Harry, Elitrea, and Silas, 1996 by Chloe Sherman
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let's talk about Bridgerton tea, my ask is open
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art blog(derogatory)

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if i look back, i am lost

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Harry, Elitrea, and Silas, 1996 by Chloe Sherman

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“Much of what is labeled psychiatric disease is grief that has never been expressed or properly felt, or validated. If we have unexplored trauma, then it’s likely we have unexplored grief too. Some of us need to begin a grieving process that never started in order to heal. Some of us have a life-time of grief that needs to be allowed and experienced. We can choose to challenge our culture’s fear of grief and the dark emotions and begin to heal and turn it around. Grief is subversive, undermining the quiet agreement to behave and be in control of our emotions. It is an act of protest that declares our refusal to live numb and small. There is something feral about grief, something essentially outside the ordained and sanctioned behaviors of our culture. Because of that, grief is necessary to the vitality of the soul. Contrary to our fears, grief is suffused with life-force. It is riddled with energy, an acknowledgment of the erotic coupling with another soul, whether human, animal, plant or ecosystem. It is not a state of deadness or emotional flatness. Grief is alive, wild, untamed and cannot be domesticated. It resists the demands to remain passive and still. We move in jangled, unsettled and riotous ways when grief takes hold of us. It is truly an emotion that rises from soul. – by Francis Weller, from Entering the Healing Ground: Grief, Ritual and the Soul of the World Grief, like all the other difficult and/or dark emotions often gets pathologized, but it is an important part of life, without which we would not be human. Grief need not be pathologized even if it takes a long time.”
— Monica Cassani, Grief is subversive
Nicko Cecchini (Canadian, d.o.b. unknown) - Castle Walls Lead Me to Despair (2026)
my names sweetie 3000 because the last 2999 sweeties were all destroyed
Hey look it’s your boyfriend

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Centurions, 1971 🖤
I'm obsessed with this new collection of Abodi transylvania!! Photographed by Szilveszter Makó another huge new obsession mine.
Motorcycle Psychosis - Simon Angel
With Rachel Sweeney
Photography, 2026
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I feel like a lot of people get "All Art is Political" confused with "All Art is made with Political Intentions" which is not the same.
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richard siken
really a good tool for any aspiring critic or creator to develop is the ability to ask yourself - and answer honestly! - whether your disdain for something comes from a place of (perceived) wasted potential or bitter anger that anyone else dared to create something less than perfect while you were too paralysed by dissatisfaction to even attempt to do so yourself. because if it's the latter, then you'll save yourself a lot of time and stress in the long run if you start to recognise just how much of what's holding you back is your own insecurity.
Hello bisexual community
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My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.

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plato's cave: the video game