letty lynton (1932) dir. clarence brown

Jimmy Eat World
"I'm Dorothy Gale from Kansas"

if i look back, i am lost
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noise dept.

oozey mess
Today's Document
Cosmic Funnies

❣ Chile in a Photography ❣
Noah Kahan

Discoholic 🪩
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gracie abrams
Claire Keane
almost home
YOU ARE THE REASON
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letty lynton (1932) dir. clarence brown

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Your maternal grandfather:
Fuck that dude
Meh (leaning negative)
Meh (leaning positive)
Love that dude
I don't know her
Another nuance
Your paternal grandfather
Fuck that dude
Meh (leaning negative)
Meh (leaning positive)
Love that dude
I don't know her
Another nuance
and a quick silna study
The Tenant of Wildfell Hall (1996)
for me personally‚ the flashlight in the museum (that Armand had stolen from the guard) represented her hope/dream (to be seen, to belong, to find home)‚ happiness (Madeleine)‚ and Claudia herself.

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“Though you hold me in your arms tonight Will tomorrow bring the same delight? Though we love each other How long will it last?
(...)
No love go past With you happiness and bliss appear All my troubles seem to disappear Yet my constant fear is How long will it last?” Joan Crawford performance in POSSESSED (1931), dir. Clarence Brown
Presence of Mind (1999)
Haley Dortch as Fantine and Enjolras (Hudson Valley Shakespeare, first preview)
The Passing of the Third Floor Back (1935) dir. Berthold Viertel

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Toby Stephens as Gilbert Markham in THE TENANT OF WILDFELL HALL Part I.
You don't like my music, maître. Well, it's not me - it's my hands. But I don't have my letter opener. I think my music will improve once I find my letter opener.
Joseph Potter as Nicolas de Lenfent (AMC's The Vampire Lestat)
louis xvi just before being beheaded saying "notre ancien régime est en train de s'effondrer"
I have to become more. People need hope. I try to make the best choices that I can.
THE BATMAN (2022) SUPERMAN (2025)
In the Silence of the Green Garden, 2024. Bat Ella. Acrylic, oil and pigments on canvas.

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When he is under the exciting influence of these excesses, he sometimes fires up and attempts to play the brute; and then I take little pains to suppress my scorn and disgust: when he is under the depressing influence of the after consequences, he bemoans his sufferings and his errors, and charges them both upon me; he knows such indulgence injures his health, and does him more harm than good; but he says I drive him to it by my unnatural, unwomanly conduct; it will be the ruin of him in the end, but it is all my fault;—and then, I am roused to defend myself—sometimes, with bitter recrimination. This is a kind of injustice I cannot patiently endure. Have I not laboured long and hard to save him from this very vice? Would I not labour still, to deliver him from it, if I could? But could I do so by fawning upon him and caressing him when I know that he scorns me? Is it my fault that I have lost my influence with him, or that he has forfeited every claim to regard? And should I seek a reconciliation with him, when I feel that I abhor him, and that he despises me?—and while he continues still to correspond with Lady Lowborough, as I know he does? No, never, never, never!—he may drink himself dead, but it is NOT my fault!
the tenant of wildfell hall, anne brontë (1848)
I think your book is right. The desert is an ocean in which no oar is dipped. LAWRENCE OF ARABIA (1962)