Rubeus Remus Potter. You were named after the only two people at Hogwarts who seemed to give shit about me, because come on who else would I name you after? A verbally abusive dickbag who was in love with my mum and gave me shit all my life and someone who convinced a bunch of children that they needed to be soldiers? What kind of awful aspirations would that make you end up having? Come on son I’m not an idiot…
#bless this post
Men’s rights activists don’t organize marches; they don’t build shelters or raise funds for abused men; they don’t organize prostate cancer-awareness events or campaign against prison rape. What they actually do, when they’re not simply carping in comments online, is target and harass women—from feminist writers and professors to activists—in an attempt to silence them.
Wow this needs more notes.
In the initial take of the scene, though, Freeman seems to be under no real pressure. It’s a straight-forward and solid reading of a potentially emotional scene and, if you didn’t know better, you’d think it was just fine. After a brief conversation with “Fargo” series creator Noah Hawley, Freeman settles in and although his scene partner delivers a performance that’s nearly identical to the first take, Freeman’s reading is now completely different. It’s not just that the emotion has been dialed up, though. Emphasis has been put on a different assortment of words and without changing a breath of the dialogue, Freeman has shifted the heft of the scene. The camera and lighting set-ups change and, again, Freeman’s co-star remains consistent—and really good, don’t get me wrong—but Freeman again steps up the emotion and punches a different assortment of words, highlighting a different potential meaning … this is what the “Office” veteran does. He starts off with the basics, but builds with each take and tries to give directors as many choices as possible, tries to give himself as many choices as possible. After watching many actors on many sets, I can assure you that this isn’t the case with everybody. Freeman is notable both for how responsive he is to direction, but also for the variations he imposes on himself.http://www.hitfix.com/the-fien-print/martin-freeman-compares-fargo-to-sherlock-on-the-set-of-the-fx-drama (via youshouldhaveletmesleep)
The first two books are adventure stories, about getting people jazzed for revolution. But the third one changes genres and switches into misery porn. It’s about the consequences and the reality of that revolution.reddit user mr_chip saying it how it is
You wanted a war, dear reader? Here is war, up close and personal. Here is the boredom and the fear and the being locked in a “safe” place with no control. Here is Prim dying pointlessly. Here is PTSD. Here is a brainwashed, weaponized version of your beautiful lover who went off to battle and came back a killer. Here are people, fatuous people but people who cared about you and who just happened to be on the wrong side at the wrong time, people who are beaten and kept in chains by your allies. Here are your friends and peers dying screaming in the stinking dark, literally torn to pieces and devoured alive. Here is the man you thought would be your confidante for life and maybe something more, the blood of your fucking family all over his hands. Here is beaten down exhaustion and despair and confusion. Here is everything you wanted, dear reader. Eat it up. Choke it down. Does any of it seem so necessary now?
And for all that price paid, what changes? The old man is dying anyway, he chokes to death on his own blood laughing at you. The old lady just brings the games back. Everything you fought for, perverted by power-hungry politicians. All that changed was the color of the boot and the neck it pressed down on.
Even after righting THAT final wrong, the only happy ending Katniss gets is that she can tell her kids why mommy wakes up screaming at night.
Yeah, the prose isn’t the best. But damn do I love where Collins took the series. It’s not an adventure series about justified vengeance. It’s about the consequences of violence, and the personal and social toll it takes on everybody. She fashioned an intense anti-war story and suckered the audience into it with her thrilling dystopia tales. What a great trick.
Imagine April Fool’s day in Night Vale, where Carlos comes downstairs wearing a bald cap and Cecil won’t talk to him for two days
Instead of being so disillusioned by fairy tales and princesses, she definitely…she becomes, kind of, this woman who really realizes that the world is not a fairy tale, life is not a fairy tale. And she’s probably the most pessimistic character on the show from now on because…
Sophie Turner on how Sansa Stark changes in Season 4 [ x ]