destroying and betraying yourself for nothing all by yourself, handsome?

@theartofmadeline
NASA

ellievsbear

oozey mess
hello vonnie
One Nice Bug Per Day

Origami Around

Kaledo Art
$LAYYYTER
"I'm Dorothy Gale from Kansas"
RMH

Product Placement
2025 on Tumblr: Trends That Defined the Year
Mike Driver
styofa doing anything
art blog(derogatory)
I'd rather be in outer space 🛸
trying on a metaphor
Lint Roller? I Barely Know Her
cherry valley forever
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@radk1ng
destroying and betraying yourself for nothing all by yourself, handsome?

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finally got to color something with them
FALLOUT (2024- ) 02.08: The Strip
2.01 | 2.08
FALLOUT - The Strip

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the first law of tragedies: the end is already written and inevitable. the second law of tragedies: your actions are all your own and you can choose to get off this ride whenever you want. the third law of tragedies: we both know that you are never going to do that.
a hen in the wind (1948)
ONE BATTLE AFTER ANOTHER dir. Paul Thomas Anderson | 2025
Goodsprings FALLOUT: NEW VEGAS 2010・dev. Obsidian Entertainment
WALTON GOGGINS as Cooper Howard/The Ghoul in Fallout 2.02

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Walton Goggins as The Ghoul/Cooper Howard Fallout (2024—) 2.01 "The Innovator"
i really like fallout because, unlike a lot of media that uses retrofuturism as just a cool aesthetic, fallout’s obsession with 1950s americana actually means something. it’s not just chrome fins and googie diners, it’s weaponized optimism. it’s that sickly-sweet propaganda sheen slathered over nuclear terror, where smiling mascots tell you to duck and cover while the government quietly preps for the end of the world. it’s about a country that believed so hard in its own greatness it signed its death warrant in cursive.
fallout takes that warped, post-war idealism, the “gee whiz!” charm of suburbia on lithium. and drags it through the dirt, showing us what happens after all the white picket fences melt into radioactive slag. in a world shaped by that specific brand of McCarthyist exceptionalism, the future isn’t flying cars and robot butlers, it’s a dinky holotape of your last moments before the bombs hit, looping forever. like vault 11, the one where the final recording plays after everyone’s already dead, revealing the whole “sacrifice one person every year or everyone dies” mandate was a lie. a loyalty test. a sick joke. and the vault passed, right before it failed, because paranoia and desperation had already eaten them alive.
that’s fallout. not just the end of the world, but the punchline that comes after the moral.
and honestly? that hits way harder than any sleek utopia. because fallout remembers: beneath all that pastel patriotism and canned laughter, something was always rotting.
commission for @ladysakurascout (tysm!!)
Le Gai Savoir 1969, dir. Jean-Luc Godard
sometimes it's not even enemies to lovers. sometimes you get handed the leash of a snarling, barking dog against your will and realize with dawning horror that you are now responsible for teaching it not to bite

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THE MUSKETEERS 1.01 | Milady de winter in "Friends and Enemies"
The stakes are real in this place now. Real consequences.