And The Jet Plane Lands
“Seriously, Eddie,” Kevin says into the phone, running a hand through his hair. Carrie and Scott are out in the backyard, going over textbook lists for school, so he doesn’t feel too bad for whining a little to his best friend. “The guy is out in my backyard right now with a straw hat on. A straw hat, a blanket, leather freaking boots and these big baggy pants that look kind of like they belonged to MC Hammer.”
ship:kevin/carrie  tv:toak  length:oneshot 
december 2013
my heart is out traveling
"Here," Sif says, pressing the pen into Thor's hand. She takes a step towards him, but then another step backward; if he weren't currently dying, he would probably find it amusing. It's a nice visual depiction of their relationship: one step forward, another step back.
movie:thor  ship:loki/sif  length:oneshot 
december 2013
Why Lena Dunham’s ‘Girls’ Is Like Nothing Else on TV -- New York Magazine
Still, it’s not difficult to imagine criticisms of Girls, many of them the type that greet “girl culture” in general, from chick-lit novels to Tori Amos albums—that it’s navel-gazing, that it’s juvenile, that it’s TMI. In addition, there’s what Dunham calls “the rarefied white hipster thing.” Despite the denials at HBO and by the show’s creators (it was practically a mantra on set that Girls is not the new Sex and the City), Girls is a post–Sex and the City show, albeit one with an aesthetic that’s raw and bruised, not aspirational. Sex and the City first achieved notoriety when its characters debated the power dynamics of anal sex during a cab ride, during the “up-the-butt girl” episode. In Girls, that discussion is not abstract: It’s Hannah, naked, on her knees, chattering anxiously as Adam pulls on (she hopes) a condom, trying to get some reassurance that he’s not heading in the wrong direction. Still, like SATC, Dunham’s show takes as its subject women who are quite demographically specific—cosseted white New Yorkers from educated backgrounds—then mines their lives for the universal. While the two shows dramatize very different stages of life, Girls might as well swing an arm around its Manolo’d aunt, who (even before she wrecked her brand with that awful trip to Abu Dhabi) took her own share of abuse.
april 2013
‘Girls’: Graphic Content, Objectification, and That Scene
The semen that Adam deposits on Natalia’s chest is not meant to titillate or arouse. It’s meant to shock the viewer into opening their eyes, to see the damage that Adam perpetuates here, one based upon countless male fantasies enacted in porn. But while other cable shows might use sex and female nudity as window dressing, Girls strives for something both deeper and darker here, a revelation that there are repercussions to physical intimacy, that Natalia’s humiliation and debasement are not sexy, but painful. As I said on Twitter yesterday, “Elsewhere, it’s sanitized objectification. Here, it dares paint itself for what it is: messy.”
april 2013
Girls' Adam and Natalia: Sexual assault and verbal consent on HBO's Girls
In their Slate review of the episode, David Haglund describes the scene as “exceedingly uncomfortable sex.” It leaves Natalia “feeling debased, even borderline assaulted,” Jeffrey Bloomer writes. That phrasing is indicative of the way we talk about sexual abuse and domestic violence in this century. There is rape—a crime reported to the authorities, investigated by the police, and prosecuted in the courts. And then there is everything else that is not consensual, but not easily prosecutable, either: “gray rape,” “bad sex,” “they were both drunk,” the “feeling” of being “borderline assaulted.” It’s what happens when a person you want to have sex with “has sex with you” in a way that you do not want them to. And though we have a new, problematic vocabulary for these incidents now, they’re nothing new; this episode recalled Season 3 of Mad Men, when Pete Campbell pressured his neighbor’s German au pair into his apartment and sparked a debate as to whether or not he raped her.
april 2013
How Do You Define Rape?
It was one of the most uncomfortable sex scenes I’ve ever seen. There are a lot of women pointing out that it was hot and sexy, because they like that kind of sex, but the point of the scene was not, “Is domineering sex fun?” The point of the scene was that things happened in bed that left a girl very unhappy. You can argue that sort of sex is fun, easily, but you can’t argue that it was fun for this girl in this context. There is no doubt in any viewer’s mind about that.
april 2013
On Girls, Adam, Rape, and Consent
These ideas of manipulation and consent, of agency and victimization, are Girls' calling card. It's Hannah pitifully, tragically, agonizingly jamming Q-tips in her ears, or Shosh discovering that Ray has moved in with her without asking. Girls thrives in that scary area bounded by what we say we want, what we actually want, and what we want people to think we want. In lighthearted episodes, that triangulation leaves us wondering why Ray is so focused on certain cuts of jeans. In darker episodes, we're left to wonder if one of our favorite characters is actually a rapist.
april 2013
Lena Dunham's 'Girls': Still Sex, Still The City, Different Show
Of course, it's not HBO's first time out with an ensemble show about four women in New York, and as Dunham tells weekends on All Things Considered guest host Laura Sullivan, the shows are very different in tone and content, but there's a relationship nevertheless. "Not only because [Sex and the City] carved the space for women in television that it did, but because the girls this show is about probably moved to New York three-quarters because they watched a Sex and the City marathon and thought, like, 'I want me a piece of that.' "
april 2013
Lena Dunham Addresses Criticism Aimed At 'Girls'
"I wrote the first season primarily by myself, and I co-wrote a few episodes. But I am a half-Jew, half-WASP, and I wrote two Jews and two WASPs. Something I wanted to avoid was tokenism in casting. If I had one of the four girls, if, for example, she was African-American, I feel like — not that the experience of an African-American girl and a white girl are drastically different, but there has to be specificity to that experience [that] I wasn't able to speak to. I really wrote the show from a gut-level place, and each character was a piece of me or based on someone close to me. And only later did I realize that it was four white girls. As much as I can say it was an accident, it was only later as the criticism came out, I thought, 'I hear this and I want to respond to it.' And this is a hard issue to speak to because all I want to do is sound sensitive and not say anything that will horrify anyone or make them feel more isolated, but I did write something that was super-specific to my experience, and I always want to avoid rendering an experience I can't speak to accurately."
april 2013
Third Wave Feminism and the Need to Reweave the Nature/Culture Duality
JSTOR: NWSA Journal, Vol. 16, No. 3 (Autumn, 2004), pp. 154-179
april 2013
20Q with Lena Dunham
Dunham: My goal is to have a sexual verisimilitude that has heretofore not been seen on television. I did it because I felt that the depictions of sex I had seen on television weren’t totally fair to young women trying to wrap their brains around this stuff. I didn’t do it to be provocative. I did it to be educational. Personally, I’ve been lucky enough not to date the Porn Guy. There have been weirdos, but not him. I think you can identify the porny guys early on, based on their behavior: They try to force you into unnatural cinematic sexual positions, or they just seem to have learned a lot of their moves from people who do sex acts for a living. A quick check of their browser history will reveal all you need to know.
april 2013
Lena Dunham 'Girls' is White Girl Feminism At Its Worst
That’s the problem with white girl feminism. It is the belief that showing smart intelligent white women is somehow enough — that it should be applauded; that women everywhere should be proud that these types of characters are even on TV at all; that all women should be happy that there is a show based around intelligent college educated women. But that’s not enough for me.
april 2013
Girls,” “Enlightened,” and the Comedy of Cruelty
“Girls” has been attacked, and lauded, and exploited as S.E.O. link bait, and served up as the lead for style-trend pieces, to the point of exhaustion. The authors of these analyses have often fretted over privilege: the show is too white, Hannah’s a spoiled brat, or a bad role model for Millennials, or too fat to qualify to have sex on cable television. But when there’s a tiny aperture for women’s stories—and a presumption that men won’t watch them—when almost no women are Hollywood directors, when few women write TV shows, of course it’s the privileged ones who get traction. These artists have what Dunham has referred to as Hannah’s Unsinkable Molly Brown force. (Molly Brown, after all, was a mouthy rich woman who survived the Titanic.) To me, the whiteness of “Girls” is realistic, although the show is slyer and clearer about class than about race. But, as Ta-Nehisi Coates wrote recently in The Atlantic, “the problem isn’t the Lena Dunham show about a narrow world. The problem is that there aren’t more narrow worlds on screen. Broader is not synonymous with better.”
april 2013
Caitlin Moran: Women have won nothing
“I broke my own first rule: Be Polite. But I was frankly offended that this woman thought me and Lena Dunham were somehow conspiring in some undefined racist plot, simply by telling our stories about slightly overweight spotty girls just trying to get on in the world, and tell a few jokes about our thighs. I’m not going to wank on about the ethnic mix of my friends and, indeed, family, but I found that first tweet presumptuous, rude, and about the worst thing you could accuse anyone of. I’m bemused by the notion that there should be rules in story-telling that mean you should have to tell everyone’s story, all the time. Clearly that’s not the case. No one’s ever done it, and no one ever will. I wrote ‘How to Be A Woman,’ not ‘How to Be ALL Women.’ I would never presume to speak for 3.3 billion women. There is no ‘one voice of feminism.’ There is no ‘one voice’ of anything. We need whole gangs of girls, hundreds of them, thousands of them, all speaking for themselves about their experiences and their truths and their missions. If a woman of color was allowed to make show as funny and honest and daring as Dunham’s — wandering around slightly overweight, naked, spreckled with acne, and talking about abortion, I’d be pitching a fucking massive feature on that to the Times, too. And I wouldn’t ask that writer why there were no white characters in it, just like I didn’t ask Dunham why there were no people of color in ‘Girls.’ I think it’s as dumb as asking ABBA, ‘Why aren’t one of you black?’”
march 2013
you got love, you ain't lonely
Eric ignores that, obviously, and raises his eyebrows. “Well.” Always so long-suffering, Forman. “I means I’m the last man in our little gang who hasn’t been wrapped around Jackie Burkhart’s little finger.” He twirls his finger to demonstrate, and pokes Hyde in the shoulder on the last words. He’s grinning, all pleased with himself, so Hyde elbows him as hard as he can and rolls his eyes.

“I’m not wrapped around anyone’s fingers, okay? Definitely not Jackie’s.”

“Uh huh. Right.” Eric pats his shoulder, lets his hand stay and grips tight, all mocking sympathy. “Hey, whatever you have to tell yourself.”
ship:hyde/jackie  tv:that70sshow  length:oneshot 
march 2013
Did “Girls” Romanticize a Rapist?
In spite of Girls many shortcomings, I was extremely thankful to see these unspoken realities of sexual violence actually depicted in a way that felt genuine. But my gratitude turned out to be short-lived; by the end of episode 10, Adam was a romantic hero, and any hope I had of Girls making a powerful statement about rape and rapists had been dashed.
march 2013
Girls Episode 9, Season 2: Tackling Sexual Politics Like No One Before
Something really fucking important happened in last night's episode of Girls. Women have been dealing forever with the parameters of rape -- what constitutes it, what validates it, and what makes a rape a rape.

The reason date rape happens so often, and goes unreported, is because sexual activity can quickly get weird and women are at times prone to blaming themselves for allowing intimacy go too far. 
march 2013
Why fiction is good for you
This research consistently shows that fiction does mold us. The more deeply we are cast under a story’s spell, the more potent its influence. In fact, fiction seems to be more effective at changing beliefs than nonfiction, which is designed to persuade through argument and evidence. Studies show that when we read nonfiction, we read with our shields up. We are critical and skeptical. But when we are absorbed in a story, we drop our intellectual guard. We are moved emotionally, and this seems to make us rubbery and easy to shape.

But perhaps the most impressive finding is just how fiction shapes us: mainly for the better, not for the worse. Fiction enhances our ability to understand other people; it promotes a deep morality that cuts across religious and political creeds. More peculiarly, fiction’s happy endings seem to warp our sense of reality. They make us believe in a lie: that the world is more just than it actually is. But believing that lie has important effects for society — and it may even help explain why humans tell stories in the first place.
march 2013
Call-Out Culture, Girl Hate, And Being A YouTube Celebrity: An Interview With Franchesca Ramsey
I think that having to admit the things that Lena Dunham is doing or saying wrong also means looking at those things in yourself, and no one wants to do that. So it’s easier to defend her in saying that, if you criticize her, it’s because you have a problem with women. It’s the painless way out. And yes, a lot of people have gone in on her, but that’s because for months leading up to the show, they hyped it up so much as the show that was going to change everything. And personally speaking, I don’t think it’s lived up to any of its expectations. I don’t think that it’s nearly as funny as people have been saying, or as different. But again, it’s not a criticism you can make because it is “un-feminist” to make any judgments on it.
march 2013
The State of the 'Girls' Debate Is Good
Hannah, ridiculously, turns Sandy's accusations around him, saying he was fetishizing her for being white, and claiming that she never thought about the fact that he was black, even though she had mentioned just that, mere minutes earlier. In that moment, Hannah is everything everyone said Lena Dunham was. And—boom—the argument ended. 
march 2013
Feminism and Flawed Women in Lena Dunham’s “Girls”
Despite its lack of a serious class and race consciousness, Girls does address other feminist issues currently in play, among them body image, abortion, relationships within a social media age and street harassment. In another series, these issues might be the focus of one episode (i.e. the abortion episode of SATC), but in Girls they become everyday topics.
february 2013
The Nerve of Lena Dunham
Commentators all over the blogosphere have been criticizing the show for its out-of-date, exclusive white cast, especially given that it is set in a city—Brooklyn, my city—that is only one third white. And even more illogically, the actors are representing young liberals, even liberal arts majors. This is not Archie Bunker with all white friends in Queens, but middle class Jews and Wasps in Greenpoint.

Yet perhaps this in itself is part of what makes this show nervy. The truth is that even in 2012 many middle class whites—even liberal arts majors—live in social worlds that are all white or nearly so. Even young city dwellers can create networks of friends and lovers that have less race and class than gender and sexual integration. Dunham is showing it like it is.
february 2013
The F Word: College Students' Definitions of a Feminist
JSTOR: Sociological Forum, Vol. 23, No. 2 (Jun., 2008), pp. 234-256
february 2013
The Myth of Post-Feminism
JSTOR: Gender and Society, Vol. 17, No. 6 (Dec., 2003), pp. 878-902
february 2013
Culture and Stigma: Popular Culture and the Case of Comic Books
JSTOR: Sociological Forum, Vol. 21, No. 3 (Sep., 2006), pp. 387-414
february 2013
Collective Identity & Social Movements
JSTOR: Annual Review of Sociology, Vol. 27 (2001), pp. 283-305
february 2013
Reflections on Gender and Technology Studies: In What State is the Art?
JSTOR: Social Studies of Science, Vol. 30, No. 3 (Jun., 2000), pp. 447-464
february 2013
Culture & Cognition
JSTOR: Annual Review of Sociology, Vol. 23 (1997), pp. 263-287
february 2013
Nancy Reagan Wears a Hat: Feminism and Its Cultural Consensus
JSTOR: Critical Inquiry, Vol. 14, No. 2 (Winter, 1988), pp. 223-243
february 2013
"Where, by the Way, Is This Train Going?": A Case for (Re)Framing Black Cultural Studies
JSTOR: The Journal of the Midwest Modern Language Association, Vol. 27, No. 1 (Spring, 1994), pp. 42-50
february 2013
Pre-Postmodernism: Academic Feminism and the Kitchen Sink
JSTOR: The Journal of the Midwest Modern Language Association, Vol. 27, No. 1 (Spring, 1994), pp. 4-25
february 2013
Gangster Feminism: The Feminist Cultural Work of HBO's "The Sopranos"
JSTOR: Feminist Studies, Vol. 33, No. 2 (Summer, 2007), pp. 269-296
february 2013
Feminism and Cultural Studies
JSTOR: The Journal of the Midwest Modern Language Association, Vol. 24, No. 1 (Spring, 1991), pp. 50-73
february 2013
A Conversation on Recent Feminist Art Practices
JSTOR: October, Vol. 71 (Winter, 1995), pp. 49-69
february 2013
‘Girls’ and the new feminism (a reply)
What my generation can bring to the table is a new conversation about the ways in which female understandings of success can shape and change our world for the better. It’s not about being the CEO of a bank; it’s about living a good, fulfilled life, doing worthwhile and meaningful work— whether outside or inside the home.
february 2013
Why I'm Deeply Skeptical of HBO's Super-Hyped Show 'Girls'
And I’m afraid that "Girls" will fulfill all my fears, and that it also really will become “the voice of a generation,” and that once again young women will be cornered into a concept that is only representative of one strata — a strata that, economically and racially, frankly isn’t all that different from “Sex and the City.”
february 2013
HBO’s ‘Girls’: Where feminism failed
Lena Dunham’s HBO series, “Girls,” has been called the voice of the generation. But I can’t help wondering: What generation is she addressing? My generation of women changed the world in the 1970s. To judge from “Girls,” not much has changed since then.
february 2013
The Thing About All These New TV Shows About Girls
We’re teaching each other the truth about real women, and that education is helping to eliminate a lot of the crap we learned growing up. Regardless of what you might have heard, it’s actually a really great time to be a girl.
february 2013
Is 'Girls' on HBO the Next Great Feminist TV Show?
But maybe that statement in itself signifies a small step forward for feminism. Neither gender corners the market on embarrassing situations. So...hooray for equal opportunity humiliation?
february 2013
Questions of Feminism: 25 Responses
JSTOR: October, Vol. 71 (Winter, 1995), pp. 5-48
february 2013
The Number One Question About Feminism
JSTOR: Feminist Studies, Vol. 29, No. 2 (Summer, 2003), pp. 448-452
february 2013
Fine Arts and Feminism: The Awakening Consciousness
JSTOR: Feminist Studies, Vol. 2, No. 1 (1974), pp. 3-37
february 2013
with a decent happiness
He plucked the card out of the top of the arrangement. ‘STARK INDUSTRIES’ was written across the top of the thick, crisp paper. Underneath that, there was a brief handwritten message.

Sorry about the vomit. - Tony

Steve stared at the note for several seconds. He turned it over a couple of times, half expecting for more words to appear, or for it suddenly to make sense. Yet no matter how many times Steve read those four words they continued to not make sense.
movie:avengers  ship:steve/tony  length:oneshot 
january 2013
Solve For X
Perhaps it’s because he doesn’t fully understand her. Operative word: Fully. Of course he knows what Watson will do most of the time; of course he’s always a few steps ahead. Unlike most people, however, she retains a little mystery even upon a deep acquaintance. That’s refreshing. 
tv:elementary  ship:sherlock/joan  length:oneshot 
january 2013
What Happens in Miami
Dan stared at the ceiling and tried to asphyxiate himself with the power of his mind.
ship:dan/amy  tv:veep  length:oneshot 
december 2012
I'm an Optimist (You're a Clean Slate, Baby)
"Good shrimp," he says when he approaches. He holds up a half-eaten pink curl perched on a toothpick, wrapped in bacon. She gives him a curious, bemused smile that makes his throat go dry. Still, he keeps talking. "I think I saw you in something once. About a horse. It was good."

"Who was better? Me or the horse?"

He barks a laugh and a bit of bacon feels lodged in his throat.

"You were great." She's got to be seventeen, tops, he thinks. Maybe eighteen. Way too young for the things he'd like to do after he takes off those dirty kicks. "You're gonna be famous in a minute."

She reaches down and grabs a pair of fancier shoes—silver pumps that probably pinch like hell. "I knew it; the horse was better."
ship:jeremy/scarlett  rpf:avengers  length:oneshot 
december 2012
High Up Above Or Down Below
Jim and Maggie got married in the spring. No one fucking cared.
ship:don/sloan  length:oneshot  tv:thenewsroom  writtenforme! 
december 2012
Winner of Cards I Cannot Play
The stars in her eyes shot across her face that night as she dreamt - of Sasha, of making Sasha proud of her with a brilliant new routine - with an innovative twist on a move, to be called the Keeler for future generations of gymnasts, of Sasha kissing her the way she saw people kiss in the movies.

She made the same, silent wish on every star.
tv:miobi  ship:sasha/payson  length:oneshot 
december 2012
In Sickness and Health
Tired though she was, she was out of bed at once. She'd always been good at nursing, but she wasn't at all used to being sick herself, and meant to fix things quickly if she could. Thankfully she and Friedrich were sensible, and they'd had the foresight to stock a medicine cabinet. She knew that some couples (not to mention Amy and Laurie...) didn't think of such things until they had reason to be sorry for forgetting them.
book:littlewomen  ship:bhaer/jo  length:oneshot 
december 2012
Say It Clear
She knew that after the battle, Duke Hammond had offered Eric a reward, told him to name his price, and that Eric had politely refused him. He had refused the reward and stayed here at her request—she knew his loyalty, somewhere deep in her bones that she didn't look at too closely.

It humbled her, and she wanted, so badly, to be worthy of that, to find a way to give thanks to him for what he'd done for her.

And in the end, Snow had realized the only way to do that was to give him a choice, a real one, no matter how badly she might want him to stay.
film:swath  ship:hunstman/snowwhite  length:oneshot 
december 2012
One Hand On the Trigger of a Telephone
“Taaaaake my nuuuuuumber, Fat Amy. You know you want to.”

“Ohhhh, I’ve got your number.”

And she doesn’t mean his phone number.
ship:bumper/fatamy  film:pitchperfect  length:oneshot  writtenforme! 
december 2012
Some Dynamic Elements of Contests for the Presidency
JSTOR: The American Political Science Review, Vol. 60, No. 1 (Mar., 1966), pp. 19-28
november 2012
Effects of Public Opinion on Policy
JSTOR: The American Political Science Review, Vol. 77, No. 1 (Mar., 1983), pp. 175-190
november 2012
The Means and Ends of Foreign Policy as Determinants of Presidential Support
JSTOR: American Journal of Political Science, Vol. 31, No. 2 (May, 1987), pp. 236-258
november 2012
The President's Public
JSTOR: American Journal of Political Science, Vol. 32, No. 4 (Nov., 1988), pp. 1096-1119
november 2012
JSTOR: The Journal of Conflict Resolution, Vol. 37, No. 2 (Jun., 1993), pp. 277-300
JSTOR: The Journal of Conflict Resolution, Vol. 37, No. 2 (Jun., 1993), pp. 277-300
november 2012
Mission Accomplished: The Wartime Election of 2004
JSTOR: Political Behavior, Vol. 29, No. 2 (Jun., 2007), pp. 175-195
november 2012
Changing Horses in Wartime? The 2004 Presidential Election
JSTOR: Political Behavior, Vol. 29, No. 2 (Jun., 2007), pp. 279-304
november 2012
Controlling the Sword: The Democratic Governance of National Security (Review)
JSTOR: The Journal of Politics, Vol. 53, No. 4 (Nov., 1991), pp. 1215-1217
november 2012
Election Cycles and War
JSTOR: The Journal of Conflict Resolution, Vol. 35, No. 2 (Jun., 1991), pp. 212-244
november 2012
The President and the Political Use of Force
JSTOR: The American Political Science Review, Vol. 80, No. 2 (Jun., 1986), pp. 541-566
november 2012
The Guns of November: Presidential Reelections and the Use of Force, 1947-1982
JSTOR: The Journal of Conflict Resolution, Vol. 28, No. 2 (Jun., 1984), pp. 231-246
november 2012
The Decision to Attack Iraq: A Noncompensatory Theory of Decision Making
JSTOR: The Journal of Conflict Resolution, Vol. 37, No. 4 (Dec., 1993), pp. 595-618
november 2012
The Influence of Domestic and International Politics on the President's Use of Force
JSTOR: The Journal of Conflict Resolution, Vol. 35, No. 2 (Jun., 1991), pp. 307-332
november 2012
Changing Horses in Wartime? The 2004 Presidential Election
JSTOR: Political Behavior, Vol. 29, No. 2 (Jun., 2007), pp. 279-304
october 2012
October Missiles and November Elections: The Cuban Missile Crisis and American Politics, 1962
JSTOR: The Journal of American History, Vol. 73, No. 1 (Jun., 1986), pp. 87-119
october 2012
Amanpour: How Obama and Romney see Iran’s nuclear ambition
Amanpour: How Obama and Romney see Iran’s nuclear ambition
october 2012
Presidential Responses to Foreign Policy Crises: Rational Choice and Domestic Politics
JSTOR: The Journal of Conflict Resolution, Vol. 40, No. 1 (Mar., 1996), pp. 68-97
october 2012
Variability in Electoral Behavior: The 1960, 1968, and 1976 Elections
JSTOR: American Journal of Political Science, Vol. 24, No. 3 (Aug., 1980), pp. 553-558
october 2012
Foreign Affairs and Issue Voting: Do Presidential Candidates "Waltz Before A Blind Audience?"
JSTOR: The American Political Science Review, Vol. 83, No. 1 (Mar., 1989), pp. 123-141
october 2012
Influencing the Decision Makers: The Vietnam Experience
JSTOR: Journal of Peace Research, Vol. 24, No. 2 (Jun., 1987), pp. 185-198
october 2012
The War at Home: Antiwar Protests and Congressional Voting, 1965 to 1973
JSTOR: American Sociological Review, Vol. 67, No. 5 (Oct., 2002), pp. 696-721
october 2012
Running on Iraq or Running from Iraq? Conditional Issue Ownership in the 2006 Midterm Elections
JSTOR: Political Research Quarterly, Vol. 62, No. 2 (Jun., 2009), pp. 230-243
october 2012
Fear in the Voting Booth: The 2004 Presidential Election
JSTOR: Political Behavior, Vol. 29, No. 2 (Jun., 2007), pp. 197-220
october 2012
Stay With the One Who Wants You
Being Over There (or Over Here, as he's come to think of it now) doesn’t go quite as Lincoln'd planned. 

Not that he'd actually planned on permanently relocating – it'd been more of a spontaneous leap of faith that the hole left by Captain Lee would be more or less Lincoln-shaped. 

It wasn't.
ship:lincoln/olivia  length:oneshot  tv:fringe 
october 2012
an he were, I would burn my study
Benedick's eyes hold hers as he says, "I leave you."  

 

She answers, "I am left."
book:maan  ship:benedict/beatrice  length:oneshot 
september 2012
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