in which Totoro boops Mana Ashida on the head.
Japanese child actress Mana was embarrassed that she couldn’t pronounce Guillermo Del Toro’s name so he gave her special permission to call him “Totoro-san” instead.
"I lost my thumb in a freak playground accident when I was five. I was really insecure about it for the longest time, but eventually I just learned to have a sense of humor about it. Love your blog, by the way. I’d give it one-and-a-half thumbs up."
Latin women often play the role of the seductress, like Roselyn Sanchez in Rush Hour II and Marisa Tomei (an Italian-American actress from Brooklyn) in The Perez Family. The seductive, sexy Latinas entice men. This stereotype often crosses into dangerous territory when high school-aged Latinas are showcased with the same promiscuity, such as Naya Rivera’s Santana Lopez or Francia Raisa’s Adrian Lee. Jack Thomas, a writer for Tu Vez, wrote “When white women are prostitutes, they are usually the “hooker with a heart of gold” like in Pretty Woman. When a Latina is a whore, she’s just a slut.” The “La Virgen y La Puta” stereotype is especially idiotic when Hollywood tries to convince its viewers that Latinas happen to be both fiery and uncontrollable while also fitting to be a nanny or maid.
In the second trope we’ll examine, the “La Virgen/the Virgin,” the poor little Latina is trapped in the submissive role of a housekeeper or nanny and is usually rescued by a kind-hearted white man. For an example, look at Jennifer Lopez in Maid in Manhattan or Maria from America’s favorite musical West Side Story. Maria is the innocent yet submissive Puerto Rican girl who is swept off her feet by a charming white man. The story writes itself. Yet, with regards to the “La Puta/the Whore” part of the paradox, do a quick Google search of the words “Latin woman” and you’ll find yourself amidst hundreds of links taking you to kinky, exotic porn or dating sites to find the perfectly enticing Latin woman for you.
Currently Hollywood only has two roles for Latinas: the slut and the maid
I remember when people first realized how much funnier these comics were just without Garfield’s dialog, which Jon was never able to hear anyway. Garfield only ever communicated to us readers in thought balloons, after all. What we’re seeing here is Jon’s canonical reality.
I’m not sure if I prefer these or the ones without Garfield in them at all. Tough call.
(Source: iraffiruse, via thetardisnamedsexy)
I don’t think people give Flash enough credit.
He didn’t just rebuild an apartment building.
HE FUCKING LEARNED HOW TO BUILD AN APARTMENT BUILDING. HE DID FUCKING RESEARCH. IT TAKES SEVERAL GODDAMN YEARS TO LEARN ALL THE ENGINEERING AND LEGAL CONSTRAINTS OF BUILDING A FUCKING BUILDING AND JUST DID IT.
This is one of my favorite flash comics. It really highlights how the flash doesn’t just run really fast, but can do absolutely astounding things. I remember reading this for the first time and having my head explode.
Note to everyone: He also rebuilt the bridge between Keystone & Central City as it was falling apart while there were tons of people trapped on it. It took him 30 seconds to pour through hundreds of engineering books, gather the materials, and put them together.
Flash = Best
Flash is a beast XD
(Source: ifuckinghatevideogames, via fyeahsuperheroes)
So I really love how the intro to Pacific Rim is, like, 90% plausible/whatever for the first two minutes. Massive tragedy in San Francisco, media and cultural response, blah blah blah
Then, completely straight-up, “So that’s when we decided to make giant robots.”
When life hands you lemons
"I don’t doubt the truth-y-ness of that statement, only the proof-y-ness."