catching fire was really good
i’m so glad they stayed so close to the book
now i hope they change mockingjay completely
Make sure you have adblocker on your browser and these should all work!
1998 - 1999:
Brink! - Halloweentown - Zenon: Girl of the 21st Century - Thirteenth Year - Smart House - Johnny Tsunami - Don’t Look Under the Bed -Horse Sense - My Date With The Presidents Daughter - Tower of Terror - H E Double Hockey Sticks
2000 - 2001:
The Color of Friendship - Alley Cats Strike - Rip Girls - The Other Me -Mom’s Got a Date With a Vampire - The Ultimate Christmas Present - Zenon the Zequel - Motocrossed - The Luck of the Irish - Jett Jackson: The Movie - Jumping Ship - Halloweentown II: Kalabar’s Revenge - 17 Again - Phanton of the Megaplex - Motocrossed - Princess of Thieves
2002 - 2003:
Cadet Kelly - Get A Clue - Gotta Kick It Up! - Ring of Endless Light - You Wish! - The Even Stevens Movie - Eddie’s Million Dollar Cook-Off - The Cheetah Girls - Full Court Miracle - Kim Possible: A Stitch In Time - Double Teamed
2004 - 2005:
Pixel Perfect - Going to the Mat - Zenon: Z3 - Stuck in the Suburbs -Tiger Cruise - Halloweentown High - Now You See It - Buffalo Dreams - Kim Possible: So the Drama - Go Figure - Life is Ruff - The Proud Family Movie - Twitches
2006 - 2007:
High School Musical - Cow Belles - Wendy Wu Homecoming Warrior -Read It and Weep - Cheetah Girls 2 - Return to Halloweentown - Jump In! - Johnny Kapahala: Back On Board - High School Musical 2 -Twitches Too
2008 - 2009:
2010 - 2011:
2012 - 2013:
THANK YOU OMG
Can we talk about Jeniffer Lawrence? Can somebody PLEASE talk with me about Jennifer Lawrence?! How does she do this?! I can even display this much emotion in REAL LIFE.
Fuck, I am so glad I am around to see her create this shit. She is incredible.
here, have another oscar
I was thinking when I was watching catching fire that its so nice to watch an actress pull all the stops on her emotional range and be willing to look ugly/weird with her face to do it. I’m so used to actresses being kept pretty no matter what when in reality nfucking no one looks beautiful in these emotional moments
ALL HAIL THE QUEEN
Wicked is structured like a queer 1950s Rodgers and Hammerstein musical. It follows many narratological and musical conventions of the “golden age musical” but places two women as the central couple. Like the heterosexual couples of mid-twentieth-century musicals, Glinda and Elphaba begin as enemies and competitors, as opposites in voice and temperament. Constructed as a butch- femme couple, they eventually merge vocally through the show’s numerous duets. By the end, they express their love for one another and promise eternal commitment in “For Good,” as they sing, “Who can say if I’ve been changed for the better? Because I knew you, I have been changed for good.” In this duet, they cross voice parts: Glinda sings alto, Elphaba sings soprano, and they finish the song together on middle C. Wicked’s very project is double divadom.
Can we just stop and talk about this for a minute?
Thresh doesn’t make an alliance. Thresh doesn’t waste time liking her. Thresh knows that either he must kill her or she must kill him for one of them to win.
But this is the only way he can repay her for protecting Rue when he couldn’t. It’s the only way he can repay her for honoring Rue when he couldn’t. He honors her by sparing her friend, the girl who would have died for her.
The revolution really doesn’t start with Katniss.
It starts with Rue.
SOMEBODY FINALLY SAID IT
This is exactly the point I’ve been trying to make for years. Okay, so the revolution gets it’s kindling with Katniss. She volunteers, well that’s new, she rebels in the display of talents by shooting the apple. This triggers her perfect score, okay. These aren’t really “Revolutionary” though.
It’s not even revolutionary when Peeta professes his love, because, let’s face it, the rules of the game haven’t changed. They’re still just two kids who would have to KILL each other to win. Without a doubt, it would bring some interest to the games, so the Capitol makes propaganda about it. The “Star Crossed Lovers” in a game of life and death.
But what changes the game is Rue. Right away from her introduction in the books we know Rue is going to be somewhat of a big deal. She was compared to the most important character to Katniss, Prim, so that’s a huge indicator. She’s small, young, she’s what Prim would have been.
So Katniss instantly feels a subconscious pull toward her.
When they meet in the trees, Katniss could have killed Rue easily, and Rue probably could have pulled a sneak attack or alerted the Careers of Katniss’s presence. Instead, Rue points out the Tracker Jacker nest.
Then it escalates, Rue and Katniss become an odd team, they’re an alliance, which is never new in the Hunger Games, as forming teams and then betraying them at the end seems to be a common, but there’s is different. It’s close, it’s sisterly, protective.
And then Rue get’s impaled. Katniss kills her first tribute with ease after that. Comparing it to hunting game. Katniss holds Rue, she cries, and then she sings. She sings for Rue a song of promised safety and warmth, something completely absent in the arena.
And this is where the metaphorical canon fires. Katniss could have left Rue, the hovercraft would have been along to pick her up, but she can’t. She’s morally obligated to love this girl as much as possible. And this is where the revolution starts.
She honors the dead. She honors a dead tribute from a district she’d never seen, a person she’d known for only a short period of time. But she throws away Hunger Games norms. She rejects them completely.
In the Hunger Games you’re supposed to kill mercilessly and leave the victims for the plain box they’re shipped home in.
Katniss gives Rue a funeral in the Games, she decorates the body, she makes it look like Rue is sleeping. Like no harm had come. Katniss just ignited the coals that Rue had placed.
Rue’s District sends a parachute. Homemade bread.
Then Thresh kills Clove and distracts Cato by taking his bag.
The fire is going now, and the actions in Catching Fire are even more obvious.
The Speech for Rue. Peeta’s painting. Everything eludes back to this one little girl who became Katniss’s family.
So the revolution never started with Katniss, she was just the tinder for Rue’s ignition.
Rue was the real Mockingjay.
"My body, my choice" only makes sense when someone else’s life isn’t at stake.
Fun fact: If my younger sister was in a car accident and desperately needed a blood transfusion to live, and I was the only person on Earth who could donate blood to save her, and even though donating blood is a relatively easy, safe, and quick procedure no one can force me to give blood. Yes, even to save the life of a fully grown person, it would be ILLEGAL to FORCE me to donate blood if I didn’t want to.
See, we have this concept called “bodily autonomy.” It’s this….cultural notion that a person’s control over their own body is above all important and must not be infringed upon.
Like, we can’t even take LIFE SAVING organs from CORPSES unless the person whose corpse it is gave consent before their death. Even corpses get bodily autonomy.
To tell people that they MUST sacrifice their bodily autonomy for 9 months against their will in an incredibly expensive, invasive, difficult process to save what YOU view as another human life (a debatable claim in the early stages of pregnancy when the VAST majority of abortions are performed) is desperately unethical. You can’t even ask people to sacrifice bodily autonomy to give up organs they aren’t using anymore after they have died.
You’re asking people who can become pregnant to accept less bodily autonomy than we grant to dead bodies.
reblogging for commentary
But, assuming the mother wasn’t raped, the choice to HAVE a baby and risk sacrificing their “bodily autonomy” is a choice that the mother made. YOu don’t have to have sex with someone. Cases of rape aside, it isn’t ethical to say abortion is justified. The unborn baby has rights, too.
First point: Bodily autonomy can be preserved, even if another life is dependent on it. See again the example about the blood donation.
And here’s another point: When you say that “rape is the exception” you betray something FUNDAMENTALLY BROKEN about your own argument.
Because a fetus produced from sexual assault is biologically NO DIFFERENT than a fetus produced from consensual sex. No difference at all.
If one is alive, so is the other. If one is a person, so is the other. If one has a soul, then so does the other. If one is a little blessing that happened for a reason and must be protected, then so is the other.
When you say that “Rape is the exception” what you betray is this: It isn’t about a life. This isn’t about the little soul sitting inside some person’s womb, because if it was you wouldn’t care about HOW it got there, only that it is a little life that needs protecting.
When you say “rape is the exception” what you say is this: You are treating pregnancy as a punishment. You are PUNISHING people who have had CONSENSUAL SEX but don’t want to go through a pregnancy. People who DARED to have consensual sex without the goal of procreation in mind, and this is their “consequence.”
And that is gross.
^ THIS. This is this this THIS THIS THIS. THIS!!!!!
This is probably the strongest and well worded/supported argument for abortion that I have ever read.