At the very end, I read her an audience question that said something like, “How do you think your shows have changed the position of African-Americans on television?” After a little pause, she said one of the things she’d learned was that on shows with Only One (only one woman, only one black character, only one Asian person, only one gay character), that’s when the Only One is required to be about nothing except that characteristic. She said her hope was in part that just by having more than Only One on her shows, she gave those characters room to develop and to have other things about them be important. She hopes that — and here’s the rub — by consciously increasing diversity overall she makes the race of each character less limiting, less defining.

from Linda Holmes’s piece on Shonda Rhimes.

This is so true for me in books as well. As long as we have so few diverse characters in books, they are expected to do the heavy lifting for everyone else, as if they represent every Black or homosexual or mentally ill or Muslim or whatever person IRL too. The more diverse characters we have in books, the more they can be characters and not representations. The answer is more, more, and more.

Harry James Potter + Sass

(Source: arthurpendragonns)


whenever i get an essay assignment i immediately go “how can i work a feminist and anti capitalist rant into this”


out of it


out of it



What is a hero without a villain?

What is a villain without a hero?

One Shot, Two Shots
The Format


"One Shot, Two Shots" - The Format


Cutting off hair in ancient Asia (Japan, china, Korea & possibly some other Asian cultures) symbolizes being banished or rejected from their home. In the more modern age that is now, cutting long hair into a short cut means to forget the past, leaving the old and starting anew.

On Poisoned Apples, the "Great YA Debate," and the Death of the Patriarchy
from →


Because this is the insidious undercurrent of all this head-shaking. YA literature, after all, is thought by anyone with a three-book-deep knowledge of the field to be the province of female authors and the silly teenage girls they write for. The books are simple, with simple world views, and they definitely do not address “appropriate subjects for sophisticated pieces of narrative art.” Because how could literature written for and about teenage girls be sophisticated pieces of narrative art?

If there’s one thing our culture tells us, again and again, there is no one sillier or less significant than a teenage girl.

We know the drill. Boys don’t read. Girls read. Boys certainly don’t read YA, because it’s all women writers writing about girls, and we absolutely cannot ask of boys that they read about girls, and we’re going to keep telling boys that they don’t do that in case they accidentally do…

So embarrassing when you stare into the abyss and the abyss stares back at you so you wave but the abyss was staring at the dude behind you.
— Sylvia Plath (via incorrectsylviaplathquotes)
#omg  #me 

(Source: victorianhooker)

Pumpkin Soup
Kate Nash

Pumpkin Soup // Kate Nash // Made of Bricks // (2007)

(Source: jannamorton)

is it just me or did tumblr change their body font from Helvetica to Helvetica Neue?

Q: bea & scorpius~~
— Anonymous

my precious bbs c:

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On The Grisha Trilogy: or, The One Time I Don’t Care If He’s Hot


An anon asked me to expound on my thoughts about the Grisha Trilogy. This is what I came up with:

I know there are many complaints about how the trilogy ended. I know there are segments of fandom that think the ending is a betrayal of the characters and themes of the series. That the Darkling deserved better, that Alina is an unworthy ‘hero,’ that Mal is total deadweight who is worth even less. I disagree with all of that, and I’ll talk about that, but I’m just as concerned about the nature of the complaints directed at Alina, at Bardugo, and the readings of the series that are implicit in those complaints. 

(Shadow and Bone spoilers here)

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