Gee's Space Junk

My name is Hélène and I'm French so obviously or not: I speak LE French.

I'm 18 years old.Things concerning my life are tagged " My Life " and the last post tagged this way appears first on my blog.

I'm on Facebook, Twitter, Formspring, Youtube, Seriebox, MyAnimeList, Manga Sanctuary, Livraddict, GoodReads, Vkontakte & Mail.ru.

This pic above is Joan Watson in Elementary (played by Lucy Liu), because why not.

Before that, it was a GIF of a boy named Kris from a kpop group/boysband called EXO. Check out their songs, they're great.

PS : DWTT stands for " Dunno What To Tag ", 'cause sometimes I dunno what to tag! (or sometimes I don't tag shit because why not?)
Following

Shawn Ashmore (from the Following) has a twin?! I’ve always thought he played Jimmy in Smallville but it was his twin, Aaron :O

heathyr:

twolfstilesme:

Can we just….

i’m laughin because i’m pretty sure those are the same swim shorts and this gives me much more understanding about his wardrobe and those damn tan khakis

(via harryll0yds)

The “Everybody is done with everybody” Wedding

(via harryll0yds)

Honestly, it’s quite astonishing how much misery this movie manages to pack into two hours of mostly action sequences and espionage subplots, particularly since Captain America is supposedly one of the “lighter” superheroes, compared to the unending grimdarkness of Batman. I guess this is the difference between “manpain” and “a man in legitimate emotional pain.”

The Tragedy of Bucky Barnes

this was just maybe flat out my favorite part of this review because hi, true

(via defcontwo)

(via harryll0yds)

maaarine:

TLDW: Game Of Thrones 4x02

(via harryll0yds)

the-one-blog-to-rule-them-all:

i think it would be neat if netflix doubled as a dating site like “here are 9 other singles in your area that watched supernatural for 12 straight hours”

(via harryll0yds)

babeltongues:

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There’s a monster at the center of True Detective. Not the killer – or the great MacGuffin that he’s sure to become – but the tenacious mystery of the soul. Or, it may argue, the abundant lack thereof. Human consciousness is “a tragic misstep in evolution,” according to Rust Cohle, our difficult and often transcendent antihero. He’s a man vexed by the complications of the id. It’s his job, as a small town detective investigating the occult slaying of a young prostitute, to reason with the divine madness that breeds the disturbed. And because of what he’s seen, both on the job and off, he’s desensitized to the complexities of human existence. To him, the fabric of our composition is nothing but matter and synapse. 

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A boy sprawled next to me on the bus, elbows out, knee pointing sharp into my thigh. He frowned at me when I uncrossed my legs, unfolded my hands and splayed out like boys are taught to: all big, loose limbs. I made sure to jab him in the side with my pretty little sharp purse. At first he opened his mouth like I expected him to, but instead of speaking up he sat there, quiet, and took it for the whole bus ride. Like a girl. Once, a boy said my anger was cute, and he laughed, and I remember thinking that I should sit there and take it, because it isn’t ladylike to cause a scene and girls aren’t supposed to raise their voices. But then he laughed again and all I saw was my pretty little sharp nails digging into his cheek before drawing back and making a horribly unladylike fist. (my teacher informed me later that there is no ladylike way of making a fist.) When we were both in the principal’s office twenty minutes later him with a bloody mouth and cheek, me with skinned knuckles, I tried to explain in words that I didn’t have yet that I was tired of having my emotions not taken seriously just because I’m a girl. Girls are taught: be small, so boys can be big. Don’t take up any more space than absolutely necessary. Be small and smooth with soft edges and hold in the howling when they touch you and it hurts: the sandpaper scrape of their body hair that we would be shamed for having, the greedy hands that press too hard and too often take without asking permission. Girls are taught: be quiet and unimposing and oh so small when they heckle you with their big voices from the window of a car, because it’s rude to scream curse words back at them, and they’d just laugh anyway. We’re taught to pin on smiles for the boys who jeer at us on the street who see us as convenient bodies instead of people. Girls are taught: hush, be hairless and small and soft, so we sit there and take it and hold in the howling, pretend to be obedient lapdogs instead of the wolves we are. We pin pretty little sharp smiles on our faces instead of opening our mouths, because if we do we get accused of silly women emotions blowing everything out of proportion with our PMS, we get condescending pet names and not-so-discreet eyerolls. Once, I got told I punched like a girl. I told him, Good. I hope my pretty little sharp rings leave scars.
'My Perfume Doubles As Mace,' theappleppielifestyle. (via queenofeden)

(via old-woman-josie)

What is significant about fan fiction is that it often spins the kind of stories that showrunners wouldn’t think to tell, because fanficcers often come from a different demographic. The discomfort seems to be not that the shows are being reinterpreted by fans, but that they are being reinterpreted by the wrong sorts of fans - women, people of colour, queer kids, horny teenagers, people who are not professional writers, people who actually care about continuity (sorry). The proper way for cultural mythmaking to progress, it is implied, is for privileged men to recreate the works of privileged men from previous generations whilst everyone else listens quietly. That’s how it’s always been done. That’s how it should be done in the future, whatever Tumblr says. But time can be rewritten. Myths can bend and change. Something new and exciting is happening in the world of storytelling, and fans are an important part of it.
Laurie Penny, Sherlock and the Adventure of the Overzealous Fanbase [x] (via wearethemakersofmanners)

(via harryll0yds)

mrgolightly:

Indie god Jim Jarmusch is probably the last person on earth you thought would make a movie about vampires, but he has, and it’s fabulous. With Only Lovers Left Alive, he’s created an artistic, introspective breed of immortals who seem to crave books and music just as much as they do blood. Though it’s a complete departure from his previous work, it’s still completely Jarmusch. The dialogue is witty and the atmosphere is always on point.

Something that’s bugged me about a lot of the more recent vampire characters in pop culture has been that they’re almost entirely without eccentricity. There are a few things I enjoy that some people might find strange, but that’s part of who I am. Just think how amplified that would be after centuries of being able to do what I want, whenever I want. I would, like most, end up being a walking, talking advertisement for Psychology Today. So why do authors feel the need to have their vampires be sexual, even when not hunting prey, before displaying all of the interesting philosophies/quirks that would show up after an eternity of honing them? Jarmusch, like Anne Rice, taps into that inner dialogue you imagine would come after an endless lifetime of reflecting on who and what you are.

Let’s discuss Tilda Swinton for a second. She’s obviously an immortal in real life, so this role is her pretty much playing herself. Seriously though, Tilda could read the ingredients of corn syrup to me on loop for three days and I would still be entranced by her. Tom Hiddleston is also great in this. He runs about five galaxies away from Asgard and winds up a sexy, reclusive vampire with a penchant for brooding. #husbandmaterial

mrgolightly:

Indie god Jim Jarmusch is probably the last person on earth you thought would make a movie about vampires, but he has, and it’s fabulous. With Only Lovers Left Alive, he’s created an artistic, introspective breed of immortals who seem to crave books and music just as much as they do blood. Though it’s a complete departure from his previous work, it’s still completely Jarmusch. The dialogue is witty and the atmosphere is always on point.

Something that’s bugged me about a lot of the more recent vampire characters in pop culture has been that they’re almost entirely without eccentricity. There are a few things I enjoy that some people might find strange, but that’s part of who I am. Just think how amplified that would be after centuries of being able to do what I want, whenever I want. I would, like most, end up being a walking, talking advertisement for Psychology Today. So why do authors feel the need to have their vampires be sexual, even when not hunting prey, before displaying all of the interesting philosophies/quirks that would show up after an eternity of honing them? Jarmusch, like Anne Rice, taps into that inner dialogue you imagine would come after an endless lifetime of reflecting on who and what you are.

Let’s discuss Tilda Swinton for a second. She’s obviously an immortal in real life, so this role is her pretty much playing herself. Seriously though, Tilda could read the ingredients of corn syrup to me on loop for three days and I would still be entranced by her. Tom Hiddleston is also great in this. He runs about five galaxies away from Asgard and winds up a sexy, reclusive vampire with a penchant for brooding. #husbandmaterial

beboots:

Only Lovers Left Alive: an amazing film. Adam and Eve are immortal lovers who happen to be vampires. They live apart, but still love each other. They communicate (mostly) and when they need to confront each other they admit the truth instead of lying and having a misunderstanding fester. Their body language telegraphs intimacy far more than passionate kissing would: holding hands, lying on the couch or the bed together, using each other as pillows… Their quirks rub off on each other: Eve calls animals and plants by their Latin names, and Adam, when ordering wooden bullets, easily lists off the Latin names of those trees… and Eve takes an interest in Adam’s music and knows just what kind of instrument he would love. They love and trust each other. (I can only hope for a partner who understands me like that in the future!)

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Now, I can easily picture the events of this film fitting in just prior to the events of True Blood - when vampires finally come out of the coffin after the creation of an artificial blood product that can sustain them. Adam and Eve have to be some of the oldest vampires around. Their third wedding was in 1868, and Adam knew Mary Wollestonecraft, who lived in the second half of the seventeenth century…  I get the sense that they were involved in Marlowe’s turning in the late 16th century, and Adam casually lists off Gallileo as one of the people he inspired… and Pythagoras. An Ionian Greek philosopher who lived in the 6th century BC. These two are old. We don’t know how long they’ve known each other, but it feels like at least since Marlowe came along, and is probably much, much longer. This makes Adam and Eve much older than Erik Northman, and probably much older than any of the other vampires we’ve seen/read in True Blood. This opens up many lovely possibilities in my mind for a crossover that I don’t really have time to write at the moment as my thesis is due so shortly that I don’t want to think about it.

Compared to most vampires in the True Blood series, with the possible exception of some pairs in which one is the other’s Maker, Adam and Eve are devoted and supportive of each other. I don’t think that one made the other: that would give them too uneven a power dynamic. Unlike many pairs of vampires in the True Blood world, they don’t seem to have any concept of betraying each other… and as a power couple, that could pose some intersting possibilities. 

Adam, at least, doesn’t associate with others of their kind, though Eve seems to keep in contact with other vampires, at least with Marlowe and Ava. Do they fit into any of the hierarchies evident in the vampire world in True Blood?

Do other vampires know about them - and their age? I can see Adam at least quietly flying under the radar by avoiding other vampires, and Eve occasionally hanging out at the fringes of vampire society via Marlowe for variety.

Does Adam see any of the super young, post-revelation vampires as being any better than the “zombies”? Being so old, Eve and Adam have a kind of slow burn going on - they live their lives, but not at the same pace as younger folk.

Eve may have her contacts in the vampire world - but if Adam doesn’t talk to any of the “others”, do other vampires know that there are two super old vampires running around?

Does Eve know Erik Northman or any of the North American sheriffs? Does the Sheriff who controls the area around Detroit know that there’s an incredibly old vampire living there?

Do others know that Adam and Eve know each other? They can go years without seeing each other and live in different regions of the world. What if Eve were to reconnect with vampire politics in the wake of the big reveal to humans, while Adam generally stays out of it, and what would happen if those who didn’t know their history tried to introduce them or play them off of each other?

Will Eve move into vampire politics and move them towards a (metaphorically) brighter future - if only because both she and Adam like to try something new on occasion to keep life interesting? Woe betide anybody who tries to use Adam against her (“Eve, you’re ruthless.” / “I’m a survivor, baby”) or tries to turn him against her.

And finally, failing everything else, can Eve ever convince Adam to perform his music before an audience - at Fangtasia, for instance?

Most of all, for any Only Lovers Left Alive fics (and, to be honest, those who write about Asgardians in Marvel fanfic), I would love to see immortality acknowledged as an influence on the worldview of characters. If this face is going to be one of the only familiar ones kicking around for the next thousand years, it changes one’s attitude towards them. Patience isn’t just a virtue, but a necessity.