whaddup, my name is Blenderdick Custardbath
Benchthis Chunkybap. Well.
Backitup Cunningscratch Omfg
The entire fact that this exists makes me insanely happy. Also, nice to meet you all, I am Beachbody Candygram.
Burgerking Custardbath or Beezlebub Johnnycash.
…. I like both.
BEEZLEBUB THUNDERCATS
Benefit Custard bath, here.
Billardball Billardball
benadryl thundermunch hahaha
benedict thundercats
Beachbody chunkybap
it is also a description of my body so woo
Hi my name’s Benadryl Uptoscratch.
Blenderdick Thundercats
Boppinstick Numbercrunch
Benedict Cumberfinch
On Ben Whishaw’s Body part 2
(Part 1)
In The Hour, Whishaw’s character Freddie Lyons is all skin and bones and good suiting, pipestem neck and black Brilliantined hair. As a reporter for one of the first investigative TV programs, he represents a kind of urgent political intelligence; by contrast, his competitor Hector Madden is beefcake. And yet Freddie gets far more skin time than Hector, or even than the women he’s with. He is, as ever, the object of the gaze. He’s the one we see half-naked with Lix, in a shot that gives us more of his body than hers; he’s shirtless with Bel, seen from both sides in a mirror, though she’s already dressed; and it’s his body we see naked in the bath. (I could write an entire essay on Ben Whishaw’s bath scenes. Directors seem compelled to get him naked and wet as often as possible. Not that one can blame them.) (Then again, where is one more vulnerable than in the bath?)
“Nobody else in the series is victimized this way, so blatantly, nowhere else is there such a violent spectacle.”
I’m late to this party, obviously, but I don’t know how anyone can read Freddie’s beating as isolated from the violence enacted upon Rosa and Kiki (not only physical but also sexual and verbal violence). No, we don’t (thankfully) see the details of the attacks on Rosa and Kiki, but the camera definitely lingers on the bruises and cuts left on Kiki, and we’re shown sexually violent pictures. The shadow of violence against women shadows Freddie’s beating, and there’s something to be said about Freddie offering himself up as a proxy/offering in lieu of Kiki.
Freddie’s sacrifice of himself is also an offering to Bel, who has been, thus far in the series the only one truly concerned with Rosa and Kiki as people, and her fear for their safety only underscores the real danger of Cilenti. But I think the scene cuts deeper than the spectacle of Wishaw’s vulnerable body. The death of Rosa takes place off-screen, rendered invisible— as the deaths of so many women of color are— while the beating of Freddie is rendered in perfect detail. It’s just not Freddie’s body, I’d argue, that we are even really seeing, but the shadow of Rosa and Kiki’s.
”- I’m sorry, Beverly. What did you say? He looked at her bright eyes and kindly, well-worn face. - I just said I’m glad to see you back, Champ. You’re looking good. - Thanks, Beverly.”
There’s a part of me that just wants Bev and Will to go on awkward-but-cheerful coffee dates together.
Actually, there’s all of me that wants an episode of the show to be Bev going on coffee dates with everyone and informing them that she’s better than all of them. Except Alana, with whom she can commiserate on said problem.
New plan for the series: Sansa and Margaery kiss each other’s faces a lot and then be queens.
The best part of last night’s episode, hands down. Peggy and Joanie friendship: worth every bit of watching Don Draper be a tiresome abusive asshole while Weiner recycles plot lines (I suspect deliberately, but it’s been a slow crawl this season).
(via reno-sweeney)
01. Boy in the Boat—George Honnoh 02. Prove It On Me Blues—Ma Rainey 03. I Need A Little Sugar In My Bowl—Bessie Smith 04. You Can’t Tell The Difference After Dark—Alberta Hunter 05. Lay It On the Line—Gladys Bentley 06. Nobody Knows You When You’re Down and Out—Bessie Smith 07. Foolish Man Blues—Bessie Smith 08. B.D. Woman’s Blues—Bessie Jackson 09. (I Want To Go Where You Go, Do What You Do) Then I’ll Be Happy—Joséphine Baker 10. Am I Blue?—Ethel Waters 11. ‘Tain’t Nobody’s Bizness If I Do—Gladys Bentley 12. Worried Blues—Gladys Bentley 13. Gimme All the Love You Got—Alberta Hunter 14. Stormy Weather—Ethel Waters 15. I Want Every Bit of It—Bessie Smith 16. Hound Dog—Big Mama Thornton
‘Tain’t Nobody’s Business: songs by black women who slept with other women, dressed like men, and sang about it. Not every song on here is about women with women or men with men, but there’s a decent amount of queer blues songs out there. (Also, there is one male artist on here, but “boy in the boat” is the best euphemism for the clit and kaboodle that I’ve heard in a while, and any song that blames WWI for lesbianism because all these women were left by themselves needs to be included.)
Listen* | Download Link One | Download Link Two
*(minus tracks 03, 06, and 15 because 8tracks can’t handle my love of Bessie Smith)
these are darling. and since many of these women had lovers of various genders and gender presentations they would actually in many/(most?) cases be known these days as *ahem* bisexual
It seriously warms the cockles of my cold cross heart to see Allie posting again.
(via heisenbergsays)
Details from Michelle Carragher’s embroidery on Game of Thrones costume— so beautiful that I am having a hard time snapping my jaw up from the floor. The way the house sigils are worked into the decorations is phenomenal.
I love, love, love tiny details like costuming and set dressing that go into shows, and the amount of delicate detail just blows my mind.
Family portrait with one sweet, tractable child, and one disgruntled teenager.
flower and bird: My Thoughts On Hannibal
1. This show is beautifully shot. I love the color palette and the eerie dream sequences.
2. The acting and dialogue are generally subtle and restrained.
3. Will Graham is the sexiest person in the world.
4. Every time Hannibal says, “I…
Yeah, Ian told me that we do get a throwaway line about the mushroom guy, but (as I said to him) I think that’s a crazy way of abandoning a cool idea, both in Hannibal and in Se7en which is where they nicked the idea from. (Don’t lie, writers, we know you did.) How weird and amazing would it be to spend even a tiny bit of time with somebody who went through that? Why even show somebody waking up half-alive if you’re just going to drop the idea immediately with a “Poochie died on the way to his home planet” line? Because at that point you’re just using the idea to squeeze out some extra squirm from the audience, at the expense of the (admittedly imaginary) victim, and that doesn’t sit well with me. ”BOO! He’s still alive!” “AAAH!” “No, I’m kidding, he’s dead.” “Phew!” Like that’s not the most interesting exchange a writer can have with an audience, you know? And it’s dehumanising.
Although the victim in this case was a dude, I do want to remember the words of our Dear Leader Mandy Patinkin here: “I thought it was something very different. I never thought they were going to kill and rape all these women every night, every day, week after week, year after year. It was very destructive to my soul and my personality. […] I’m not making a judgment on the taste [of people who watch crime procedurals]. But I’m concerned about the effect it has. Audiences all over the world use this programming as their bedtime story. This isn’t what you need to be dreaming about.”
Criminal Minds replied that their show was about “the heroes who protect men, women and children everyday.” I roll my eyes at that a bit, so how can I argue that Hannibal is different, a show that really is more interested in the art of serial killers than in catching them? Killers get caught on Hannibal, but the writing of the show isn’t especially interested in how, except when the “how” is “Will Graham’s superpowers”. The episodes frequently skip steps of the investigation to just get to the good parts, which is okay, but it says something.
I really liked Will saying “it’s the ugliest thing in the world” about killing, and I know how much weight that carries in a show that’s so much about the aesthetically beautiful.
I guess what I’m getting at is that when the Patinkin quote first went around tumblr, people frequently agreed with it. I did myself. It expressed some of the ick feelings we feel about the endless procedurals that focus on murdered women. Hannibal is a beautiful, interesting show that I like very much, and it absolutely uses women’s murdered bodies as part of its aesthetic, so what can I say in its defence? That it’s okay when it’s stylish? That’s pretty much Hannibal Lecter’s own justification for his crimes.
[ETA: I know that victims on Hannibal are more balanced gender-wise than the victims of procedurals, or the victims of real-life killers. And Hannibal tends to avoid rape/murder so far, which again is not the way real serial killers tend to operate. But the images that the camera tends to linger over are women’s bodies and women in the act of being murdered—the Shrike’s victims especially.]
Waking up in the middle of the night to soothe the cats so I hope this is coherant, but yeah, absolutely— this is something that E and I were talking about today, and the troublesome nature of procedurals that uses the (usually white) woman’s dead body as this point of beauty, and I don’t think that Hannibal avoids this nearly as much as it needs to, especially because (not to get all Freudian on you, as you were, and I’m not the first person to point out the connection between Wound Man and St. Sebastian) the focus on penetration of the body, and we all know what that means.
I don’t know? I know that Fuller has said that we’re not going to see rape at all, which strikes me as a tidy side-stepping of the issue. Especially because as you point out, that shadow is always going to be present over a murdered woman’s body.
I guess my question is— and if this is even possible— is if by exploring killing as a performance art, it gives the whole thing a more dreamlike air? In Pushing Daisies and Dead Like Me, we don’t take death as seriously because of how it’s really more of a vehicle to explore the characters, but here the display of the bodies both invites and repulses that impulse. The bodies are so surreal and abject and beautiful that there’s a removal of sorts from the ugly reality?
I also think that in some way we are supposed to adopt the aesthetic-as-moral-defense in order to align ourselves (or resist aligning ourselves) with Hannibal? Will’s repetition of this is my design points to that focus as well— this is, in fact, design, and that’s the nature of insanity. Our moral touchstones— Bloom, Bev, maybe Jack to a lesser extent— don’t view it as design. This is Hannibal’s attempted seduction of Will, and perhaps the show’s attempt to seduce us as viewers only to make us recoil later on?
