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Coming June 2nd....

https://amzn.to/2XjFPSH

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View this post on Instagram

A post shared by Heather Long (@heathervlong)

She’s feeling better and apparently romping i. Her dreams. She is such a vocal dog. #stitchrules #dogsofinstagram #authorsofinstagram https://www.instagram.com/p/CAcz68CAkgK/?igshid=19wfg1t5nsr4g

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Okay this is awesome.

Scarlett Johansson and Drew Barrymore joined other actors and stuntpeople to stage this epic virtual fight

follow @nowthisnews for daily news videos & more

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I really want to watch this. 

A tender barbarian - the phrase suited him perfectly. Dangerous, non-opposing, imperious, yet caring and gentle. The combination of all these features scared me, fascinated and intrigued me at the same time.

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Fair warning, contains:

😇Spicy intriguing angels!

😇😇High emotional content!

😇😇😇STEAM galore!

😇😇😇😇 STANDALONE

😇😇😇😇😇 Did we mention sexy angels? (Just don't call them that!)

And dude, this is one BIG ASS book!

Read the first chapter on my website:

https://heatherlong.net/books/reverse-harem/sinners-keepers/kiss-of-fate/

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I envy writers.

As an artist I can give you a snapshot into a world.

But a writer.

A writer can take you there.

They can weave together words and create a portal to anywhere. You can visit those places instead of looking out a window and wishing to be a part of it.

I envy writers.

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🖤😇🖤😇🖤😇🖤😇🖤😇

Yooohoooo!!!

It’s me again! Sliding into your feed with another teaser. 😘😘

10 days until Kiss of Fate drops! ARCs have already gone out and paperbacks ordered!

Have you been looking for:

⚜️Angels? ⚜️⚜️Steam? ⚜️⚜️Big ass standalone? ⚜️⚜️⚜️All the feels?

👀What about an angel set on using our FMC as REVENGE against his brothers?

Catch your interest yet? 😏

Then you NEED this in your life!

https://amzn.to/2VV2BhP

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Good morning.

Sebastian Stan © Carter Smith for Men’s Health

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Living on borrowed time, yeah, never thought that would apply to me. - Dahlia

Kiss of Fate releases on May 5th.

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Sunset between Lanai and Molokai, as seen from the coast of Maui

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Say it again... because all of this :D

“Those poor boys”

“She deserves to be punished too.”

“I’m not saying I support rape, but-”

“Sorry to say - she deserved it.”

“She put herself in harm’s way”

“But if she was fingered, then that’s not rape.”

“She ruined their lives.”

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Too good not to share. I’m still laughing.

Roses are red, that much is true, but violets are purple, not fucking blue.

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Okay, that cracked me up

Adam Driver and Channing Tatum talk about their favourite underdog films

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This.

Knives Out hints at the self-righteous Thrombeys’ racist views of Latino people and immigrants in general well before they target Marta and threaten to have her mother detained. In the film’s early flashbacks, the Thrombeys each referred to Marta’s country of origin as a different place. To one, she was a lovely young woman from Ecuador; to another, Marta hailed from Paraguay. Their cluelessness is played for comedic relief as the film’s tension builds, and Johnson’s message is clear: The Thrombeys’ ignorance is the joke, not Marta’s heritage.

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Too perfect.

(INSP)

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Let’s talk about The Mummy (1999)

Someone was talking at me yesterday about this movie and I was getting riled so I decided to go full rant. Specifically in regards to the feminist podcast that slammed it.

I don’t even remember which podcast it was, but I am still rankled and baffled that any “feminism in movies” podcast could jump to anything but “this movie is phenomenal.”

First of all, even just discussing the overall quality: sure, it might not have been groundbreaking with its cgi or plot twists. But back in the 90s, that wasn’t the standard of measure like it is now (and even now is a shitty standard that needs to die). This movie was light and funny and yet hit all the right beats to maintain the dire stakes needed to make it a compelling action flick.

Its characters are fully realized and entirely distinct from each other. Even those treated with a broader brush, such as the Americans, were charismatic enough that we were fully invested in their fate. The entire cast of characters were real people with real impact and real agency.

The script is quotable and fucking hilarious. There are gems from literally every single character. Rick and Evie have actual chemistry, aided by Rachel Weisz’s natural magnetism and Brendan Frasier’s career-long knack for acting utterly charmed with his female costars.

Actually, let’s talk about Rick O'Connell for a second. This is peak 90s Brendan Frasier. He is absolutely GORGEOUS, suave, and cool, rugged and handsome. He is the epitome of the 1920s adventure hero. Dear god I want to kiss those casting directors. But for all his general peak masculinity? He’s feminist as fuck. He is equally dumbstruck by Evie as she is by him, and it’s wholly evident that it’s more than a “oh no she’s hot” thing.

How do we know?

He steals her some tools to dig with. This gift demonstrates that he a) has identified her passion for archaeology, b) has recognized her proficiency in the field, despite it not being explicitly stated on screen, and c) sees a chance to restore her full and active participation in the discovery of Hamunaptra.

There is never a moment where Rick assumes to be the leader of the expedition. He is the weapons expert, the muscle–and he knows it. Better than that, he’s totally okay with it. He follows Evie’s lead in all things.

Another favorite moment of mine is when they’re facing off with the American team on Day 1, and Evie realizes there’s a chamber underneath Anubis they could use to excavate the statue. She puts her hand on Rick’s arm, looks him in the eye, and says very deliberately “there are other places to dig.” And he yields, instantly.

By comparison, see the way the Americans treat their workers and guide.

Does he groan about his work being made exponentially harder as a result? Nope. And that’s a recurring theme in his behavior the entire goddamn movie. The only time he is in charge is when a situation is in his wheelhouse– namely, combat and rescue. And it deserves mentioning that the majority of the time that he’s in charge, Evie is not present.

Meanwhile, Evie– her adventurer’s spirit chafing in an academia that dismisses her for her gender– is an absolute marvel. She is visually coded as being very feminine (she’s in dresses and long hair most of the film), but that fact in no way detracts from her competence and agency.

She is consistently protrayed as a fully capable expert in egyptology and there is never a single moment where she waffles on what to do. Even when she’s the damsel in distress, she actively makes the choice to be so because she weighs the potential outcomes and decides doing so provides their best chance of success.

Evie is never the passive victim. She is constantly brash, constantly scheming, and saves the lives of her would-be rescuers mid-abduction. And when her brother (who is the failure of the family, against type) needs help with translation, she correctly translates for him while being throttled by a mummified priestess.

When I first saw this film, I was too young to realize how novel it was. Back then, all I knew was that it was just a good time. But now as an adult– an adult acutely aware of the treatment female characters have gotten in the twenty years since– I marvel at the respect with which the writers and directors treated Evie.

I marvel at how tender Rick was allowed to be, despite his rugged adventurer archetype.

The Mummy (1999) is peak storytelling. It doesn’t try to outsmart the audience, but rather lays out a consistent, coherent narrative that gives the characters and viewers room to breathe. It invests the audience enough to care whether the characters succeed in their goals.

The Mummy (1999) does it right. It’s the reason that any talk of the Tom Cruise version gets an immediate eyeroll from me, because whatever modern grimdark grit they shove into a story about a mummy cannot compare to the reliable and timeless entertainment of the 1999 adaptation.

All modern media should aspire to be the kind of film that The Mummy (1999) is.