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Gender roles gain their power from the fact that they appear natural and eternal. By looking to the past, we can draw aside this veil and see these categories for what they are—made by people, and able to be changed by people.

Alyssa Goldstein at AlterNet.  When Women Wanted Sex Much More Than Men

And how the stereotype flipped.

(via protoslacker)

The single best thing about doing an anthropology degree was the lens it gave me on my own culture: an understanding of what is a human universal, and what is not. Not much is a human universal, and least of all attitudes to gender and sexuality.

This is an excellent article, and I wish everyone knew this history. It is… freeing. To be sure it doesn’t free you from the bonds of culture and upbringing – there is no position wholly outside, there is no perfect individualist agency. But recognising there are other ways to be – that is freeing.

(via hautepop)

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jennipowell:

theflightofdragons:

We found LBD Cosplay at Wonder Con! So excited to see them!

*dies*

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But it’s (Emory) Cohen who truly astounds. That we are looking at the same young actor who played Debra Messing’s dopey, whiny son on Smash is astonishing. Cohen has the wannabe gangsta cadence and accent of a middle class Northeastern white kid down so perfectly it gave me chills, evoking memories of boys I knew in high school who were just that way. It’s a stunning performance, capturing all the layers of swagger and insolence lying atop insecurity and anger that is so many a teenage boy’s makeup.

‘The Place Beyond the Pines’ Is a Stunner – Richard Lawson – The Atlantic Wire

I don’t watch Smash, so I have no point of reference for how much people hate his character on that show…

…but his performance in this movie is stunning, and reminded me of Tom Hardy’s in Warrior.

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marykatewiles:

cheesestorm:

{x} ~ part 8

I want to give Austin an award for this.

We all need the eggs.

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lucymontero:

The Sigils of the Great Houses of Austenoros

OK- so house Wickham is literally House Codd’s words, but they were just too perfect.  My alternate was “Unshaved, Unwashed, Unwanted.”

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squaresvilleseries:

Join the Squaresville gang as they cosplay across your favorite fandoms. Mary Kate, Kylie and Austin take on everything from the Guild and Dr. Who, to Bob Ross and Annie Hall. What’s your favorite fandom, and who did we miss?

Thanks for liking, reblogging, and fighting all those robots.

Link to this episode: http://bit.ly/L7Cosplay
Subscribe on YouTube: http://bit.ly/L7ytSub
Check out our cool shirtz: http://bit.ly/L7Tshirts
Watch Squaresville from the top: http://dft.ba/-L7

Holy crap this is fantastic.

Extra points to Austin Rogers for nailing the “eggs” joke.

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It’s easy to complain about this. “It’s a bunch of dudes playing a kid’s game!” you protest. That may be the case, and begrudging success of people who work for someone else is a peculiar trait of Americans. But the truth of it is that it never was a kid’s game. It was a grown-up’s game, from the get-go, and an enormously successful business endeavor, one that opened the door for all the football and hockey and basketball players (and team owners) to commodify what was once a leisure activity. And for decades, other than the superstars, the economic benefit of this success sat in the pockets of the League, and the team owners. The stratospheric increase in the salaries of baseball players is the story of the singular success of organized labor, and those big contracts are nothing but management, sometimes against their will, sharing the fruits of the labors of their employees.

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Barrett builds a map out of his first exploration of a new space, identifying the way the performance could inhabit the buildings and the paths that the performances and audience might take. And not all of the spaces have to be easy or safe. “In the most dangerous spaces, we’ll put the most threatening parts of the story,” says Barrett. The team needed to give the McKittrick its own identity, separate from previous incarnations, and let the architecture drive those changes. For Barrett, “architecture of the space totally defines the show.” This is clear in the spaces of Sleep No More. The long bars already present in the architecture became features of the choreography, out of which the hotel reception and foyer area developed as a holding ground for lots of action. Not all of these architectural influences are so obvious, however. Some of it is what Barrett refers to as emotional architecture—“lines of the walls and the staircases but also the feelings and the stories contained in the cracks in the walls,” he says.

The elevator entrance, however, is a Punchdrunk standard, first used in Faust as a way to disorient the audience using an intimate, small space. The elevator operator opens the doors at will; the floor numbers are covered; no one really knows when or where to get out. Giving the audience time to absorb the rules while also making it clear that the space is in charge creates a kind of sacred space.