Good Timesâď¸
sheepfilms
Misplaced Lens Cap
Aqua Utopiaď˝ćľˇăŽĺşă§č¨ćśăç´Ąă

ellievsbear
Three Goblin Art
he wasn't even looking at me and he found me
ojovivo
đŞź
KIROKAZE
Show & Tell
untitled
I'd rather be in outer space đ¸

Love Begins
almost home
occasionally subtle

tannertan36
todays bird
Claire Keane

⣠Chile in a Photography âŁ

#extradirty

seen from TĂźrkiye
seen from Bangladesh
seen from Russia

seen from Indonesia
seen from Russia
seen from Bangladesh
seen from Russia
seen from Australia

seen from TĂźrkiye
seen from TĂźrkiye

seen from Bolivia

seen from United States
seen from Peru

seen from Canada

seen from Portugal

seen from Malaysia

seen from France
seen from Poland
seen from Argentina
seen from Germany
@prettycrappyaesthetics
Good Timesâď¸

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Aziraphale: How do we keep it light and breezy? I know. A comprehensive set of rules.
Crowley: How am I attracted to you? Doesn't matter. I am. Go.
đĽđĽ
Type of energy we need rn
does reigen say trans rights?

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Viking dresses by Savelyeva Ekaterina
Another visual demonstration that historical clothing wasnât dingy and monochrome.
All of these colours can be obtained from vegetable dyes, producing different shades depending on what mordant (colour fixative - alum, different metal filings, different vinegars) was used. See here and here for examples.
BRING THIS FASHION BACK.
Not clothes, but this was a palette developed by the National Museum of Denmark based on paint residue from archaeological finds for the purpose of painting a reconstructed hall.
Apparently, they can tell from the chemical composition that the colours wouldnât be mixed with black or white to mute them, but be used in their brightest form. Bright yellow and red was achieved with expensive dyes (orpiment and cinnabar) and was thus fashionable. (Source in Danish)
JAMES CAGNEY and LORETTA YOUNG in TAXI! (1932) dir. Roy Del Ruth
For every dramatic bitch there is an equal and opposite dramatic bitch
GOOD POST OP
RWBY + Fathers Happy Fatherâs day!
Jacques Schnee does NOT deserve to be in this post
Me, scrolling through Netflix, finding A Monster in Paris:Â âlol look another low budget shitty animated movie, Iâm gonna watch it for shits n giggles.â
Me, hearing Sean lennon sing:Â

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Vanessa Paradis & -M- interprètent La Seine
French: LYRICS: Elle sort de son lit tellement sur d'elle la seine, la seine, la seine tellement jolie elle m'ensorcelle la seine, la seine, la seine extralucide la lune est sur la seine, la seine, la seine tu n'es pas saoul paris est sous la seine, la seine, la seine (refrain) je ne sais, ne sais, ne sais pas pourquoi c'est comme ça,  la seine et moi je ne sais, ne sais, ne sais pas pourquoi c'est comme ça la seine et moi extra lucille quand tu es sur la seine, la seine, la seine extravagante quand l'ange est sur la seine, la seine, la seine (refrain) je ne sais, ne sais, ne sais pas pourquoi c'est comme ça,  la seine et moi je ne sais, ne sais, ne sais pas pourquoi c'est comme ça la seine et moi sur le pont des arts mon coeur vacille entre deux eaux  l'air est si bon cet air si pur je le respire nos reflets perchĂŠs sur ce pont c'est comme ça la seine et moi c'est comme ça la seine et moi c'est comme ça la seine et moi c'est comme ça la seine et moi English: [Vanessa Paradis] Sheâs resplendent, so confident La Seine, La Seine, La Seine I realize Iâm hypnotized La Seine, La Seine, La Seine I hear the moon singing a tune La Seine, La Seine, La Seine Is she devine? Is it the wine? La Seine, La Seine, La Seine [Chorus: Vanessa Paradis] I donât know, donât know, so donât ask me why Thatâs how we are, La Seine and I I donât know, donât know, so donât ask me why Thatâs how we are, La Seine and I [M] I feel alive when Iâm beside La Seine, La Seine, La Seine From this angle like an angel La Seine, La Seine, La Seine [Chorus: Vanessa Paradis & M] I donât know, donât know, so donât ask me why Thatâs how we are,La Seine and I I donât know, donât know, so donât ask me why Thatâs how we are, La Seine and I [Vanessa Paradis [M]] Upon the bridge [My heart does beat] Between the waves [We will be saved] The air we breathe [Can you believe?] Learn to forgive upon the bridge Thatâs how we are, La Seine and I Thatâs how we are, La Seine and I Thatâs how we are, La Seine and I Thatâs how we are, La Seine and I
An appreciation post for movies that I believe donât get the attention they deserve.
Sita Sings the Blues - 2008 (directed/produced/animated by Nina Paley)
The Hindu story of the Ramayana is depicted with four different animation styles and Annette Hanshawâs musical tracks in Paleyâs expression of why the Ramayana is important to her as an individual. The movie is a fresh take by displaying Sitaâs perspective on the story, garnering sympathy for her as she sings about her hardships.Â
Mary and Max - 2009 (directed by Adam Elliot)
Based on a true story. Australian 8-year-old Mary Daisy Dinkle picks a random name from a New York phone book, and sends a letter to that address. It lands in the mailbox of Max Jerry Horowitz, a Jewish-American, middle-aged, obese, autistic man living by himself in his apartment. The movie follows a unique friendship that spans two continents, twenty-two years, and extreme obstacles.Â
Un Monstre a Paris (A Monster In Paris) - 2011 (directed by Bibo Bergeron)
Set in 1910 Paris shortly after the flooding of the River Seine, two men named Emile and Raoul create a monster after mixing chemicals in an absent professorâs botanical garden. The monster causes chaos in Paris, only to be found by cabaret singer Lucille, who discovers his gifted talent for music and allows him to perform with her.Â
The Red Turtle - 2016 (directed by MichaÍl Dudok de Wit)
Using practically no spoken words to convey the entire story, this movie instead uses composition and color to perfectly capture the emotional tone of isolation, and later hope. A nameless man finds himself stranded on a deserted island, but all of his attempts to escape are thwarted by a red sea turtle. When the turtle magically transforms into a beautiful woman, the film becomes a striking representation of what it means to have a family.Â
Ernest et Celestine (Ernest & Celestine) - 2012 (directed by StÊphane Aubier)
Based on a series of French childrenâs books, the bear Ernest and his mouse friend Celestine finally come to the big screen to share a story of taboo friendship in a world where bears live on the surface, and mice dwell underneath in the sewers. A struggling Celestine strikes a deal with a starving Ernest to benefit the both of them, starting a friendship that has to dodge the law in order to survive.
Good Omens - Eden - Behind the Scenes
Excerpt from The Nice and Accurate Good Omens TV Companion:
As assistant director Francesco âCescoâ Reidy points out, such an epic location for the opening scene came at a price. âFilming in those kind of areas is difficult,â he says. âItâs exposed. Itâs very hot, thereâs no shade and you can burn easily. Bringing equipment is also a challenge,â he adds. âEverything had to come in on a fleet of four-wheel-drive jeeps or tractor-type vehicles, and there was a huge amount to get in.â
Overseeing the operaion was the producer for the South Africa shoot, Paul Frift. âIt was challenging filmmaking,â he says. âWe put up a Bedouin tent to create shade, but once you stepped out it was like a furnace.â
Special thanks to the Milk Visual Effects showreel on Vimeo

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Steve Rogers did not wait for the Serum to get to work on beatinâ himself some Nazis.Â
[She-Hulk 10, 2014]
Tell em Steve!
Steve Rogers isnât great because heâs Captain America. Captain America is great because heâs Steve Rogers.
*tour guide voice* and on your left you can see that pre-serum Steve gave exactly zero fucks about a gun in his face