girlcanteach:

I want to share a strategy I developed to assist my students in independent reading and in preparing for text-based discussions and writing, two things that our students typically really struggle with and two things that they really need to know how to do.

A Little Background

As we’ve worked to…

(Source: kelialex)

freakswilltakeover:

this is Maggie Smith in her costume out of characterin a chairreading the daily prophet your argument is invalid

freakswilltakeover:

this is Maggie Smith
in her costume
out of character
in a chair
reading the daily prophet
your argument is invalid

rabbleprochoice:

abaldwin360:

More Republican bullshit.

image

The fact that employees WANT that coverage would logically mean they don’t want to be parents just yet but who thinks logically when it comes to vaginas, amirite?

Love,

Rabble

mohandasgandhi:

Oscar loves a white savior

If you’ve been to the movies in the last half-century, you know the White Savior genre well. It’s the catalog of films that features white people single-handedly rescuing people of color from their plight. These story lines insinuate that people of color have no ability to rescue themselves. This both makes white audiences feel good about themselves by portraying them as benevolent messiahs (rather than hegemonic conquerors), and also depicts people of color as helpless weaklings — all while wrapping such tripe in the cinematic argot of liberation.
This, of course, is the backbone of Spielberg’s “Lincoln.” As historian Kate Masur recently wrote in the New York Times, it is yet another “movie devoted to explaining the abolition of slavery in the United States” but one in which “African-American characters do almost nothing but passively wait for white men to liberate them.” The result, she writes, is a film that ignores actual events of the 19th century, “helps perpetuate the notion that African Americans have offered little of substance to their own liberation” and thus reinforces “the outdated assumption that white men are the primary movers of history and the main sources of social progress.”
Coming from Spielberg, this isn’t particularly surprising. He is, after all, the creator of one of the most unself-consciously archetypal White Savior movies of all time: “Indiana Jones and the Temple of Doom.” In that cartoonish adventure, a whip-wielding white archaeologist drops from the sky into India and quickly becomes the only person able to save destitute peasants from the rein of a tyrannical human-sacrificing cult.

Spielberg’s Abraham Lincoln is certainly a more nuanced character than Dr. Jones, just as his latest film is more sophisticated (if not as exciting) than the second iteration of his 1980s archaeologist-superhero franchise. In return, he has been rewarded with an Oscar nomination — but probably not just because “Lincoln” plays to the academy’s general love of historical drama. It also plays to Hollywood award organizations’ specific affinity for the White Savior.
Indeed, in the last quarter-century, 10 White Savior films have received major Hollywood award nominations, with fully half of those coming in just the last five years. In chronological order, here’s a look at them, and how they channel the same old story of white people saving the day for people of color who supposedly cannot help themselves.
(Continue reading to see the full list of films…)



Among the films listed are the following:
Cry Freedom (1987)
Mississippi Burning (1988)
Glory (1989)
Dances With Wolves (1990)
The Last Samurai (2003)
Gran Torino (2008)
The Blind Side (2009)
Avatar (2009)
District 9 (2009)
The Help (2011)
Related: Best-pic Oscar noms come under scrutiny - for racism, historical accuracy and political ideology

mohandasgandhi:

Oscar loves a white savior

If you’ve been to the movies in the last half-century, you know the White Savior genre well. It’s the catalog of films that features white people single-handedly rescuing people of color from their plight. These story lines insinuate that people of color have no ability to rescue themselves. This both makes white audiences feel good about themselves by portraying them as benevolent messiahs (rather than hegemonic conquerors), and also depicts people of color as helpless weaklings — all while wrapping such tripe in the cinematic argot of liberation.

This, of course, is the backbone of Spielberg’s “Lincoln.” As historian Kate Masur recently wrote in the New York Times, it is yet another “movie devoted to explaining the abolition of slavery in the United States” but one in which “African-American characters do almost nothing but passively wait for white men to liberate them.” The result, she writes, is a film that ignores actual events of the 19th century, “helps perpetuate the notion that African Americans have offered little of substance to their own liberation” and thus reinforces “the outdated assumption that white men are the primary movers of history and the main sources of social progress.”

Coming from Spielberg, this isn’t particularly surprising. He is, after all, the creator of one of the most unself-consciously archetypal White Savior movies of all time: “Indiana Jones and the Temple of Doom.” In that cartoonish adventure, a whip-wielding white archaeologist drops from the sky into India and quickly becomes the only person able to save destitute peasants from the rein of a tyrannical human-sacrificing cult.

Spielberg’s Abraham Lincoln is certainly a more nuanced character than Dr. Jones, just as his latest film is more sophisticated (if not as exciting) than the second iteration of his 1980s archaeologist-superhero franchise. In return, he has been rewarded with an Oscar nomination — but probably not just because “Lincoln” plays to the academy’s general love of historical drama. It also plays to Hollywood award organizations’ specific affinity for the White Savior.

Indeed, in the last quarter-century, 10 White Savior films have received major Hollywood award nominations, with fully half of those coming in just the last five years. In chronological order, here’s a look at them, and how they channel the same old story of white people saving the day for people of color who supposedly cannot help themselves.

(Continue reading to see the full list of films…)

blueeyes-auburnhair:

mgthejerkbender:

#Look at how everyone isn’t impressed at the situation #and how Jennifer makes it totally okay that this is COMPLETELY INAPPROPRIATE
i wasn’t going to reblog this because gross on so many levels, but the tags are accurate
the two women behind her are horrified and disgusted that this is happening, and she is just acting like she is somehow better than all the other actresses because she hasn’t shown her breasts
that doesn’t make you better than them. all it means is that you haven’t shown your tits
that’s it
that’s all it means
they are not somehow lesser than you because they have. it’s their choice, and your slut shaming is completely disgusting as was this entire sequence

getting really tired of jennifer lawrence

blueeyes-auburnhair:

mgthejerkbender:

#Look at how everyone isn’t impressed at the situation #and how Jennifer makes it totally okay that this is COMPLETELY INAPPROPRIATE

i wasn’t going to reblog this because gross on so many levels, but the tags are accurate

the two women behind her are horrified and disgusted that this is happening, and she is just acting like she is somehow better than all the other actresses because she hasn’t shown her breasts

that doesn’t make you better than them. all it means is that you haven’t shown your tits

that’s it

that’s all it means

they are not somehow lesser than you because they have. it’s their choice, and your slut shaming is completely disgusting as was this entire sequence

getting really tired of jennifer lawrence

(Source: 23099-deactivated301482)