You’re gonna do great today.
cis ppl can have horns and swirls and spikes n shit surgically implanted under their skin any time they want if theyre rich enough but a trans woman wants boobs she has to wait at least 1-2 years for doctors to be convinced that she REALLY wants them
"Society often blurs the lines between drag queens and trans women. This is highly problematic, because many people believe that, like drag queens, trans women go home, take off their wigs and chest plates, and walk around as men. Trans womanhood is not a performance or costume."
Janet Mock, Redefining Realness (via inextinguishabledesires)
s/o to my socially aware white friends who don’t throw bitch fits when i’m shitting on white folks and understand struggles poc face and own up to their privilege and don’t let posts like these get to their heads
u r cool people
This is what the cast of a Stonewall movie should look like, not what’s being cast.
These are just a few of the beautiful, incredible, unbelievably brave people who made our movement possible. Pay respect to the people who were involved in the Stonewall Riots by boycotting this planned whitewashed film about cis gay men and drag queens because it’s false and disrespectful to the trans women of color and the other extremely important marginalized groups that sparked the movement we have and benefit from today. Don’t allow this movie to further perpetuate the whitewashing of history and lies about who really was fighting in the Stonewall Riots.
She has never been convicted of a crime but they want to move her to near isolation in an adult mens prison. This CANNOT happen. Here is a more in depth article: http://feministing.com/2014/04/14/how-the-connecticut-department-of-children-families-is-failing-a-trans-girl-of-color/
I put together an email for Commissioner Katz, so all you have to do is copy and paste it. Click here for the example email
Please reblog to raise awareness!
signal boost, please!
Anonymous asked: Why does Chris Evans always grab his left boob when he laughs?
Hello, anon, and thank you for the question.
This topic has been studied by by researchers for years. There are three prevailing theories that I will relay to you now.
1. It keeps him on the ground.
You may notice in the gif above that Chris’ leg starts to rise as he laughs, possibly a precursor to his entire body undergoing a sort of lift off due to his joy. Chris then employs his upper body strength to force himself to obey the laws of gravity.
2. To check on his physique.
As you may be aware, anon, it takes a lot of hard work to maintain a superhero body. Chris is concerned that in the time he has spent sitting down, sans working out or eating, he has lost muscle mass. Understandably, he feels the need to make sure that he is still a specimen.
3. Object permanence.
Object permanence is a term applied to the understanding that an object still exists even when you cannot see it. Chris closes his eyes when he laughs, making him unable to see that he has not disappeared. By grabbing his left boob, Chris knows that he has not somehow ceased to exist.
I hope this helps.
Critics’ Reactions to the Jaime/Cersei Rape Scene in Episode 4.3 of Game of Thrones
"I wonder, then, if the rape was on some level a misguided attempt to give Cersei even more pathos, a la the convenient backstory rapes that have become depressingly common on prestige TV (and Scandal)…I wonder if TV Thrones‘s writers just have a tendency to change problematic book sex scenes into clear scenes of unconsensual sex.” - Hillary Busis, Entertainment Weekly
“Game of Thrones has a rape problem.” - Kevin Spak, Newser
"In the original depiction, Jaime never says “Why have the Gods made me love a hateful woman?” — a line that the TV show added in, which in context makes Jaime look like an abusive rapist (the gods made me do it!)”- Darren Franich, Entertainment Weekly
Jaime forced himself upon Cersei despite her demands to stop. “It’s not right,” she cried, to which Jaime snarled, “I don’t care.”…we can never unsee that godawful scene. - Leanne Aguilera, E! Online
"If this scene really just is a miscalculation in direction (and potentially the writing of Benioff and Weiss, neither of whom have yet commented on it) and doesn’t get any payoff later in the season, then it truly deserves all the criticism it has been receiving.” - Terri Schwartz, Zap2It
The director who shot the scene and the man who acted in it both believe it wasn’t necessarily nonconsensual sex— an attitude that isn’t totally surprising in a society that’s deeply confused about what constitutes consent, and that doesn’t always recognize sexual violence for what it is. -Tara Culp-Ressler, ThinkProgress
So then Jaime … well … no other way to put this, really. He rapes his sister beside their corpse of their murdered son. This is the same guy who protected Brienne from a similar fate last year. - James Hibberd, Entertainment Weekly
"…the show’s overall treatment of women as disposable objects onto whom physical and emotional violence are relentlessly enacted. Sexual violence is so pervasive on the show that nearly every woman on the show has been raped or threatened with rape. The show, and the books, reveal the disturbing and cavalier facility with which rape becomes a narrative device.Rape is used to punish. Rape is used to make a woman more sympathetic or to explicate their anger or other unlikable qualities. Rape is used to put women in their place.” -Roxane Gay, Salon
"The entire scene in the sept was an exercise in Cersei’s belittlement. She watched her father degrade and dishonor (albeit truthfully) her firstborn’s legacy and then manipulate her youngest into serving as his marionette. Then, on the floor next to the body of her dead son, the only man she’s ever taken into her confidence abused that trust in the most vile way imaginable.” - Hillary Kelly, The New Republic
"A giggling dead body would have at least taken our attention away from, you know, the raping." - Johnny Brayson, wetpaint
"Whether the show meant it to come across that way or not, what we saw was a rape.” - Erik Kain, Forbes
"The scene, which has Cersei pleading “stop it” repeatedly and struggling against Jaime, appears far from consensual." - Margaret Wappler, Los Angeles Times
In the show there’s no other way to interpret it as unambiguous rape. Jaimie isn’t loving when he tries to have sex with her in the show, he’s shown as being angry and hateful, cursing her for being a wicked woman. There’s no point in the scene on the show that we can see Cersei consent, which makes the whole scene significantly different from the book. Some readers have pointed out that the rape in the show is damaging for Cersei’s character arc since she had to endure the marriage to Robert Baratheon in which he essentially engaged in marital rape, Her consensual sex was always with Jaimie who made her feel safe. Jaimie raping her in the show completely destroys their relationship and destroys the trust she has in Jaimie leaving her without anyone. - AJ, the Digital Times
The rewritten scene also takes away all of Cersei’s agency. In the original text, Cersei chooses to have sex with Jaime, grotesque as it and the setting may be — because she wants to, or because she uses sex to manipulate, it doesn’t matter. Cersei has power and control. The scene in the show deprives her of all of that. - Amelia McDonell-Parry, The Frisky
His response is not to stop loving her, not to stop believing that he is victim to the gods. Instead, Jaime rapes his sister, passing that sense of unendurable pain on to her. He must know that this is the worst possible way that he could hurt her. Jaime knew that Robert raped Cersei, and in the novels, he wanted to kill Robert for it. Not only does raping Cersei remind his sister of her repeated, humiliating violation, Jaime is poisoning their own relationship, the thing that had been Cersei’s antidote to the miseries of her marriage. It is an exceptionally cruel thing for Jaime to do. - Alyssa Rosenberg, Washington Post.
It’s hard to shake the idea that Game Of Thrones, the show, doesn’t see a problem with pushing a scene from complicated, consensual sex to outright rape. It would be easier to accept that idea if it were clear what the show was trying to do with those changes. - Sonia Saraiya, AV Club
If Graves intended to depict consensual sex in the end, he completely failed. This wasn’t even one of those terribly clichéd scenes where a man starts raping a woman only to find that she comes around to thinking it’s hot. Cersei is still kicking and protesting when the camera cuts away. It’s as straightforward a rape scene as you’ll get on TV, unless you buy the ridiculous myth that a woman can’t be raped if she’s consented to sex with a man before. - Amanda Marcotte, Slate
This isn’t the first rape scene in Game of Thrones—far from it. And there’s been controversy over the show’s use of rape before. But what makes this scene the most upsetting one yet is that the director didn’t realize he was filming a rape scene…Whether or not the creators intended this to be a rape scene is irrelevant; they made one anyway. And worse, they made one that encourages the most dangerous thinking about rape imaginable. - Laura Hudson, Wired
"How will victims of sexual assault be affected when a director and actor in one of television’s most popular shows questions whether no really means no?" - Eliana Dockterman, Time Magazine
I’ll go ahead and say it: Jaime Lannister has become a rape cliché. He’s the boss, like every other on-screen rapist we’ve ever seen. - Hayley Krischer, Salon
"I’m not opposed to shows depicting sexual violence, but rape-as-prop is always distressing…Rape and abuse have consequences for the victims who carry those traumas with them. While I don’t know exactly how the show will depict the aftermath of Jamie raping Cersei, GoT does not have a strong track record of acknowledging or exploring the lingering effects of surviving sexual assault." - Margarey Lyons, Vulture/New York Magazine
"I can’t think of any comparable defense for the rape scene in "Breaker of Chains," which feels like a naked and ill-conceived attempt to push Game of Thrones into even darker territory. …I’m concerned that Game of Thrones has made a mistake it can’t take back — and one that sets a troubling precedent for the show’s future.” - Scott Meslow, The Week
The Game of Thrones Rape Scene Was Unnecessary and Despicable….The fact that showrunners might be asking us to overlook this for the sake of character development is downright insulting and says a lot about how we treat victims, especially the ones who come off as unlikable. - Madeleine Davies, Jezebel.com
Is “Game of Thrones” Obsessed With Sexual Assault?…Frankly, there are some weeks when “Game of Thrones” doesn’t seem worth the effort. - Sam Adams, IndieWire
10 Regents Park Road
Excuse the rather lazy copying and pasting, but hey, it’s almost midnight:
Designed in 1954—56, No.10 Regent’s Park Road is one of Ernö Goldfinger’s first post-war works. In 1952 a group of people formed themselves into a co-operative to build themselves homes under the 1936 Housing Act, which allowed Housing Societies or Associations to raise a loan or mortgage through local authorities. The flats were collectively owned by the Society, which elected officers to represent them in dealing with the architect, builder and St Pancras council, through whom they obtained the 90% mortgage. Few such societies were formed because of potential legal difficulties, though they were the most common way of building in eg. Scandanavia at the time, and the venture attracted considerable interest. The design and fittings, though simple, were of high quality at a time when building licences were still restricted for private building.
It marks the first stage of his progression from the restrained modern classicism of his Willow Road terrace (here as there brick is still the dominant material), towards the tougher, exposed grid — which is first seen here — and which was to go on to dominate his late, great projects. The bold expression of the balconies, with their mannered, pre-cast panels, is seen particularly as a foretaste both of Goldfinger’s later works and the general development of a tougher architectural idiom in brick and concrete by younger architects from 1958 onwards. The contrast of red brick and concrete with the neighbouring stuccoed terraces is remarkable. The flats are also important in their own right as one of Goldfinger’s most successful and least altered domestic works, and as a most interesting example of how ten flats could be provided on a tiny gap site.
The block consists of 4 storeys and attic, each originally with two flats per floor; those to ground floor and attic are studios, set behind garages and roof terrace respectively. Flats C and D are now combined. Basement laundry, garden room and storage areas.
The principal elevation is a symmetrical composition above the ground floor, which has entrance offset by double garage to left. These and garage to right have varnished timber doors. Door and surrounds glazed with Georgian wired glass. Flats have continuous metal casement windows. Balconies are angled, with metal balustrades to side contrasting with precast panelsto front. The whole facade a careful composition of
contrasting materials and finishes. Rear facade simple, but ground-floor studios with similar balconies to those on front. Ten letter boxes arranged in two rows.
The interior is also of interest. Entrance hall with quarry tile floor leads to staircase set in central structural well. Cantilevered staircase without risers, the slender steel balustrades springing from the side of the treads in a manner comparable to that found in the spiral stair of Goldfinger’s demolished Player House. The first floor with two 2-bedroom flats, the second and third floors each with one 1-bedroom and one 3-bedroom flat, all originally with folding screens between living room, dining area and kitchen with fitted cupboards, and with mahogany veneered fitted bedroom cupboards. Goldfinger originally provided tiled bathrooms, and specified bathroom fittings and suggested colour schemes. Living rooms and studios originally with thermoplastic acotiles tiled floors similar to those in Goldfinger’s own Willow Road.
Source: British Listed Buildings.
I can’t see much original left here though. In fact this flat first came onto the market back in November, and was under offer fairly quickly. For some reason it seems to be back on the market. View the listing here.
Exterior image: © James Barras via Flickr