i feel like it should be mandatory for people pursuing a career in professional writing to take some classes on social justice

like

learn about feminism, objectification, privilege, queer stereotyping and the variety of other social issues that are completely relevant today

so that when they produce a work, be it for television or a book or a comic or a movie, they know not to perpetuate harmful stereotypes and heteronormative standards 

because i feel like a lot of writers out there aren’t trying to be assholes to their queer/female/POC characters

they just never learned how not to be 

sasuinurpants:

talonfoxtrot:

nerdycurvyboundandflirty:

variticlaia:

Let’s go back to 1945…

Let’s not… Let’s play a game called “Context Matters!”

That picture on the left, so iconic and romantic?  Yeah, that’s a sexual assault right there.  That man was a stranger, a strong stranger who grabbed a random woman on the street, and “kissed” her.  In her words:

Suddenly, I was grabbed by a sailor. It wasn’t that much of a kiss… “I felt that he was very strong. He was just holding me tight. I’m not sure about the kiss…it was just somebody celebrating. It wasn’t a romantic event.

That picture on the right, the one that looks like a man holding a woman down in the mists of a riot, her clothes disheveled as he kissed her hard?  That man is her boyfriend.  He’s comforting her.  Her real attackers are the police.  An eyewitness stated:

The girl who was knocked over landed head first on the pavement with her boyfriend landing partially on top of her. She was in visible pain, crying, but the two officers gave them a parting shove and moved on.

The left picture: an icon of sexism, male privilege, and female objectification.

The right: real love in the face of brutal state force.

The woman, Greta Zimmer, and the sailor, George Mendonsa actually gave their own personal opinions about the kiss, and said it wasn’t “sexual assault” as all these feminists keep accusing it off. In their own words it was “an act of unbridled celebration”. And to quote the woman directly. “”There is just no way that there was anything bad about it, it was all good news, the best news we’d had for a number of years.”

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

I should have died with him.

(Source: robbstark)

(Source: a-two-man-con)

Sansa thought of the games she would play as a young child, always insisting that Robb joined in. He could never refuse and so he would be the brave knight to her captured princess, with Arya often playing the villain. The rescue attempt would always end with a sword fight while Sansa cheered Robb on, and when he won he would pick her up and spin her around while she laughed happily, kissing his cheek and declaring him the bravest knight in the seven kingdoms.

Though they were silly games of pretend, still Sansa waited in King’s Landing with the hope that Robb would be her knight just one more time.

(Source: ruffling)

(Source: lordgarlantyrell)

(Source: hoechlined)

shadowstep-of-bast:

edgebug:

I think that a lot of the reason Jarvis has become so human is because Tony treats him like he’s human. Tony talks to Jarvis in a very colloquial way. He says “you up?” when he knows damn well that Jarvis is operational. He says “throw a little hot-rod red in there” instead of “paint components x, y, and z with red paint #20.” Tony treats all his machinery like that—Dummy and You, especially—and Jarvis is no exception.

Jarvis has become much more human since Iron Man 1. He actually displayed emotions in Iron Man 3—specifically when he feared for Tony’s life, his voice sounded terribly frightened, and in instances like the second gif where he said “I need to sleep” and not “My battery is depleted.” Jarvis has grown and changed, as any self-aware creature does. He has become human because he is treated as such.

(Source: runningawaywithaspaceman)

oxers:

adam-young-was-loki-d:

Why does there have to be arguing about racism in Star Trek

Seriously can’t we just realize that hey maybe they should pick an actor based on their TALENT and not their SKIN COLOR and just enjoy the movie

thx

Because if Hollywood picked actors based on talent rather than skin color, a POC leading man or lady wouldn’t be the rarest fucking thing on the planet. Like, do you get how asinine of a statement that is? For example, Uhura is black. It was a tremendously important role for POC in the sixties, and more than that, it informs the character. It’s part of her background, and in this continuity especially - which is literally, biologically identical to the prime continuity, and only branches because of the events of the 2009 film - it’s important to remain true to the original vision. Uhura is black, and so they cast a black actress. It’s not that fucking hard. 

Khan’s background informs him even moreso than Uhura’s, and given the film’s own continuity, the only excuse for casting the whitest man that has ever graced the screen is pure, undiluted whitewashing. It’s not about talent, okay? You don’t think there aren’t a thousand Indian or even POC actors out there that could have performed circles around Benedict’s cold, dispassionate interpretation - which, by the way, lacked all the subtlety and charisma that is so defining of Khan as a character? You don’t think it’s a PROBLEM when skin color is only overlooked IN FAVOR OF white people?

That attitude is what privilege looks like. 

No, it’s not okay. 

This is not the future Gene Roddenberry slaved to create. 

i’ve been worryin’ that i’m…

(Source: rectiphobia)

tony NO

(Source: mishasteaparty)

aeroplaneblues:

“Happy Mother’s Day”

Here is the bigger version, now I’m going to hide :)

DeviantArt | Twitter

reducto1:

Tony and his only friend, Dummy =(

world-of-armitage:

Richard Armitage cellphone advert 

(Source: lucasnorthed)