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meganwest:

seventeen76:

turnabout:

katyisntfunny:

I feel that I should direct this at Megan, but I do the same thing.

 It’s okay.  I’ll direct it at her.  🙂

lol this cheered me up for some reason.

I wrote a post the other day that started with, “There’s one thing you should know about me: I’m almost always late.” but I never finished it. I had somewhere to be. 

We just all need to change our clocks to Megan Standard Time.

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There are twists, yes, but not an endless supply of them; just one or two curveballs to keep things interesting, then some extended pondering of the emotional consequences. Unlike other detective shows that traffic in the black and white of good and bad characters, “Terriers” embraces the hazy in-between, from devious ex-buddies to ambivalent teenage accomplices to reformed thugs.

Terriers – Salon.com

Watch this show before it dies an unjust death.

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Social proof is the demonstration that something has been done or thought before by other people. The need for social proof is why few people like to be the first person to ask a question in class. It’s why shows with a laugh track are rated as funnier by test audiences. It’s why you have a better chance of finding a job or a date if you have one already.

Social proof is an important thing in a reality-based game. Sometimes the actions a player is asked to take in the real world – calling a telephone number, picking up a dead drop, playing poker in a cemetery – are kind of scary if they don’t know that someone else is doing them, too. So you provide a little social proof. If you at least hint that somebody else is already doing a thing, you remove a huge psychological barrier to allowing your audience to relax and participate.

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“If you could live in any fictional world,” I asked my audience, “What world would you live in?” And a surprising percentage of people replied, eagerly, “Star Wars!” “Now, wait a minute,” I said. “You’re not guaranteed to be a Jedi.” That’s humanity, I suppose; given a fictional future, we blithely assume that we’ll be the movers and shakers. Those peasants and slaves, scrabbling in the dust on Tattooine? They’re the extras. This is our life, and as the stars we’re going to be on top. It’s why I have a problem with libertarians. I’m reading Bill Bryson’s At Home: The Short History Of Private Life, which largely focuses on the Victorian Era — appropriate, given that one of the hallmarks of the Victorian Era is the rise of the middle class and the technology required to get the middle class some homebound niceties. The Victorian Era, it must be said, is pretty much a libertarian’s wet dream. No taxes for the supremely rich. Practically none of those pesky “laws” to get in the way of business operations. (Clearly, a world where you can employ eight-year-old kids to fix the gears on your weaving looms isn’t going to whip a whole lot of regulations on folks.) Anyone who can come up with a good invention can patent it, then make a fortune by dint of cleverness and gumption alone. …and people went fucking broke all the damn time.

The Watchtower of Destruction: The Ferrett’s Journal – Designing For Jedi (via chialynn)

The long narrative stories we tell each other, books and plays then movies, have traditionally been about the privileged: pharaohs, kings, queens, knights, princes, princesses, troubadours; members of the court or the church, the recognizable institutions, not the peasants or the servants. Dickens drives me up a wall sometimes (PAID BY THE WORD) but he made the people on the street interesting (in no small part thanks to revolutions and class tensions).

Anyway — great post, thank you Chia for linking! This line is particularly amazing: The assumption that we’ve somehow become more moral than the Victorians strikes me as being ludicrously silly.

(via meganwest)

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lizlet:

turnabout:

popculturebrain:

Raul Esparza, Alice Ripley, Joan Jett and the 2000 Rocky Horror Cast ‘Time Warp’ on Rosie

With The Rocky Horror Show finding a new generation of fans thanks to Glee’s upcoming Dr. Frank ‘n’ Furter-centric episode, we decided to “Time Warp” on our own and revisit the show’s popular 2000 Broadway revival. The production (which celebrated the show’s 25th anniversary) featured a slew of familiar Broadway faces, including Tony winner Alice Ripley (as Janet), four-time Tony nominee Raul Esparza (Riff Raff), two-time Tony nominee Daphne Rubin-Vega (Magenta) and even iconic rocker Joan Jett as Columbia.

Quick, watch this before Glee ruins it forever.

This revival was awesome.  (Though I think I saw it with Terrence Mann and Sebastian Bach?  Whatever. Dick Cavett was the narrator. It ruled.)

Dear Glee,

See, sometimes instead of just making a cheap copy of the original performance, you can take the original and find a unique take on it. Like, for example, getting rid of Columbia’s tap shoes and giving her an electric guitar. That’s what makes remix culture exciting, that’s where creative expression can be found. Even when doing a cover song.

Love,

Liz