This tumblr basically features cute things, silly things, and some rage.
So, y'know, fun for all the fam.
My favourite scene to come out of New Who is this one, from Parting of the Ways.
I never fail to tear up. Something about Billie’s acting, the superb contrast between the mundane and the fantastic. She’s in despair… a million years away the Doctor is dying, and all she can do is eat chips. It’s a scene in a suburban cafe. There’s no music, there are maybe two camera angles. It is so gut wrenching because it has beautifully simple concepts. The idea of being separated by distance… anyone can relate to that. It’s painful. There’s the idea that there’s a better world to be had. The idea that a better world is founded on the idea of helping people. There’s familial obligation. Familial love. Status. Frustration. The ‘chips’ motif is turned on its head, having been a symbol of loving the simplest things the universe has to offer. Now it’s a symbol of the repulsively mundane.
In that tiny little scene there is so much and I believe it’s the best New Who has had to offer so far.
Sometimes Moffat comes up with fantastic concepts. The idea of a ‘battery farm’ of humans living their lives over and over for aliens to snack on their energy is deliciously evil. It’s fabulous. And simple- anyone can imagine the horror of being stuck in one room your whole life. Everyone understands eternity. It’s delicious horror, that fear of imprisonment, you can do so much with that basic concept of running from being trapped in time.
Yet somehow he can bugger even this up and I really despair at the man.
I felt nothing. The Ponds ‘dying’ at the end was meant to be a sucker punch to the gut, but the narrative structure didn’t allow for it. You can’t have a second climax bigger than the first. I know exactly what he was aiming for; an echo of the horror of Tennant’s regeneration. After the climax of defeating the Time Lords, his realising he’s about to die in company with simple old man Wilf is a slow steady punch to the gut. No music, no fanfare, just two old men together. It’s simple and it works (until the Ood start singing). You know why it worked? Because it was set up. We were told that four beats would signal the Doctor’s death. We believed in the wrong four beats. The four beats didn’t come from the (expected) enemy, but the (unexpected) best friend, the old man. That is a perfect set up for a nasty shock.
I’ll tell you why Amy’s final scene didn’t work; just too much stuff and it wasn’t heralded properly.
They’ve been aiming for growth for her this season. Their attempts didn’t work; the ‘divorce’ and reunion in Asylum of the Daleks didn’t show a mature woman making an emotionally responsible decision to leave her lover for her emotional wellbeing, but two immature young people in an uncommunicative relationship. Amy and Rory’s relationship has been fucked up since day one, and Amy committing to Rory in eternity didn’t come across as a romantic finale but a hasty decision made out of the blue to the background of two people yelling at her.
If we’re to read a story off Amy, it’s the tale of a girl caught up in fairy tales and raggedy men, running away from reality until she matures and commits to something real that she loves. Unfortunately, Moffat didn’t realise this story until it was far too late; he gave us his own Scottish pixie dream girl without any interests or personality beyond ‘sexy-witty’. What does Amy Pond like!? Modelling? What else?!
…anyway. To resolve this story, the farewell needs to be from Amy to the Doctor. “I’m ready now, Doctor” it needs to say. “I can continue my life without validation from you, your validation of my fantasy world. I know that you will be fine without me, and I will be fine without you. There is something more important to me than time and space; instead of making worlds on other planets I want to make a world here with Rory. I’m not doing this just for him, or just for you; I want it because it secures me in a way I’ve never felt before.”
Rose’s story went something like this in the scene above. “I’m sorry, mum. I need to do this. I need to help people and I need to do it away from you. I still love you. I’m sad about this separation, but the call is too strong for me.”
That’s beautiful. That’s life. It’s simple and it works. Amy’s scene was too full… full of River shouting about love (Amy’s story shouldn’t have been written about love but about commitment) and full of the Doctor refusing to let go. She wasn’t even Amelia Pond anymore, she became Amelia Williams. She didn’t transcend; she became someone else, someone she never was.
Speaking of the Doctor, Moffat appears to have realised the error of his own characterisation in his own script… “a thousand year old god who chooses the face of a nine year old.”
Exactly, Moffat. Why does River Song sexualise this man when she’d be more attracted to Don Draper instead? Why does a thousand year old man pretend he’s an adolescent? More disturbingly, what do you mean, “never let him see you old?”
That’s disgusting. It’s counter to everything the Doctor ever was. He’s seen Jo Grant ‘old’. He’s seen Sarah Jane ‘old’. Seen the Brigadier ‘old’. These magnificent people were ‘old’ and kicking ass, and he celebrated it. HE is old. The Doctor may grow sad, but he doesn’t avoid death. He doesn’t run from it, he doesn’t fear sadness like some hipster scared of relationships. He’s so old as to have met Death itself. He understands life and all of its inherent sadnesses and happinesses. To have River Bloody Song trying to protect his feelings like a mother to some cosmic five year old shows a terrible misunderstanding of the Doctor’s character and role. He’s become a child who eats all the chips off his plate but never the greens. It’s gone too far so as to be comical anymore; why would anyone spend time with him? When the Doctor isn’t educating you anymore and has to be babysat, you know it’s time for a new showrunner.
Please give me this goddamn show, I want to show you how spectacular it could be. :(
Could never have put it better.
Are you a man?
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You’re in luck! Cosmopolitan.com has written a guide for YOU, “How Guys Can and Should Turn Any Mood Into Sexytime.”
Emily Heist Moss surveyed friends, strangers, and GMP readers about cunnilingus. What she found was intimacy, insecurity and the “ick factor.”
This is saddening. And makes me a little angry too.
What is wrong with our society if people think its gross to go near one set of genitals but not another?
Also, this nothing of reciprocity, just…ugh. You shouldn’t have to do anything because of what you’ll get (or won’t get) in return. Anyone who demands return action for a sexual act needs a slap.
The next phase of a powerful advertising campaign to challenge the attitudes of teenagers to violence and abuse in relationships was launched by the Home Office today.
With 75 per cent of girls and 50 per cent of boys reporting that they have experienced some form of emotional abuse, the £1.5 million TV, cinema, outdoor and online advertising campaign aims to help teenagers recognise abusive behaviour at an early stage, before it escalates to physical violence.
In order for this campaign to succeed we need as many teenagers, parents and teachers to see the material and be encouraged to discuss and debate the issue. We hope you can help us spread the message by using our content and adding your voice to the discussion.
The adverts are directed towards 13-18 year-olds and feature young couples in a variety of settings. Viewers are challenged to identify controlling behaviour and to reconsider their own attitudes about what is acceptable behaviour in relationships.
All the adverts point young people towards a revamped website where they can find information, seek help and chat with their peers. The site is designed to encourage sharing of the campaign materials across social networks and will also host live web chats with experts. The first of these will happen tomorrow, 2 September at 5pm.
The campaign, funded by the Home Office, is the second part of a long-term communications plan to tackle violence and challenge attitudes that relationship abuse is acceptable.
The adverts first ran in February 2009 and resulted in significant shifts in awareness of the issue. Those teenagers who had seen the adverts were more likely to claim that they would take action if faced with abuse either in their own relationship or on behalf of a friend. This is a complex problem and an ongoing effort is required to continue building on the campaign’s initial success.
- Abuse in relationships is not normal or acceptable and is never okay.
- It’s not just physical violence, like punching or kicking, that makes a relationship abusive – threatening, aggressive and controlling behaviour towards a partner is also abuse.
- 75% of girls and 50% of boys have experienced some form of emotional abuse in a relationship and 25% of girls and 18% of boys have experienced some form of physical abuse.
- Evidence indicates a strong link between the early signs of abusive behaviour in relationships such as controlling behaviour and the onset of sustained and repeated physical violence.
- Adverts will run 1 September to 16 October 2011.
- TV adverts were directed by BAFTA award winning Shane Meadows, director of This is England, Somers Town, Le Donk and Scor-zay-zee among others. They ran in 2010 and are being re-run to support the 2011 campaign
I’ve seen some of those TV adverts before, but this whole campaign is just fucking amazing.
Just saw one of these adverts again! Such a good campaign.
As a modern woman (ahem) who has mostly been single for the past two-and-a-quarter years, internet dating has been something I’ve dabbled in for a while now. It’s a strange, many-headed beast, still seen by many as being pretty weird but accepted by some as being an alright way to meet potential partners.
It’s a running joke (albeit not really a funny one) between my flatmate & I that I’m registered on what sometimes seems like every dating site going. Over the past year or so I’ve been on a handful of dates, some awful, some alright, some pretty good (well, actually, just one good. That led to a brief relationship, and we’re still in contact nearly a year later). None of the people I have met have been bad in any way, but it is so difficult to measure chemistry over a computer screen that the chance of actually meeting up with someone you have that connection with is pretty slim.
The thing that strikes me most is that the sense of entitlement that seems to be held by a lot of people is carried across into the world of internet dating with what can sometimes be a frightening intensity. I’ve had several messages from men who seem to expect that I’ll jump at the chance to go out on a date with them and agree to marriage/a life of sexual deviancy on the spot. Or messages that are chasers to messages I haven’t replied to, demanding to know why I haven’t replied. It’s unsettling, and sometimes a bit scary, but what I’m finding worse is that I’m kind of becoming used to it. It no longer freaks me out when I log on to check my account and find a message from a middle-aged accountant who tells me “ur real sexy, id love to have some fun with u”. It’s actually just rather sad.
What perturbs me more are the angry or demanding types, the ones who send messages expecting you to educate them on your world view, or to defend yourself for actually daring to have opinions. (People like this charming chap from a while back.) Someone messaged me yesterday relating to stuff like this, asking out of curiosity what sort of messages I’ve been receiving to have to put in my profile that I don’t actually want to be contacted by perverts. As I said in my reply, “It’s as if from a three-message internet conversation you’re actually going to think ‘shit! they’re so right, what have I been doing all my life to think I could have my own opinions on things?’”
I’m not really sure where I’m going with this. It’s just something I’ve been mulling over for a while and wanted to put into words. I am still all for internet dating and I have messaged (and met) some truly interesting people as a result of it. Unfortunately, it does seem to act as an excuse for all the bitter assholes out there to up their ante and become as persistent, rude, creepy and sometimes frightening as they possibly can.