This is where I play around in my fandoms and stuff. It's silly, probably, mostly.
I post my fanart over at CreamoDreamo
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I dreamt I doodled some gory art with some ”dark stuff” written beneth it and it got 14,000 notes making fun of it, working it into meme’s and stuff






"So I was watching my sister and because I was watching her I had to watch whatever she was watching and it was a Monster High double feature. I knew she liked Monster High but I had never watched the movies or really seen the dolls. Later on at night I was talking to a friend who did like the Monster High dolls about the movies and characters, I stopped and yelled "Wait a minute did I just become a brony for Monster High?!" and my friend replied "probably but not as annoying." I’m 21 and male."

We call them “mansters”. XD

no we just call them fans or collectors you’re not special

we don’t have a brony equivalent bc we eschew the assholes of the fandom instead of glorifying and catering to them

emphasis mine

And I don’t care if it’s a canon term now NO WE DO NOT CALL THEM MANSTERS


voting bloodgood worst principal of the year

"Oh the normies are going to, from what we can tell, kill a student or at the very least torture him so violently they haven’t used the punishment in hundreds of years.  I see.  I’m sorry but there’s nothing we can do."




where’s that gif of Fury? Cause that is what she should have said


Women’s Noir - A list of films made during the Hollywood studio system that mix the genres of film noir and “women’s pictures” (melodrama) and place a woman who is more than a man’s love interest, girl friday, or femme fatale at the center of the narrative.

Ladies in Retirement (1941, Charles Vidor)
The Seventh Victim (1943, Mark Robson)
Christmas Holiday (1944, Robert Siodmak)
Mildred Pierce (1945, Michael Curtiz)
My Name is Julia Ross (1945, Joseph H. Lewis)
Shock (1946, Alfred L. Werker)
The Spiral Staircase (1946, Robert Siodmak)
Strange Impersonation (1946, Anthony Mann)
It Always Rains on Sunday (1947, Robert Hamer)
Born to Kill (1947, Robert Wise)
The Man I Love (1947, Raoul Walsh)
Possessed (1947, Curtis Bernhardt)
Deep Valley (1947, Jean Negulesco)
Lured (1947, Douglas Sirk)
Sleep, My Love (1948, Douglas Sirk)
Secret Beyond the Door… (1948, Fritz Lang)
Raw Deal (1948, Anthony Mann)
Sorry, Wrong Number (1948, Anatole Litvak)
Caught (1949, Max Ophüls)
The Reckless Moment (1949, Max Ophüls)
Beyond the Forest (1949, King Vidor)
Flamingo Road (1949, Michael Curtiz)
Whirlpool (1949, Otto Preminger)
No Man of Her Own (1950, Mitchell Leisen)
The File on Thelma Jordon (1950, Robert Siodmak)
Born to Be Bad (1950, Nicholas Ray)
Woman on the Run (1950, Norman Foster)
The House on Telegraph Hill (1951, Robert Wise)
Clash by Night (1952, Fritz Lang)
Sudden Fear (1952, David Miller)
The Blue Gardenia (1953, Fritz Lang)
The Bigamist (1953, Ida Lupino)
Dangerous Crossing (1953, Joseph M. Newman)
Private Hell 36 (1954, Don Siegel)
Crime of Passion (1957, Gerd Oswald)


my mom has been a cop for over 20 years and she is the one who constantly warns me about police aggression and young male cops and told me that if you’re ever alone on a rural road and a cop throws their lights on to put on your four ways and drive to the next gas station before stopping because so many cops are scum and it’s not worth the chance of getting hurt. the fact that SHE feels the need to tell me this shit scares me to death



so did rochelle present as a boy while she was at granite city?

cause genderqueer rochelle is something I’d be down with


I actually really appreciate that they have used the phrase “a mystery dipped in secret sauce” more than once