2026
I CAN DO WHAT I WANT
ANYONE WHO LOVES ME DOESNT CARE WHAT I DO
CONSISTENCY OVER PERFECTION
DISCIPLINE AND PATIENCE WILL SERVE ME WELL
d e v o n
KIROKAZE
he wasn't even looking at me and he found me

Sade Olutola
dirt enthusiast
Misplaced Lens Cap
ojovivo
YOU ARE THE REASON

Janaina Medeiros

@theartofmadeline
Today's Document
tumblr dot com

🪼
styofa doing anything
2025 on Tumblr: Trends That Defined the Year
"I'm Dorothy Gale from Kansas"

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@godspetdog
2026
I CAN DO WHAT I WANT
ANYONE WHO LOVES ME DOESNT CARE WHAT I DO
CONSISTENCY OVER PERFECTION
DISCIPLINE AND PATIENCE WILL SERVE ME WELL

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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V Magazine Summer 2007 - Freja Beha Erichsen by Mario Sorrenti
the banshees of inisherin (2022) dir. martin mcdonagh
From Aeschylus’ Agamemnon, trans. Anne Carson
And then you had that dream again.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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AMERICAN PSYCHO (2000) Dir. Mary Harron
you can have multiple most gorgeous looking women giving performance of their lifetime in a movie or show yet people will still come out obsessing & wanting to fuck a white man with the personality of a wet cardboard
oh because we were all wondering
Ruth Robbins, illustrations from the first edition of Ursula K. Le Guin's A Wizard of Earthsea (1968)
FRANKENSTEIN (2025) dir. Guillermo del Toro
saw these dogs on my evening walk

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Caroline Polachek for EVADE
Minami Gessel
Ginger Snaps (2000)
(Manet’s Bar at the Folies-Bergere (Getty Center Exhibitions)から)
[…] the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick—the man stands outside the painter’s field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her. The barmaid’s frontality is also deceptive. Rather than standing parallel to the bar and looking straight ahead, she stands slightly askance, facing the offset viewpoint.
Most ironically, the reflected edge of the bar, which in an offset view would tilt more acutely to the right, is revealed to be a visual decoy, leading us to believe that the vanishing point lies directly behind the barmaid. Thus, the paintings most obvious perspectival clue turns out to be its most subversive perspectival violation.
From Getty Center article

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laetitia casta for jean paul gaultier spring couture 1997
Mazelle Spring 2023 backstage
Ph. Victor Edeh