I like Will Middlebrooks and the Boston Red Sox and One Direction and Demi Lovato (Megan, Boston, 18)
Bro come on just tuck me in bro you know I can’t sleep unless someone tucks me in man
the oilers onesies are $100 what the fuck if I wanted to sleep with expensive disappointment I’d fuck one of the players
A Story A Day #261 by Ming D. Liu
id rather be vain than learn to hate myself again
But Gone Girl’s apparent problems with women lurk beyond just Amy, too. The film’s male lead, Nick (Ben Affleck), Amy’s husband, laments that he’s spent his life with women controlling his every move, and when he settles in at her side by movie’s end, he’s been completely broken of his spirit. This, it would be easy for an anti-feminist critic to argue, is the logical conclusion of women’s dominion over men — a mostly good guy imprisoned by a vile monster who holds him in place with her womb.
Couple that with Fincher’s … let’s say … less-than-perfect track record with female characters in the past, in films ranging from Fight Club to The Social Network to The Girl With the Dragon Tattoo, and you have a perfect storm, just waiting for thinkpieces to erupt.
But open up Gone Girl and dig around in its guts, and you find something surprising. This is perhaps the most feminist mainstream movie in years, a forthright depiction of the ways that society controls women and forces them into certain roles, then lets men basically do whatever they want. Amy Dunne might be a monster, but she’s no sui generis psychopath. No, she’s Frankenstein’s monster, stitched together by a husband, parents, and a social order that demanded she be certain things, rather than who she really was.
And in destroying her husband’s life, she’s symbolically taking back power for women everywhere.Todd VanDerWerff, Gone Girl is the Most Feminist Mainstream Movie in Years (via connietough)