1. ladysaviours:

    joseph fink is not even in the vicinity of fucking around on twitter today

    Reblogged from: fansferdinand
  2. miss-milk:


    Reblogged from: tannoreth
  3. Reblogged from: some-bitch-just
  4. reckless-emotions:


    Sometimes I forget that people on the Internet are actually real people. Like the guy scanning your bananas at Walmart could be the guy who sends you anon hate.

    damn you banana man

    Reblogged from: ollivander
  5. knitmeapony:

    So, context.

    The woman in the red shirt (Betty) who fought back is a lesbian in Canada during WWII.  She was out with her lover when a group of men —strangers — started harassing them on the street, and when she fought back she was afraid her relationship with the other woman would be outed.

    The woman all in blue is in charge of their shift, and she’s been tough before, and is a pretty big stickler for the rules.  

    I’m pretty sure Betty thought she was getting publicly fired, and instead Lorna gives this speech to stop everyone from gossiping about Betty, turning what she did — fighting back — into the heroic act it is.

    God this scene is important to me.  I nearly cried.

    In other news, you should watch Bomb Girls.

    Reblogged from: myresin
  6. psl:


    has a muslim man ever played abraham lincoln

    has an aboriginal woman ever played elizabeth I

    has a black man ever played george washington

    has a turkish woman ever played eleanor of aquitaine


    then why the fuck would you get the whitest white men to play Ramesses II and Moses

    White people are fucking around too much. Watch shit reach their boiling point

    Reblogged from: dan-mcneely
  7. ‎…And so rock bottom became the solid foundation on which I rebuilt my life.
    J.K. Rowling  (via elauxe)
    Reblogged from: thewindwaker
  8. weloveshortvideos:

    Wen u see bae

    Vine by Logan Paul

    Reblogged from: rampaging-mongler
  9. laylainalaska:


    Nope. But the real story is better. Bolding mine:

    The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

    The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

    Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

    Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

    Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

    Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

    The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

    Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

    She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.

    Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.

    Reblogged from: carohoku
  10. maarnayeri:

    demonize poor women for wanting to terminate pregnancy they can’t afford

    demonize poor women for applying for government assistance to raise the child they didn’t want because they couldn’t afford it by referring to them as “welfare queens”

    Reblogged from: ivyxaur

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