helgasbattleax:

bob-belcher:

Sean Spicer making an appearance at the 2017 Emmy’s + celebrity reactions

He can go back to hiding in the bushes

How is this funny?  

He’s been the unapologetically fascist mouthpiece of a fascist. 

Hollywood’s ‘liberalism’ is disgusting.  

This is why, when some ‘woke’ celebrity tweets something anti-Dump, you can’t trust that they won’t joke with him about it later.  

‘Remember that time you tried to destroy the country and supported the return of Nazis?’

‘You know that never happened. It was just for ratings, lol.’

‘Lmao.’  

Only pretentious, white male filmmakers like Darren Aronofsky can get away with making pretentious and vile nonsense like ‘mother!’ and critics call it ‘art.’  

Spoilers.

The film, on the surface looks like a happy couple whose home is invaded by obnoxious strangers.  The characters are Him (Bardem), Mother (Lawrence) and Man and Woman (Harris and Pfeiffer).  The Man and Woman have two sons. Do you see a biblical metaphor?  It kind of hits you over the head and, unfortunately, doesn’t really stop.

The back end of the film is nothing but horror and violence.  It’s supposed to make sense in that metaphorical way, but we live here and we know, so there is nothing to see that is worth seeing.  Also: watching Jennifer Lawrence play one passive victim after another is kind of depressing.  Mother Nature isn’t passive.  She isn’t a victim.  This film is a white man’s expression of pathological misogyny (God or ‘Him’ is just an entitled asshole).  

Don’t waste your money.  Also: deep sensory overload, deeply disturbing images of body horror and what amounts to torture porn. It is not being billed as a ‘horror’ film, it’s almost being billed a dark comedy, but it isn’t. There’s nothing funny or moving here.  Trigger warnings include the murder and eating of a newborn by a crowd.  

**

I wrote earlier about Ali Smith’s novel, Like – this features a character – a writer – that has had a major breakdown and implies all she has done, post-breakdown.  It is tasteful, thoughtful and insightful about the inner life of a damaged, creative person.  It hints at ambition and ego and a love forsaken.  Smith’s work is art that others can connect to (and won’t be reviled by).

Aronofsky’s presentation of a damaged ‘person’ is so over-the-top as to be out of touch with basic humanity.  It’s a white man’s 30 million dollar wank.   

[Barry Jenkin’s beautiful film Moonlight had a budget of 1.5 million and not an ounce of pretentious ‘art’ in sight.]

Is Ali Smith’s novel gay? What’s it called?

Well, she’s written several novels – I’ve mentioned ‘Like’ recently, perhaps you are referring to that one?  It is entirely centred around a f/f pairing, both of whom have rather tragic difficulties communicating with one another (one is a deeply closeted, ambitious English academic, the other is a wild-eyed Scot she meets as a teen on holiday).  Their relationship isn’t a healthy one, but it is deeply intriguing, and a bit of a mystery unraveling it through the course of the book (the first half is told from the perspective of Amy, the academic, some years after she knew Ash, the Scottish one – the second half a diary Ash left behind that illuminates Amy’s story).  

If you’re looking for ‘romance,’ this might be a disappointment or an angsty, mystery-driven thrill.  Smith is a latter-day Virginia Woolf who delights in language, dark humour and the inner lives of complicated people.  Her books are rarely straightforward, more puzzle-like, allowing the reader to interpret ideas and relationships presented in various ways.  I find them rewarding, but they aren’t exactly happy-go-lucky affairs.  

Most of Smith’s books (and short stories) are f/f centred, including Hotel World (another one I highly recommend).  

Thanks for your question (apologies for the long-winded answer).  

AS kingfishers catch fire, dragonflies dráw fláme;
As tumbled over rim in roundy wells
Stones ring; like each tucked string tells, each hung bell’s
Bow swung finds tongue to fling out broad its name;
Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves—goes itself; myself it speaks and spells,
Crying Whát I do is me: for that I came.

– Gerard Manley Hopkins (excerpt)

you should write that AI Lexa story like a fix it for season 2. I dig that trojan horse idea. waaaay better than wimping out so clarke can commit genocide.

That each finale of each season set up the conditions for an insane number of people to die either then or in the near future – what does that say, really?  It just doesn’t go anywhere.  This show likes to collapse in on itself as Eddie Izzard might say, like a flan, in a cupboard.  

I think any fix it fic might be on hold for now, but I do like the idea, so it might happen.