...to defeat the huns.

DeAnna aka Dee or Meowbooks. Student of Life. Hufflepuff. Whovian.
If you're just looking to see what I'll reblog: Optimism, Doctor Who, Harry Potter, Supernatural, things about social media, social issues, geeky things, Pirates of the Caribbean,NBC's Chuck, Game of Thones, Quotes and a slew of other stuff that tickles my fancy.

{ wear }

Made for chaoticreverence



French hats | 1885




By Dr. Andrea Letamendi

Leagues and legions of superheroes are usually effective as a direct result of the union of each member’s unique abilities, whether they include super-human strength, lightning-speed, telepathy, or other powers that individually define each of them as a deserved hero and collectively create an unstoppable force.

In Guardians of the Galaxy, we’re introduced to a band of outlaws, outsiders and outcasts. With the exception of some sweet dance moves and decent marksmanship, we don’t immediately get the traditional introduction to the colorful rainbow of superpowers we’re accustomed to with superhero teams. There’s no amazing, no fantastic, no spectacular. The Guardians themselves refer to themselves as “losers” and the “biggest idiots” in the galaxy. They underperform or fall below normative expectations. In fact, these space misfits offer something rarely seen in superhero films: the Guardians show emotional, neurological, developmental and communication deficits that 1) are not expected to be resolved or cured at the end of the film and 2) do not make them ineffective as heroes.

The following is a conceptualization of each character’s below-average functioning across some psychological dimensions and why these deficits do not create significant limits for them.




Inside the Phantom of the Opera Pop-up Book.

(These are pretty much all of the interactive bits, aside from the lights and music.)



I just figured out the thing that bugs me so much about the attacks on Supernatural’s producers ad writers in the name of inclusion and social justice…in it’s own way it’s another form of erasure.

The ideas that Supernatural kills all it’s female character or has no minority characters, or when it  does, they die - is simply, mathematically wrong. The same goes for LGBT characters. Also - falling victim to the heteronormative, white-washy assumption that all characters are cis, straight and white until declare otherwise is Not Good.

Not only do fans ignore the existence of characters and plot points that don’t serve their anger, but in doing so, they completely erase and ignore minority characters. Attacking the show on twitter for killing women ignore and invalidates all the great women on the show who aren’t dead, and also ignores the impact of the death and role of their deaths in the story.

The idea that for representation to matter - for a minority character to be important enough to really have impact -  that said character must receive some sort of validation from the writers or producers, is self defeating. When I see these criticisms I often want to ask - what would you rather have? A female lead? No women die ever? Recast the show with different, more diverse leads? If the answer is “no” then you have to reconsider what it is you actually want and what you’re criticizing. 

Every bit of representation matters and it is part of the problem, not part of the solution to ignore that representation and demand MORE because what we have isn’t important enough. Yes, more is important - I want more shows with Female and/or LGBT and/or POC leads. And yes, SPN has done problematic things - but it is not The Worst Show Ever. It’s actually quite good and ignoring the good things the show has done is just a perpetuation of a culture to whom minorities can be invisible.

All I’m suggesting is that before we grab our torches and pitch forks to join the cool kids in their angry mob and the we ask ourselves: what do I want to see? What might I be ignoring that’s already there? And most importantly: What can I do or create on my own to make things better.

in addition to a black widow film and a wonder woman film


i want a film with a heroine who is as loser-ish and Hollywood!ordinary looking and vaguely schlubby as Chris Pratt

and assorted female characters—trees or raccoons—who are not there to be sexually interesting but just exist. because they exist while female without being there to serve the visual pleasure of men.

much like male characters are allowed to just exist without serving the visual pleasure of dude-inclined women or men.

that would be closer to actual media equality — a film where an utterly perfect, utterly gorgeous woman is utterly everything would be great

but it’s hardly a risk at all

and the level to which white men get everything in media representation would not be matched, not even a little bit


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At 13, Balkissa Chaibou walked to the center and asked to hide out until her father and uncle agreed not to marry her to a middle aged man in Nigeria. Balkissa, studious, poised and driven beyond her years, had little understanding of what marriage entailed beyond an end to her schooling and a new life far away from her mother.

As one of 18 siblings, her French-speaking classroom was the place where she stood out, felt seen and understood. When—at 12—her uncle first announced he’d found a husband for her, she reasoned that the only solution to the “problem” was to become the top student in her class—male or female. Then, she believed, the principal would tell her parents she had to finish.

Her mother Hausa, the third and youngest of three wives who had come from Mali illiterate and unable to speak the tribal language, was the first to be swayed by her daughter’s tireless campaign. She counseled Balkissa to be patient and said it was her mantra—having spent the past 16 years verbally and physically taunted for being light-skinned and “a witch.”

Balkissa, the spitting image of her mother, adhered to her wishes until her patience ran out. When her uncle and father persisted, she ran away to the SOS shelter where one of the counselors reached out to the principal of her school and together and the three drew up a document for her father and uncle to sign stating that they would not marry her.

Read more from Pulitzer Center grantee Jennifer Koons’s project: Less Is More in Niger. http://bit.ly/girlsinniger


(Source: shorelle.deviantart.com, via unitdatingcontroversy)

One of the most sinister things about normalized racism is you don’t have to have bad intentions to be racist, you just have to remain ignorant.




That is done soooo fucking well holy bum

(via persephoneshadow)



she’s literally jesus with mascara and I love it 

(Source: xxxmahteddykiss, via cxptnamerica)




I’ll be a story in your head. But that’s ok. Were all stories, in the end.

stories are a very moffat theme, but they’re far stronger in season 7 than in either of his other two, the doctor and river are stories to each other, and crafting their own at the same time, amy’s life is a story that she has gained power over, clara wants her life to be more story like, and it may seem kind of weak to reduce everything to stories, until you remember rings of akhaten, and the fact that everything we are is stories, the stories are souls and souls are stories, that we are everything that we’ve ever done and everything we might ever do, stories intimidated amy because to her they meant lack of control, until she realised what she could do with her own story, clara is in awe of stories because to her they mean excitement and important, she’s yet to realise they also mean pain and suffering, and stories intrigue the doctor, because they are the lifeblood of the universe and everything that makes it worth living in (via abossycontrolfreak)

(via tardisinhogwarts)



I’m not sure why, but it makes me so happy that they still hang out. 💝

(via fandomoniium)


(Source: timelordgifs, via darlingsofthestage)