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Aqua Utopia|海の底で記憶を紡ぐ
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Love Begins
One Nice Bug Per Day

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shark vs the universe

Product Placement
Monterey Bay Aquarium
taylor price
Claire Keane
Peter Solarz

Origami Around
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$LAYYYTER

❣ Chile in a Photography ❣
Game of Thrones Daily
let's talk about Bridgerton tea, my ask is open
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@bloomsberries

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Part 2 of 2. Fina finds Marta having the saddest coffee date with herself. Marta’s in a funk. Everything’s going wrong. The factory closing. Fina. Fina apologizes again, she tries to explain herself, but Marta’s still too deep in her feelings. We know this because she says things like “what did I do to not deserve your love anymore?” That’s someone who is spiraling. When Fina tells her she’s leaving the house, Marta assumes she’ll go back to Argentina but Fina says no, I’m staying in Toledo to be near you. But also: she’ll do things on her own. Get her own job, her own apartment with her own money. I thought we were a team, Marta says. Fina says she sees it that way but Marta isn’t so sure. You’ve changed a lot, she says. (We both have.) Look at you. Mírate. And now we know why she hadn’t said anything about Fina’s new look, maybe. She also asks whether Fina will be able to forget Bianca and Fina says yes. She calls Marta the center of her life. By the end of it, Fina calls herself a miserable something we all know isn’t true. So everyone is in their feelings. In the preview: Marta tells her she’s not sure she can get over knowing Fina could feel for someone else the same thing she once felt for her… (I don’t think Fina agrees this is true.)
After today’s episode—and the seemingly discordant way some of us have viewed Fina’s behavior—I come back to this scene. A highly emotional scene that takes place after Marta finds out that Fina lied about having broken up with Bianca before she left Argentina. They’re both extremely vulnerable here, but what I see more than anything is Fina’s immediate jump to self blame, to call herself “una miserable.” And I wonder if her new defensive posture—her armor—comes from the deep wound she hasn’t wanted to talk about (except, to a certain degree, with Digna). Marta hears Buenos Aires and she thinks about this new woman, this new life, this new posture Fina has taken on. But Fina is still thinking of the horrible situation she was in, a situation barely alluded to with Marta. And Marta knows it was hard for Fina to leave, but Fina still has the exact degree of the horrors she faced tucked deep inside of herself. She has come back defensive, combative, slightly aloof. We see her old self in glimpses, sometimes entire scenes, but when she is confronted with the changes that have taken place within herself she frames them in terms of independence, self-possession, professional aspirations. Not: deep deep trauma. So when I say that Fina isn’t displaying the type of empathy she used to, this isn’t a knock on her (and it isn’t a way of excusing Marta’s tendency for self-absorption), but it’s to say: hey, yes, this person is different and things are weird, there’s something more here and I can’t wait to find out more.
SERAFINA VALERO — sueños de libertad | eps. 189, 209, 223, 234, 260, 265, 269, 272.
Love women who love the brine of life...Pickles, Olives, pickled jalapeños, sun-dried tomatoes, pickled ginger, pepperoncini, kimchi, pickled red onions
"stress" by yoan capote - made of bronze and concrete

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is this blog stupid? yes. but which one of us is following it?
Like I know I’d feels awkward to write but when I’m reading a fic I don’t notice if an author is using the characters names too many times too close together. That’s their name! on the other hand if I ever have to read “the blond” I’m closing the tab. The only time it’s ever acceptable to use epithets like that is when the characters don’t know each others names yet
#200 is going to be the most self indulgent thing I’ve ever written and I don’t care — it’s 200, baaaaby
Marta and Fina meet up, but Fina walks in twenty minutes late because she’s been buying fabric for some couch cushions. Marta is displeased. Theyre both defensive. Fina asks whether Marta doesn’t like that she has her own life, that she’s independent, with a job. What don’t you like, Marta? And Marta’s response is simple: I like it all, but I want some support during a trying time. There’s some back and forth about it, and Fina says the only reason she has stayed in Toledo is to be with Marta, who is the love of her life. And if she needs more, she should I ask for it, and Fina will give it to her not because it was asked for but because Fina wants to give it to her. It’s an interesting response. (The words are right, but the tone is slightly chilly throughout.)
Cloe gives Marta and Andrés the good news that the French chemical company is indeed interested in buying the de la Reina’s industrial.
In the preview, Marta takes a phone call from a certain someone whose name is said with not an insignificant amount of bitterness.
me when I start to reread rs and im like ooh this is compelling

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Tjalf Sparnaay - Kiezen voor Knikkers (2012)
David Hockney (British, born 1937)
Kate O'Flynn as Patricia
“Your Baggage” | Widow’s Bay 1x08
These surrealists who made the early films were shooting in the dark, they were feeling their way. But they've left behind a sign on a door that said: once this door is opened, in the future, it will make a way for a brand new kind of film. I'm very happy to be a fellow traveler with any of these guys. David Lynch in Arena - Ruth, Roses and Revolver (Feb 20 1987)
Marta and Andrés have a heart to heart about his situation with Valentina. Cloe admits that she never had a date, she was just trying to distance herself from Marta because she still has feelings for her and she doesn’t think they can ever be friends. In the preview, we see Fina and Marta having another one of these coffees Marta loves so much. This time, Marta tells her there are so many changes happening around her, she wants to believe some things haven’t changed…

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sdl ep. 587
(I hope people are still interested in te escribo even though I haven’t been able to update daily recently)