Cake and All the pretty little horses.
What would you like to know?
Would I lie?
A couple of years from now, I will be a teacher. My dad has told me I shouldn’t be out, because I’ll get thrown out of my teaching position by kids’ parents. So, kindly reblog to let me know if you would let your kid be taught by a trans* person. I’m hoping to build some confidence for myself.
Be a good teacher.
[Mary Poppins author P.L.] Travers was a feisty, stereotype-breaking bisexual — a single mom who adopted a baby in her 40s, studied Zen meditation in Kyoto, and was publishing erotica about her silky underwear 10 years before Walt had sketched his mouse. Now that’s a character worth slapping on-screen, instead of this stiff British stereotype determined to steal joy from future generations of children. With her longtime girlfriend and then-adult son erased, this frigid Travers seems like she may not even know how babies are made. Maybe Mary Poppins could sing her a song about it.
Why does it matter that Saving Mr. Banks sabotages its supposed heroine? Because in a Hollywood where men still pen 85 percent of all films, there’s something sour in a movie that roots against a woman who asserted her artistic control by asking to be a co-screenwriter. (Another battle she lost — Mary Poppins’ opening credits list Travers as merely a “consultant.”) Just as slimy is the sense that this film, made by a studio conglomerate in a Hollywood dominated by studio conglomerates, is tricking us into cheering for the corporation over the creator. Amy Nicholson, on why Disney’s Saving Mr. Banks Is a “Corporate, Borderline-Sexist Spoonful of Lies”. (via infectedworldmind)