we're just bad code

KILLING EVE SEASON 4 TRAILER

excerpt from who cares if it’s a choice? snappy answers to 101 nosy, intrusive, and highly personal questions about lesbians and gays by ellen orleans, june 1994

eiza gonzález, an intellectual: marla, i don’t want you to get shot in the head and i don’t want to get shot in the head either.

Rosamund Pike and Eiza González as Marla and Fran in I Care A Lot (2020)

I’m a lioness. And I will do whatever I need to do to protect the people I care about.

SHELBY AND TONI in THE WILDS (2020)

#they’re back bitches

for @tsjernobyl ♥

Maybe It’s a WLW Thing: 6/? ↳ Kieutou, Crisana, & Mayla + Apology make outs

AMMONITE (2020) dir. Francis Lee

HAPPIEST SEASON (2020)

Kristen Stewart really out here living my lesbian fantasy.

- Painting Love: Céline Sciamma Reveals Her Philosophy of Love in Portrait of a Lady on Fire

Central to the film is a reclamation of the Orpheus myth, a version of which the three young women read aloud together one night. Sophie registers distress at Orpheus’s fatal, selfish incompetence in looking back at Eurydice when he was told not to, and Marianne suggests he may have done it on purpose, preferring to lose the woman and savor, instead, the romance of his grief, making not “the lover’s choice, but the poet’s.” But it’s Héloïse who removes, for once, the fixation on Orpheus, his failings, and his loss. What if, she says to Marianne with an edge of defiance, it was Eurydice herself who chose art over staying together, who rather than leave the underworld with Orpheus, stopped and called out “Turn around,” preferring to remain down there and be preserved in poetry. A kind of freedom and a kind of permanence, rather than, as eighteenth-century marriage looks to be, an unwilling exchange of one for the other. —  In Portrait of a Lady on Fire, Love is a Work of Art

sappho fragment 80 (l-p 126)