Fandom is focus. Fandom is obsession. Fandom is insatiable consumption. Fandom is sitting for hours in front of a TV screen a movie screen a computer screen with a comic book a novel on your lap. Fandom is eyestrain and carpal tunnel syndrome and not enough exercise and staying up way, way past your bedtime.

Fandom is people you don’t tell your mother you’re meeting. Fandom is people in the closet, people out and proud, people in costumes, people in T-shirts with slogans only fifty others would understand. Fandom is a loud dinner conversation scaring the waiter and every table nearby.

Fandom is you in Germany and me in the US and him in Australia and her in Japan. Fandom is a sofabed in New York, a roadtrip to Oxnard, a friend behind a face in London. Fandom talks past timezones and accents and backgrounds. Fandom is conversation. Communication. Contact.

Fandom is drama. Fandom is melodrama. Fandom is high school. Fandom is Snacky’s law and Godwin’s law and Murphy’s law. Fandom is smarter than you. Fandom is stupider than you. Fandom is five arguments over and over and over again. Fandom is the first time you’ve ever had them.

Fandom is female. Fandom is male. Fandom lets female play at being male. Fandom bends gender, straight, gay, prude, promiscuous. Fandom is fantasy. Fandom doesn’t care about norms or taboos or boundaries. Fandom cares too much about norms and taboos and boundaries. Fandom is not real life. Fandom is closer than real life. Fandom knows what you’re really like in the bedroom. Fandom is how you would never, could never be in the bedroom.

Fandom is shipping, never shipping, het, slash, gen, none of the above, more than the above. Fandom is love for characters you didn’t create. Fandom is recreating the characters you didn’t create. Fandom is appropriation, subversion, dissention. Fandom is adoration, extrapolation, imitation. Fandom is dissection, criticism, interpretation. Fandom is changing, experimenting, attempting.

Fandom is creating. Fandom is drawing, painting, vidding: nine seasons in four minutes of love. Fandom is words, language, authoring. Fandom is essays, stories, betas, parodies, filks, zines, usenet posts, blog posts, message board posts, emails, chats, petitions, wank, concrit, feedback, recs. Fandom is writing for the first time since you were twelve. Fandom is finally calling yourself a writer.

Fandom is signal and response. Fandom is a stranger moving you to tears, anger, laughter. Fandom is you moving a stranger to speak.

Fandom is distraction. Fandom is endangering your job, your grades, your relationships, your bank account. Fandom gets no work done. Fandom is too much work. Fandom was/is just a phase. Fandom could never be just a phase. Fandom is where you found a friend, a sister, a kindred spirit. Fandom is where you found a talent, a love, a reason.

Fandom is where you found yourself. (via dazebras)

(Source: gointorosedale)

Digital Wonderments: enemafrost: Despite my occasional frustration with Jack Kenny and what...


Despite my occasional frustration with Jack Kenny and what I sometimes consider to be a lack of regard for diverse representation in Warehouse 13, I’m sort of starting to realize how lucky I am to be a part of this fandom. I’m sad that the show is ending, and I’m sad that the…



I was doing a re-watch of the Warehouse 13, and I was struck by something I hadn’t noticed before: the opening and closing shots of our darling Myka Bering. The first time I saw the pilot, I thought the decision to have Myka sort of break the fourth wall by looking directly at the camera in that last shot was an odd move. I can’t remember another time that Warehouse 13 does this, so it felt kind of strange and out of place. But when I considered it along with the first shot of Myka, it makes so much more sense as a structuring element for both the pilot and the show as a whole…

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So…this is an interesting read.

And it does touch on something I’ve thought about but never really explored, because as much as I love Pete and Artie and Claudia and even Steve, the OP points out very accurately that Myka’s story has been a central focus from he very beginning.

When we see Myka in The Greatest Gift, in a world without Pete Lattimer, we see that she would have become and remained a more buttoned-up version of the uptight woman we met in that first shot, but by opening herself up to the possibility of Endless Wonder she started a process of growth and change that, aside from maybe Claudia, we haven’t really seen in another character.

She didn’t want to be at the Warehouse.  She wanted to go back to the rigid rules and consistent expectations in DC that she’d fled to (without talking to her team at all, if you recall) after Sam died, just as she ran home when HG broke her heart betrayed her, just as she’s hidden (it appears) the truth of her illness from everyone.

Just as she, the lonely oddball, ran away from reality and hid in books as a kid.

Growing out of who you are into what you can become is a long process, filled with trials and relapses not unlike Pete’s recovery from alcoholism.  In Myka’s case, escape is her instinct.  She does it all the time.  She’s done it all her life, and will probably to continue to feel the urge to run very far away or hide the truth from everyone (even herself) when things get really bad.

And that last image?  Facing the camera, with a smile on her face?  That’s the first time we see her resist the urge to run back into her comfortable routine because somewhere in all that hectic chaos, she found a reason and the strength to stay.

(Source: myka-wells)


Watched the season finale of Warehouse 13.  When it comes to plot lines, I tend to be character based.  I believe that what makes a good story are the characters that compel you to care about them and you in turn will root for them.  It was inspiring to watch the character evolution of Claudia Donovan from Warehouse 13.  Whether she is a spunky hacker or a fully realized caretaker of the warehouse.   

This sketch definitely counts as a Portait of a Badass. 

Chastity Bites

Coming Soon to Salt Lake City & Philly!

After a spectacular, sold-out premiere at Dances With Films in Hollywood, we are feeling the love this summer from LGBT festivals! And we’re incredibly excited to announce our next two screenings:

Saturday, July 13, 10:30pm
Tickets on sale 

QFEST, Philadelphia, PA
Saturday, July 20, 9:30pm & Monday, July 22, 8:15pm
Tickets on sale 
Saturday screening followed by a “lesbian vampire” after-party at

Stay tuned… More screening announcements coming soon!

In the early 1600’s, Countess Elizabeth Bathory slaughtered more than 600 young women, believing if she bathed in the blood of virgins that she would stay young and beautiful forever. Still alive today, she’s found a perfect hunting ground for her ‘botox’ as an abstinence educator in conservative America, and the young ladies of San Griento High are poised to be her next victims. But will her unholy ritual finally be stopped by Leah Ratliff, a feminist blogger and ambitious reporter for the school paper?

Directed by John V. Knowles (SHADOW.NET).
Written & Produced by Lotti Pharriss Knowles (VITO, I AM DIVINE).
Starring: Allison Scagliotti (SyFy’s WAREHOUSE 13), Francia Raisa (ABC Family’s THE SECRET LIFE OF THE AMERICAN TEENAGER), Louise Griffiths (THE REVENANT), Eddy Rioseco (ABC’s PARENTHOOD), Greer Grammer (MTV’s AWKWARD), Amy Okuda (THE GUILD), Jennifer Gimenez (Bravo’s THE REAL HOUSEWIVES OF BEVERLY HILLS), and Stuart Gordon (RE-ANIMATOR).

A fun, campy horror/comedy that’s both genuinely funny and genuinely scary.
Steven W. Alloway, Fanboy Comics

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