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Orange is the New Black,
hahhHHAHHHHHHAHAHHH you know what fucking sucks? My city is home to “the world’s longest-running and largest queer theatre” (it literally says this on their site and on wikipedia). You’d think this would be amazing because it’s the world’s biggest queer theatre and I’m the world’s biggest queer (sorry I couldn’t resist that one it fit too well), but the thing is I’m not out to my parents yet so if I go to any of their shows I can almost guarantee that one of my parents will look it up on the website and then make uncomfortable jokes or look at me weird or be really awkward (don’t get me wrong, they’ll let me go because they like to think they’re super accepting and wow their daughter is just interested in seeing different types of theatre it’s not like she’s gay or anything). And also, for most of their mainstage shows they give out free tickets with post-show talks with the actors and writers and stuff, and they have this really awesome summer program too, but both of them are only for queer youth - which I AM. I am a queer youth. But of course if I were to go to one I’d have to come out first which I’m not doing because I’m not brave enough and beat myself up about it daily but you know, sure, sure.
David Fincher: The look on Jesse’s face after Andrew says, “Oh god, we’re in so much trouble now,” and you cut to Jesse and he has this sort of impish look on his face, like “so what? Isn’t that the point, to be naughty?” and then you see it sink in for a second—he’s like, “oh wait a minute.” I remember watching him as we were shooting and he did it probably 12 or 13 times, and every time it was just a little bit different. You could just tell he had his fingers tightly around the throat of exactly what he was doing with this guy, and it’s a great pleasure to watch somebody who is as skillful as Jesse Eisenberg is. He doesn’t, I think, give himself the credit a lot of times because he’s so much of a responder. He’s not the kind of actor who wants to take center stage; he wants to react. But when you see him be this good for this many weeks in a row—and I remember he took me aside at one point and said, “You would tell me if I was sucking ass, you would tell me if I was terrible?” and I said, “Oh yeah, absolutely, you would be the first to know.”
— DVD commentary
A Song of Ice and Fire is not about kings. It’s about the people who surround, support and get stomped on by kings in quests for thrones and power. In older fantasy stories, the young kings are the heroes and lead characters, so George R.R. Martin subverted that by presenting his story through the perspective of everyone but the kings. The tale is now told by the rulers’ friends, mothers, children, wives, and the other people who usually become fringe characters. The only ruler with a point-of-view chapter is Daenerys, and she is not a Westerosi king.
Robert, Joffrey, Renly, Robb, Stannis, Balon- they don’t get to tell the story. They aren’t the heroes of the story. There may not be any, but if there are, it’s not them.
Headcanon that after the battle of Hogwarts, George dyes his hair an outrageous colour, and at first Molly is mad, but then she hears George whisper “I kept thinking it was him in the mirror”.
It’s like coming home after a long trip. That’s what love is like.