Every time I post something about Norman Reedus and it gets reblogged you fangirls just gotta swoon and add your own cutesy caption. Nothing against fangirls but here’s a challenge. Swoon over this! Good luck.
That’s fucking hot as hell.
LOL. That’s not the one to pick for no swooning.
YOU DON’T KNOW US AND OUR LIVES. WE HAVE FANGIRLED OVER ROADKILL FOR HIM.
SOMEONE JUST NEEDS TO HITCH THAT SKIRT UP AND BITE HIS INNER THIGHS AND THEN SUCK HIM UNTIL HE’S SOBBING, UNTIL HIS PRETTY EYESHADOW RUNS DOWN HIS FACE.
OP, it is clear that you have a fundamental misunderstanding of one or more of the following:
I mean we could probably use this as a really interesting launching point for the fundamental disconnect between ‘what people actually find hot’ and ‘what society/patriarchy presumes is hot’ and how the assignations of gender roles and sexuality fuck with that. Like the presumption that the female gaze doesn’t even exist, or if it does that women-intersted-in-men find the same things about men sexy that men-interested-in-women presume they do/should.
I mean, how many ‘porn for straight women’ magazines have tried to launch and asked a bunch of straight women what they wanted in porn -and gotten answers of ‘smiling dudes’ ‘dudes giving bedroom eyes’ and ‘cock’ - only to then said ‘yeah no, we’re giving you tough,aloof-looking shirtless guys with power muscles and weapons instead (because regardless of what any of you say you want we know that the majority of you want tough looking guys with power muscles and weapons because that’s what masculinity is because sexiness is feminine-coded. I mean obviously the only reason a man would display in a sexually-inviting way (as opposed to an aggressive way or a disinterested way) is if he’s trying to attract a man! Ergo anything in which a man is display in a sexually inviting or (gasp) submissive way is gay gay gay gay gay and thus the anti-masculine and no woman would ever want it. We know better than you what you like and want and find sexy) and then failed and blamed the failure on the totally legit and well known phenomenon that women just don’t get off on visual stimuli they’d rather read erotica.
But I’m too busy getting off on images like the above.
Reblogging because smart people who call society on its sexist bullshit make me swoon.
Reblogging because gorgeous commentary and ridiculously attractive person.
the 40’s and 50’s had a really cute aesthetic however the dark underside of over patriotism, greed, racism and sexism make me content to simply steal the dress patterns and be glad I’m not living during the time period.
Finally somebody said it
"THEY ARE ALL OKAY, and all those things could exist in THE SAME WOMAN. Women shouldn’t be valued because we are strong, or kick-ass, but because we are people. So don’t focus on writing characters who are strong. Write characters who are people."
Actually, I got the chance (As a Japanologist myself), to go to a lecture by one of the world’s leading authorities on Miyazaki and her talk was specifically about his women.
What was interesting was how he ended up writing them the way he did.
If you look at his early women, they’re actually pretty weak. I mean, by cartoon standards they’re women who are action-y and conventionally ‘badass’ (Fujiko in Lupin III: The Castle of Cagliostro), but this is always at the expense of her being sexually attractive. Miyazaki largely didn’t write any women who simultaneously looked like real women and acted like real women for quite some time.
However, Miyazaki became bored with men. He felt that, when writing male characters, the plot always has to be two opposing men who lead up to a big, dumb fight at the end. It was boring to him from a narrative standpoint, so he began to write female characters as protagonists and began exploring femininity.
His first film with a female protagonist was Nausicaä. He opposed the traditional arc of “two opposing characters” in this plot and made a non-traditional, sympathetic ‘villain’ and made the stakes and tension of the story related almost entirely to the growth of the characters involved, rather than in oppositional desires, which was the typical “male arc” he had grown bored of.
Miyazaki continued writing women like this, growing more and more in-tune with how to write women and how to write non-traditional story arcs and how to establish stakes and dramatic tension in non-normal ways. Indeed, almost all drama is established through two oppositional characters in the literature of every culture of the world, so this was a fascinating exploration both from a writing perspective and a feminist one.
He also wanted to write women that didn’t look like the traditional women you see portrayed on television. He wanted to portray women who would be considered “too plain for TV” (Chihiro in Spirited Away), women who were old (Howl’s Moving Castle), women who were simultaneously unafraid to be unfeminine and treat it normally (Lin in Spirited Away), and little girls (My Neighbour Totoro). He takes this variety in female appearance and action as one of his major points of pride.
Eventually, Miyazaki decided he would return to writing male characters, having become accustomed to this new, humanist way of writing people. He wanted to try out writing male characters in the same way that he wrote his women characters. He wanted to explore their personal journeys and make that the crux of his plots, rather than a simple “man vs man” arc. That’s when you see stories like Porco Rosso and, later, Ponyo.
You’ll see that gender, while present in these stories, does not direct what memes or tropes these characters portray. They feel real. Additionally, though the stories themselves often deal with formalist elements (especially ones like Ponyo), they almost always feel like realist pieces as well because of the way the tension and story arcs reflect reality. However, unlike much of naturalist and realist literature, which aims to reflect reality 1-1, Miyazaki’s Formalist-Realist hybrids are not dull in the slightest - they are engaging and thrilling.
He’s a wonderful man and he’s done so much for the world at large. However, I wish he had more of an impact in his home country. I wish people would listen to him regarding things like keeping Article 9 in the constitution. I wish cartoon and media producers in Japan would imitate his women and learn from them, rather than recycling the same-old 「何々だれ」 tropes over and over again. Some have clearly learned the lesson, in particular in more adult, contemporary literature, but the children’s anime/cartoons (which are very popular in the West among adults for some reason), are still stuck in this mindset of the ‘-dare’ women. It’s a shame, really.
Mercury’s super-computer 3DS Cover ★ Lightning and Lace
SMASHES MY COMPUTER
No more excuases, ladies.
Candida Hofer - Libraries (published 2005)