Resident Ice Queen and Media Snob from The Hanging Gardens ♏

I never dreamed the sea so deep,
The earth so dark; so long my sleep,
I have become another child.
I wake to see the world go wild.


the preeminent gail simone of our time

One’s too many and a hundred ain’t enough.

100% truth



the preeminent gail simone of our time

One’s too many and a hundred ain’t enough.

100% truth

12 hours ago on April 16th, 2014 | J | 4,966 notes
default album art
Song: Fire
Album: Fire Of God's Love
Played: 31 times.


Sister Irene O’Connor


Among the sea of sound-a-like private-pressed Catholic lps that came out in the 1960’s and 1970’s, Sister Irene O’Connor’s 1976 album stands out with its primitive drum machine and spooky, echo-laden vocals.  Released in 1976 on the ‘Alba House’ label, the dual-titled Fire of God’s Love/Songs to Ignite The Spirit lp features several haunting and remarkable songs”

more songs available:


15 hours ago on April 16th, 2014 | J | 4 notes
Tagged as: #music 


Outkast Featuring Killer Mike - The Whole World

1 day ago on April 16th, 2014 | J | 1,482 notes
Tagged as: #video 



I don’t even have a record player, but oh my goodness, I want these. 


Mondo is celabrating LAIKA Animation Studios with releases of CORALINE & PARANORMAN soundtracks on deluxe limited edition vinyl.

yeah im going to need these

1 day ago on April 15th, 2014 | J | 9,151 notes
Sophie, the girl, is given a spell and transformed into an old woman. It would be a lie to say that turning young again would mean living happily ever after. I didn’t want to say that. I didn’t want to make it seem like turning old was such a bad thing — the idea was that maybe she’ll have learned something by being old for a while, and, when she is actually old, make a better grandma. Anyway, as Sophie gets older, she gets more pep. And she says what’s on her mind. She is transformed from a shy, mousy little girl to a blunt, honest woman. It’s not a motif you see often, and, especially with an old woman taking up the whole screen, it’s a big theatrical risk. But it’s a delusion that being young means you’re happy.

Hayao Miyazaki, on what attracted him to Howl’s Moving Castle

The Auteur of Anime by Margaret Talbot: “The New Yorker” (January 17th, 2005) 

(via m-azing)

1 day ago on April 15th, 2014 | J | 19,252 notes
Tagged as: #quoted 


the sexual tension between me and good cinematography

2 days ago on April 14th, 2014 | J | 44,363 notes
Tagged as: #film #aw yea 


I have literally been waiting for this gifset for all time

2 days ago on April 14th, 2014 | J | 45,272 notes


A frequent complaint I seem to have with TV, especially within the last 5 years or so, is this industry standard that killing off characters is a way to keep a story fresh and exciting. this feels especially true in supernatural/fantasy esque stories. Like these writers want to keep us on their toes, and they aren’t creative enough to do it in any other way other than teasing a potential death, building it up, and (9/10 times) eliminating a mostly minor character who is well liked and under developed. The show can collect its shock and awe points and generate some internet buzz and keep people talking into the next season.

Writers for these shows are like broke addicts huffing paint thinner for a quick fix. Its lazy and unprofessional. More that that, its predictable. It eliminates effort to create truly stimulating art. It eliminates  the responsibility that writers have to pump out a finale/pre finale/episode that will shock you by it’s own merits. It’s part of a culture of television that bores and frustrates it’s most passionate viewers, who groan upon hearing the announcement that there will be “two shocking deaths” by the end of the season. “Of course there are”, we think. There always is. Who is the most expendable. Which character did you decide to shortchange for the sake of shock this time? How many episodes will it take for that character’s name to leave the lips of the surviving cast forever; for that character to be erased and cemented as a plot device in an unnecessary attempt by writers to deliver a promise of unpredictability and brutality to it’s fans. 

But heres the thing. True Detective wrapped up it’s first season a few months ago without a single major/supporting character death. Despite it’s wild west feel, almost every major character in Deadwood survived it’s finale. The most shocking, skin crawling scenes in Breaking bad weren’t the moments of a characters death, but the scenes of quiet, tension between two characters that were still alive. Doctor Who is one of the longest running scifi/fantasy shows of all time and the large portion of it’s successful run was spent preaching and practicing mercy. 

and i’m not saying that character deaths are inherently useless; or even that killing off multiple characters is inherently problematic. Some series manage to pull this off without a hitch; the difference being that the deaths in question all work fluidly within the world the death occurred. When people talk about Breaking Bad, nobody complains that ____ shouldn’t have died. You don’t hear ASOIAF/Game of Thrones fans say that ____ was unfairly killed off.

There is a level of acceptance in these deaths because they were all centered around pragmatism and story telling, not thrills. It doesn’t feel as if somebody tossed names into a hat and conjured up a cheap exit for the unlucky winner(s). Writers aren’t beating their chests and teasing spoilers about these deaths to drum up viewership or trick fans into thinking that the stakes are higher than they actually are; and that killing characters is akin to great/moving writing.

This new trend where developing characters and plucked from the their stories by ambivalent writers who have either dug themselves into a hole or can’t conjure up enough organic tension really does nothing but frustrate fans and make us believe a little less in the shows that we have attached ourselves to. im pretty sick of it. 

in short: stop being lazy.

2 days ago on April 14th, 2014 | J | 1,391 notes
Tagged as: #tv 
The audience actually wants to work for their meal. They just don’t want to know that they’re doing that. That’s your job as a storyteller is to hide the fact that you’re making them work for their meal. We’re born problem solvers. We’re compelled to deduce and to deduct because that’s what we do in real life. It’s this well-organized absence of information that draws us in.

Pixar filmmaker Andrew Stanton in an altogether fantastic episode of NPR’s TED Radio Hour exploring what makes a great story

Complement with more secrets of storytelling from Vladimir Nabokov, Kurt Vonnegut and Neil Gaiman, then see the neurochemistry of storytelling and the dramatic art.

(via explore-blog)

2 days ago on April 14th, 2014 | J | 306 notes
Tagged as: #film 





Metamorphosis - Bryan Fuller’s inspiration for Will’s transformation.

Starring Anna Friel, Ed Speleers


an adaptation of the myth about the goddess diana/artemis punishing the young man who stumbles on her bathing naked.

with body horror. and cannibalism.

whaaaat, this is brilliant.

3 days ago on April 13th, 2014 | J | 571 notes
Tagged as: #video