PUT YOUR BEARD IN MY MOUTH
Misplaced Lens Cap


bliss lane
Cosmic Funnies
taylor price
Lint Roller? I Barely Know Her

Love Begins
RMH
🩵 avery cochrane 🩵

Kiana Khansmith
Today's Document

shark vs the universe

blake kathryn
sheepfilms
The Stonewall Inn

titsay
cherry valley forever

@theartofmadeline
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@queer-boo-radley

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Cimitero di Lucca, Italia
Ph: Nos dejò
A League of Their Own (1992)
Moonlight Dandelions (in color) - original bw ver!
St Sebastian’s - Salzburg, Austria

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Accepting identities I don't understand is actually extremely easy because I just go "this isn't about me" and move on with my life unbothered by someone else's identity, it's truly that simple.
i heard someone say once, “you don’t need to speak French to acknowledge that it’s a language that exists”. and i feel like more ppl need to keep that in mind when they come across something they don’t understand.
The Artemis II images are making me emotional for a lot of reasons but one of them is:
small question but did emma get to start cuddling/sleeping in regina’s bed after they kissed at the end of tpos? or is she stuck in her own until they fuck or smthn. gotta make sure my daydreaming is canon to ur AU :p
Lol she did not but that's her own choice. Regina would love that but Emma is gonna be a lil standoffish about that even though she's already fully in love. Best to think of Emma like a cat who was born in a house and loved by humans shortly before ending up outside and going feral. She's still all growly and swatty reflexively.
BACKROOMS (2026) dir. Kane Parsons
can we stop using “being unapologetically loud and taking up space” as the ultimate expression of joy and self-expression? i think the pendulum needs to swing back to maintaining mindful and moderate volume and being spatially considerate of others and being apologetic when necessary. no offense but i think everyone alive rn has the loudness and taking up space thing covered. if this breaks containment, i am sure everyone will be normal about the wording of this post and will have normal and good faith interpretations of it.

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Patsy Cline - Crazy, 1961
THE EMPEROR'S NEW GROOVE 2000, dir. Mark Dindal
Souheila Yacoub as Alice in Evil Dead Burn
Genuinely find it very interesting how Evil Dead Burn presented how much the family enabled Will's abuse.
I wish we had spent more time exploring the implied abuse or at least anger issues and favouritism that Edgar and Susan had on their family. Both of them are rude and abrasive to Alice. Edgar snaps at both Polly and Joe. They heap praises onto Will whilst cutting Joe aside. Polly is restrained in unfair positions.
A lot of Edgar's pre-deadite warning signs of increased aggression go unnoticed bc this behaviour (if not abuse, then aggression) is clearly normal. Alice points out that Susan knew that Will was abusive.
Susan enables her family's behaviour, right up until the end. She would kiss the corpse of her husband moments after he violently attacks their son because he promised that they were only hurting him because he needed something, and if Joe would just behave and give it to them then he would stop. And so she enables him, and she lets him in again, and she gets him killed.
Joe - presented as a least favourite child, and afraid of his brother and father's outbursts - is also an enabler. He didn't protect Alice from Will, and he left Thya when she needed him the most because that fear of his father enabled the cycle of abuse. Thya literally points out that he had an easier time fighting back against his wife than he did his father.
That is to say that Alice is paying the price for a cycle of aggression (from half the family) and enabling (from the other half).
It's an evil dead film so I don't expect a massive focus on backstory, but I wish we'd had more family context and less dagger context. The cycle of abuse was important to the story
EVIL DEAD BURN (2026) dir. Sébastien Vaniček
Alyssa Sutherland as Ellie

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Eugène Blondelet - Bouquet de roses, 1907-1920