I'm so glad they encouraged it.

Not like that film was a one-off either.

I would like to add The Birdcage (1996) to this list of drag queen movies (mind you, it's based on a French stage play from 1973).

Which starred Nathan Lane as a drag queen just two years after he had voice Pumba in "The Lion King":

And we ESPECIALLY need to remember Victor Victoria from 1982 (during the REAGAN administration) which is SET IN THE 1930S and stars everyone's favorite curtain-sewing nanny as a struggling soprano who decides to pretend to be a boy doing drag (DOUBLE THE DRAG FOR YOUR MONEY). I mean look at this photo:

Count Victor Grazinski isn't putting up with your transphobia (or you being a dick to Robert Preston).

Unfortunately, the representation of drag and female impersonation (as it was often called pre-Stonewall) is scant in mainstream American cinema due to the Hayes Code. There are definitely more, but these are biggest, "family-friendly" names I can think who have starred in major motion pictures as drag performers.

can I add another?

Some Like It Hot (1959), it got in trouble with censors and still went ahead, but it featured a lot of Gender and a character getting really into this whole “being a girl for real” thing, as well as the implication of a a gay engagement being on the table

but like? It has Marilyn Monroe in it and banger music and it’s a classic! I only know from my mother bringing it up and also a tiny bit of exposure to russian tv channels, but I think it was also popular in the Soviet Union? So she’d seen it as a child and loved it so much she watched it with me when I was also just a child.

(not to mention big traditions of children’s theatre with drag performance)

Women have more power and agency in Shakespeare’s comedies than in his tragedies, and usually there are more of them with more speaking time, so I’m pretty sure what Shakespeare’s saying is “men ruin everything” because everyone fucking dies when men are in charge but when women are in charge you get married and live happily ever after

I think you’re reading too far into things, kiddo. Take a break from your women’s studies major and get some fresh air.

Right. Well, I’m a historian, so allow me to elaborate.

One of the most important aspects of the Puritan/Protestant revolution (in the 1590’s in particular) was the foregrounding of marriage as the most appropriate way of life. It often comes as a surprise when people learn this, but Puritans took an absolutely positive view of sexuality within the context of marriage. Clergy were encouraged to lead by example and marry and have children, as opposed to Catholic clergy who prized virginity above all else. Through his comedies, Shakespeare was promoting this new way of life which had never been promoted before. The dogma, thanks to the church, had always been “durr hburr women are evil sex is bad celibacy is your ticket to salvation.” All that changed in Shakespeare’s time, and thanks to him we get a view of the world where marriage, women, and sexuality are in fact the key to salvation. 

The difference between the structure of a comedy and a tragedy is that the former is cyclical, and the latter a downward curve. Comedies weren’t stupid fun about the lighter side of life. The definition of a comedy was not a funny play. They were plays that began in turmoil and ended in reconciliation and renewal. They showed the audience the path to salvation, with the comic ending of a happy marriage leaving the promise of societal regeneration intact. Meanwhile, in the tragedies, there is no such promise of regeneration or salvation. The characters destroy themselves. The world in which they live is not sustainable. It leads to a dead end, with no promise of new life.

And so, in comedies, the women are the movers and shakers. They get things done. They move the machinery of the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. Let’s look at some examples.

In Romeo and Juliet, the play ends in tragedy because no-one listens to Juliet. Her father and Paris both insist they know what’s right for her, and they refuse to listen to her pleas for clemency. Juliet begs them – screams, cries, manipulates, tells them outright I cannot marry, just wait a week before you make me marry Paris, just a week, please and they ignore her, and force her into increasingly desperate straits, until at last the two young lovers kill themselves. The message? This violent, hate-filled patriarchal world is unsustainable. The promise of regeneration is cut down with the deaths of these children. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two wives. 

How about Hamlet? Ophelia is a disempowered character, but if Hamlet had listened to her, and not mistreated her, and if her father hadn’t controlled every aspect of her life, then perhaps she wouldn’t have committed suicide. The final scene of carnage is prompted by Laertes and Hamlet furiously grappling over her corpse. When Ophelia dies, any chance of reconciliation dies with her. The world collapses in on itself. This society is unsustainable. King Lear – we all know that this is prompted by Cordelia’s silence, her unwillingness to bend the knee and flatter in the face of tyranny. It is Lear’s disproportionate response to this that sets off the tragedy, and we get a play that is about entropy, aging and the destruction of the social order.  

There are exceptions to the rule. I’m sure a lot of you are crying out “but Lady Macbeth!” and it’s a good point. However, in terms of raw power, neither Lady Macbeth nor the witches are as powerful as they appear. The only power they possess is the ability to influence Macbeth; but ultimately it is Macbeth’s own ambition that prompts him to murder Duncan, and it is he who escalates the situation while Lady Macbeth suffers a breakdown. In this case you have women who are allowed to influence the play, but do so for the worse; they fail to be the good moral compasses needed. Goneril, Regan and Gertrude are similarly comparable; they possess a measure of power, but do not use it for good, and again society cannot renew itself.

Now we come to the comedies, where women do have the most control over the plot. The most powerful example is Rosalind in As You Like It. She pulls the strings in every avenue of the plot, and it is thanks to her control that reconciliation is achieved at the end, and all end up happily married. Much Ado About Nothing pivots around a woman’s anger over the abuse of her innocent cousin. If the men were left in charge in this play, no-one would be married at the end, and it would certainly end in tragedy. But Beatrice stands up and rails against men for their cruel conduct towards women and says that famous, spine-tingling line - oh God, that I were a man! I would eat his heart in the marketplace. And Benedick, her suitor, listens to her. He realises that his misogynistic view of the world is wrong and he takes steps to change it. He challenges his male friends for their conduct, parts company with the prince, and by doing this he wins his lady’s hand. The entire happy ending is dependent on the men realising that they must trust, love and respect women. Now it is a society that is worthy of being perpetuated. Regeneration and salvation lies in equality between the sexes and the love husbands and wives cherish for each other. The Merry Wives of Windsor - here we have men learning to trust and respect their wives, Flastaff learning his lesson for trying to seduce married women, and a daughter tricking everyone so she can marry the man she truly loves. A Midsummer Night’s Dream? The turmoil begins because three men are trying to force Hermia to marry someone she does not love, and Helena has been cruelly mistreated. At the end, happiness and harmony comes when the women are allowed to marry the men of their choosing, and it is these marriages that are blessed by the fairies.

What of the romances? In The Tempest, Prospero holds the power, but it is Miranda who is the key to salvation and a happy ending. Without his daughter, it is likely Prospero would have turned into a murderous revenger. The Winter’s Tale sees Leontes destroy himself through his own jealousy. The king becomes a vicious tyrant because he is cruel to his own wife and children, and this breach of faith in suspecting his wife of adultery almost brings ruin to his entire kingdom. Only by obeying the sensible Emilia does Leontes have a chance of achieving redemption, and the pure trust and love that exists between Perdita and Florizel redeems the mistakes of the old generation and leads to a happy ending. Cymbeline? Imogen is wronged, and it is through her love and forgiveness that redemption is achieved at the end. In all of these plays, without the influence of the women there is no happy ending.

The message is clear. Without a woman’s consent and co-operation in living together and bringing up a family, there is turmoil. Equality between the sexes and trust between husbands and wives alone will bring happiness and harmony, not only to the family unit, but to society as a whole. The Taming of the Shrew rears its ugly head as a counter-example, for here a happy ending is dependent on a woman’s absolute subservience and obedience even in the face of abuse. But this is one of Shakespeare’s early plays (and a rip-off of an older comedy called The Taming of a Shrew) and it is interesting to look at how the reception of this play changed as values evolved in this society. 

As early as 1611 The Shrew was adapted by the writer John Fletcher in a play called The Woman’s Prize, or The Tamer Tamed. It is both a sequel and an imitation, and it chronicles Petruchio’s search for a second wife after his disastrous marriage with Katherine (whose taming had been temporary) ended with her death. In Fletcher’s version, the men are outfoxed by the women and Petruchio is ‘tamed’ by his new wife. It ends with a rather uplifting epilogue that claims the play aimed:

The Taming of the Shrew and The Tamer Tamed were staged back to back in 1633, and it was recorded that although Shakespeare’s Shrew was “liked”, Fletcher’s Tamer Tamed was “very well liked.” You heard it here folks; as early as 1633 audiences found Shakespeare’s message of total female submission uncomfortable, and they preferred John Fletcher’s interpretation and his message of equality between the sexes.

So yes. The message we can take away from Shakespeare is that a world in which women are powerless and cannot or do not contribute positively to society and family is unsustainable. Men, given the power and left to their own devices, will destroy themselves. But if men and women can work together and live in harmony, then the whole community has a chance at salvation, renewal and happiness.  

In the immortal words of the bard himself: fucking annihilated.

instead of reporting the murder, i would like to help you bury thE BODY CAUSE DAAMN

you’re not gonna believe this

Mollstrade - requested by raggedycroft.

Congratulations to Dan and Phil!

Cory Booker has been talking in the senate for over 20 hours now

He’s not filibustering. He’s protesting the current administration.

For those of you from outside the US or those of you who didn’t pay attention in government class, in the US senate there’s really no limit to the amount of time a senator can speak. So sometimes if they don’t want a bill to pass they just. Don’t stop talking. To hopefully get past the deadline to vote on a bill. This is called filibustering.

Senator Cory Booker isn’t doing that. He’s disrupting “the normal business of the United States Senate for as long as I am physically able”. Just in protest. This doesn’t usually happen.

He’s less than 20 minutes away from breaking the record of the longest speech given on the senate floor

Cory Booker has officially broken Strom Thurmond’s record for longest speech on the senate floor and he’s still going

For those of you wondering what he’s been talking about this whole time, his staff wrote down a bunch of stuff for him to read like stories from people across the political spectrum opposed to what the administration is doing. He’s also been telling personal anecdotes about meeting important civil rights leaders and other democratic senators have been pausing him for “questions” but the questions have been as long as a small speech and have both served the purpose of giving him a second to sit down and updating him on the news that he’s been missing while he’s been talking.

He has yielded the floor at 25 hrs and 4 mins. His eyes are so wide they look like they’re going to bug out of his skull so I don’t blame him for stopping. He said to go out and get in some good trouble.

Addition for those unaware: Cory Booker is black. Strom Thurmond set the previous record about 70 years ago in protest of civil rights. Booker spent much of the time I was watching talking about the importance of working together for the people and the idea that it's not "left versus right but right versus wrong."

The new record speech is on the right side of history.

honestly even the highest concept sci-fi seems tame once you learn BioSteel™ Goats exist irl

What the fuck are you talking about

you know. the spider goats. the goats spliced with spider genes.

they shoot bulletproof webbing out of their udders!

ok ok that last part’s not technically true, but the truth is still pretty nifty:

ko-fi

May I add the fantastic glow in the dark cats. They’ve been tagged with a gene from jelly fish that causes them to glow and that can be passed down. Was used to help study how other genes were passed.

for those wondering, yes glow-in-the-dark jellyfish cats are a real thing and they are helping scientists with AIDS research

I love how this reads as if the cats are actively choosing to assist with scientific research.

announcing our most important joint project ever! the phaby

Do you know how badly you have to fuck up for this to happen

*breathes deep breath* *slams reblog button*

why is this the funniest thing I've seen all day?

This list was created consulting Year in Reviews, Fanlore articles, user feedback, vintage pinterest posts, and my own knowledge. Don't worry about not seeing the shows in their entirety, vote based on your judgement. Enjoy!

So are you saying that the audience gave us a more comfy place to come out?

Best Man Bender, Ch. 14:

The center cannot hold

Summary: Sherlock hears things in hospital.

He sighed and said, “Would you please, please, for God’s sake stop keeping intelligence from me that I need.”

“I do all I can to only conceal from you what you absolutely should not know.” Mycroft sounded, oddly, chastened.

Which, just as oddly, made Sherlock’s annoyance spike. “What you judge I should not know. It’s condescending, and it puts me in danger, because you’re not always right.”

“Am I not? Perhaps now you know how Doctor Watson must feel.”

And with this treacherous Parthian shot, Mycroft left.

No, really, seven is very like six, I keep insisting.

Ch. 14 will post on April 1st. Tagging past readers here and in the comments; let me know to add or remove you!

Thanks for reblogging 🤍

caught in 4k