Hawk and Handsaw

Animated Star Wars Filibuster from Parks and Recreation.

Sun, 19 May 2013 18:23:14 -0500

Animated Star Wars Filibuster from Parks and Recreation.

though you try

Sun, 19 May 2013 17:37:26 -0500

though you try

anachronistique: reasons I am thankful for the internet

Sun, 19 May 2013 16:48:28 -0500

anachronistique:

reasons I am thankful for the internet

witchyhellbroth: pinenolanapple: it takes 237 muscles to fake an orgasm but 15 to say “it’s called...

Sun, 19 May 2013 16:46:20 -0500

witchyhellbroth:

pinenolanapple:

it takes 237 muscles to fake an orgasm but 15 to say “it’s called a clitoris and it’s right here”

#don’t ever fake an orgasm let them know they disappointed you

Photo

Sun, 19 May 2013 16:46:04 -0500

Vastra’s letter to Clara

Sun, 19 May 2013 16:22:18 -0500

Vastra’s letter to Clara

ohtentoo: “Did you say it? ‘I love you. I don’t ever want to...

Sun, 19 May 2013 16:21:35 -0500

ohtentoo:

“Did you say it? ‘I love you. I don’t ever want to live without you. You changed my life.’ Did you say it?[…] But every now and then, look around; Drink it in ‘cause this is it. It might all be gone tomorrow.”

I’ve always been there. Right from the very beginning. Right...

Sun, 19 May 2013 16:20:41 -0500

_{I’ve always been there. Right from the very beginning. Right from the day he started running.}

Is no one else cracking up over the idea of the second doctor in his big freaking fur coat running around in modern day? I’m so amused… he’s even derpier than eleven.

grimsperation: Michele Caragher Embroidered details in Game of...

Sun, 19 May 2013 16:17:56 -0500

grimsperation:

Michele Caragher

Embroidered details in Game of Thrones

‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.

After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.

The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.

As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.

Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.

Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’

Text and images from http://www.michelecarragherembroidery.com

[x]

Sun, 19 May 2013 15:57:07 -0500

[x]

Photo

Sun, 19 May 2013 15:45:59 -0500

nowheretaylor: yeradhampir: super-wholock-avengers: themonkeyb...

Sun, 19 May 2013 15:41:26 -0500

nowheretaylor:

yeradhampir:

super-wholock-avengers:

themonkeybananaking:

tinasfanfiction:

#SHE IS NOT EVEN ANYWHERE NEAR THE GENERAL AREA OF FUCKING AROUND GODDAMN

Hello Queen of Genovia

I’ll reblog it every time I see in my dash. EVERY. TIME.

I hate that people marginalize her and say that people like Jennifer Lawrence and Mila Kunis are “America’s new best friends” because yeah okay they’re great and have some awesome qualities, but Anne Hathaway always handles everything that gets thrown at her with such grace and poise. She presents her thoughts and opinions in a way that is eloquent, yet she is not arrogant or pompous. She stands for some really really important causes and is just all around an amazing role model for girls and young women and children and men and kangaroos and martians and just every living creature everywhere ever.

AND THUS THE COLLECTIVE HAITUS OF THE BIG 3 BEGINS

Sun, 19 May 2013 14:27:59 -0500

eatsleepcrap:

Hogwarts Houses and each landscape

Sun, 19 May 2013 14:27:47 -0500

Hogwarts Houses and each landscape

SPOILERS SWEETIE!!!!!!

Sat, 18 May 2013 22:55:16 -0500

…

So basically, it makes me angry how female characters on Doctor Who are written these days, but I’m still hella exited for the 50th. Because David Tennant. Bille Piper. John Hurt. David Tennant.

Castrovalva→The Name of the Doctor

Sat, 18 May 2013 22:55:14 -0500

Castrovalva→The Name of the Doctor

Feminist Review: "The Name of the Doctor"

Sat, 18 May 2013 22:47:25 -0500

whovianfeminism:

This episode was all about choosing who we want to be. The Doctor chose to call himself “The Doctor” to represent an ideal to strive towards, a promise, and so committed was he to that ideal that he rejected a version of himself that broke that promise. Clara chose to walk into the Doctor’s timeline to save the Doctor. But what does this say about her? “The Name of the Doctor” infuriated me as much as it intrigued me. Though the ending left me gaping in shock and the superb acting by all involved had me shedding a few tears, I can’t say it changed my opinion much about Clara, who remains an underdeveloped character.

With suicidal vengeance, the Great Intelligence has located the Doctor’s grave in order to insert himself into the Doctor’s timeline and torture every moment of his existence. To ensure the Doctor does as he commands, the Great Intelligence has kidnapped the Doctor’s friends and threatens to murder them. Neve McIntosh delivers an absolutely incredible performance as Madame Vastra and turns a relationship that had veered too often into mocking comedy into one of depth, love, realism and, in “The Name of the Doctor,” tragedy. We also, surprisingly, got more backstory into their relationship, as Vastra implies that she was going to kill Jenny in her quest for revenge until the Doctor intervened. Despite the hype and high stakes the episode promised, I didn’t truly feel the pathos the episode promised until that moment.

We also saw the return of River Song post-Library, who lingered throughout the episode like a ghost. Unsurprisingly, her appearance raised more questions than it answered. How did she know the Doctor was buried at Trenzalore? Why was there a grave marker with her name on it, and how did she know it was a secret entrance into the TARDIS? Why did she open the Doctor’s tomb, and how does she know the Doctor’s name, since we still haven’t seen that scene yet? But I almost find myself appreciating the development her character has taken in this episode, and this is a feeling I’m not used to.

This is a River more bitter and cynical about her relationship with the Doctor than we’ve seen her before. River is not surprised the Doctor has another companion, though she doesn’t seem pleased that he’s hardly mentioned her to Clara, and clearly hasn’t mentioned how important she was to him. River has been left for god-knows how long in the Library, but has never seen the Doctor since she was ‘saved’. “He left me like a book on a shelf,” she says, “Didn’t even say goodbye. He doesn’t like endings.” One of the many complaints I’ve heard from female fans is that “Forest of the Dead” makes River’s eventual fate seem like a happy ending, as if being perpetually trapped in a computer was something to be desired, and for the first time we see the show questioning whether the Doctor’s actions should be praised.

It’s a theme reminiscent of the Doctor’s reunion with Sarah Jane in “School Reunion.” The Doctor doesn’t like endings, he doesn’t like fixed points in time, and he doesn’t like saying goodbye. It’s a selfish attitude which took a heavy toll on Sarah Jane, who felt she wasted much of her life waiting for a man who was never returning for her. And for a moment in “The Name of the Doctor,” we see the Doctor acknowledge this selfishness when he confesses to River that he never talked with her again because he feared it would hurt him too much. It does hurt, but for a brief moment the show acknowledges that his actions result in much crueler pain to his friends.

And then we have Clara; mysterious, mad, impossible Clara who throws herself into the Doctor’s timeline to undo the damage that the Great Intelligence has caused and saves the Doctor’s life over and over and over again. The trailers for this episode had me worried she would be another River Song, a companion-plot-point devoid of any agency, but thankfully she made the decision to enter the Doctor’s timeline and create herself. Like Rose and the Bad Wolf, Clara chose to create the Impossible Girl.

I wasn’t entirely satisfied with how she was portrayed in this episode though. In the climax of the episode, the Doctor asks for Clara to “just this once” let him save her. Okay, I get that throwing herself into his timeline and being torn into a million pieces was a big deal, but I can think of four times in Series 7 off the top of my head where the Doctor has saved Clara. And then, right before the final big reveal, Clara faints and the Doctor has to carry her off.

Seriously? I’ve already covered this in an earlier post. The Doctor carrying a passed out companion can work, if its actually well written. Clara just fainted randomly for plot convenience so they could have an image of the Doctor carrying a helpless female companion. I can’t even do a feminist analysis of that moment, it was so incredibly stupid.

However, the episode’s ultimate dissapointment was that it still failed to fully develop Clara’s character. If there was one exchange from this episode that I could pick out to summarize Clara in Series 7, it would be this one:

Clara: “I don’t even know who I am!”

The Doctor: “You’re my impossible girl.”

Because that’s all Clara really is to us: the Doctor’s impossible girl. The Guardian’s episode reviewer said he still doesn’t feel like he knows Clara as a person. The Mirror noted: “It’s getting increasingly hard [..] to really become emotionally invested in the show’s lead characters if they all seem so distant or, quite literally in the case of Clara, impossible.” It’s a sentiment I’ve seen repeated over and over again. And this episode did nothing to correct for that.

For example, let’s go back to that Mary Sue episode review I discussed earlier this week, in which Susanna Polo described how the writers’ efforts to draw out the mystery of Clara’s character effectively reduces and generalizes her character by denying the audience any chance to see her develop true character traits. In “The Name of the Doctor,” Clara’s memories that were deleted in “Journey to the Centre of the TARDIS” returned (should we call that being un-retconned?), yet in a shocking moment of deja-vu, no attempt is made to meaningfully address the fact that the Doctor has been lying to her about why he is interested in her. This in order to increase dramatic tension and delay the reveal. As The Mary Sue said:

[T]he central relationship of the show, between the Doctor and his current companion, can’t actually reach the honest emotional link that’s so necessary for an audience to care what happens to it, because it’s based on a grossly unequal sharing of information between the two parties.

And that, ultimately, is where this episode failed. What should have been a heart-wrenching and emotionally devastating act of sacrifice felt surprisingly hollow to me. The episode had the potential to be so excellent, so amazing, yet its ultimate let down was a shoddy foundation. Jenna-Louise Coleman and Matt Smith both turned in such amazing performances, and it’s truly a shame the writing over the course of Series 7 could not support them. The episode did not sink to the lowest of my expectations, but neither did it rise to meet my highest hopes.

John Hurt's Doctor is at least one of the following:

Sat, 18 May 2013 22:42:53 -0500

Older version of the 8th Doctor (John Hurt kind of looks like a older Paul McGann. Note: this would actually kill me. )
Regeneration between 8 and 9
The Valeyard
Future Doctor
A lost regeneration, kind of like what they did with Jadzia from Star Trek: Deep Space Nine

There is some evil in all of us, Doctor, even you.

Sat, 18 May 2013 22:40:39 -0500

There is some evil in all of us, Doctor, even you.

Photo

Sat, 18 May 2013 22:40:14 -0500