PLOT and it broke 1000 words. Uh. I’m going to post this on its own, under a read-more, to spare the universe. I JUST HAVE A LOT OF FEELINGS, AND THEY’RE ALL REALLY IRATE.
what the hell even was that new york times review of “born to die”
a paternalistic heap of weird, like he was advising a child
“Maybe Ms. Del Rey is self-immolating. And if so, maybe it’s from reluctance, not lack of talent. Sometimes you make choices, and circumstances force you to have to stick by them. ”
then he compared her to a used car with a bad road history
She’s getting bad press at the start! So! Much! Press! Oh no, she’ll have to go underground!
…does every Lana Del Rey critic have selective amnesia when it comes to the entire way that the music industry and also fame and also art works and has always worked?
bridgetvonhammersnark said,Haha, thank you! And—I have in bits and pieces (things that have shown up on mixes I’ve picked up), but not in full, not analytically. I should, though—man, do I love the Dragonette I have. (My first reaction to the Pierces was that they were too twee to get through a full CD, but a couple months ago I rediscovered “Sticks and Stones” and liked that song a bunch, so who knows.)
if i have to read one more reviewer calling ldr ‘passive’ im gonna commit murders
the whole album is a critique
of passivity
that creates these ‘victims’ and gives them subversive power
do you need her to sing “you go play a video game / and that really upsets me”
or “i will love you till the end of time / even for a million years / which is super codependent and i should probably grow a backbone”
or “light of my life / fire of my loins / that’s a reference to lolita / in case you didn’t get me conveying that this is unhealthy”
do you need that
