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Franny Choi, from “Catastrophe is Next to Godliness”

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xanaxfarts

bouquets behind foggy glass is a photo style i will never get tired of

ariaiscursed

cocotropic2

I believe so

banksalec

unffriendeed-deactivated2023032

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pi-la

sulfatto-deactivated20241018

allwolfpack-deactivated20260402

stuckinapril

today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern today I’m going to break the pattern

reaking-havoc

joy-misery

Guilty

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normasshearer

FILM NOIR WOMEN WITH GUNS (pt. 1 & pt. 2)

Barbara Stanwyck, Double Indemnity (1944) dir. Billy Wilder Teresa Wright, Pursued (1947) dir. Raoul Walsh Rita Hayworth, The Lady from Shanghai (1947) dir. Orson Welles Jane Greer, The Big Steal (1949) dir. Don Siegel Joan Leslie, Repeat Performance (1947) dir. Alfred L. Werker Joan Crawford, Flamingo Road (1949) dir. Michael Curtiz Lizabeth Scott, Too Late for Tears (1949) dir. Byron Haskin Gloria Grahame, The Big Heat (1953) dir. Fritz Lang

whiskeysexandliess

kii-tty

janasojka

Moon landscapes, spring.

s0larize

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petaltexturedskies

Emily Dickinson in a letter to Adelaide Hills wr. c. Spring 1871

oldwinesoul

“I had learned early to assume something dark and lethal hidden at the heart of anything I loved. When I couldn't find it, I responded, bewildered and wary, in the only way 1 knew how: by planting it there myself.”

// Tana French, In The Woods

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