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The Birdcage (1996) dir. Mike Nichols/But I'm a Cheerleader (1999) dir. Jamie Babbit/Brokeback Mountain (2005) dir. Ang Lee/Portrait of a Lady on Fire "Portrait de la jeune fille en feu" (2019) dir. Céline Sciamma
Phoebe Little (American, 1992) - Complicit Tomato (2021)
Gustave Caillebotte - The Floor Scrapers (1875-6)
Original on top, later version below
“Despite the effort Caillebotte put into the painting, it was rejected by France’s most prestigious art exhibition, The Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a ‘vulgar subject matter.’
The images of the floor scrapers came to be associated with Degas’s paintings of washerwomen, also presented at the same exhibition and similarly scorned as ‘vulgar’”.
Mike the ship’s cat, served as the mascot aboard an unidentified U.S. Navy ship. “This is how I scrap!” says the original caption. Early 20th century

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Do you think Connie had/has a period of struggling to dress herself after she escapes Orin? Like if there sre clothes available to her that are in the same vein of those that Orin liked her to wear, it's second nature, but if she has different colors than Orin's limited palette, different styles and cuts than the alluring kinds Orin preferred, different fabrics than what Orin insisted on, does sort of just... freeze because she's unsure what to do or maybe even what she can do? And if she does, do you think she relies on others to make those decisions for her for a while until they eventually catch on and are like, "Okay, this is an issue that needs to be addressed"?
Oh, absolutely.
And I love this question because, while the final answer is probably predictable, I don't think the period of when the epiphany 'hits' her is. Like you mentioned, at first, she's fine. In every universe, she packs a suitcase and flees (or in the collegeverse, she has a wardrobe shaped by him and obviously can't throw away all her clothes after he assaults her. Trauma does horrible things and strange things to a person on the precipice of sanity.) But eventually, out of both necessity and want, she does heed to choose her own clothes.
🕯️CLASSIC-VERSE🕯️
In the Classic-verse, Eb hires a dressmaker upon finding out she has only two dresses from New York in her suitcase. Technically three, but the one from the boat ride is basically unsalvageable. He lets her choose everything, of course.
And under pressure from the dressmaker, this is a universe where Constance kind of has to trust her gut, lol. She chooses the fabrics and colors herself.
If there is something Constance can do well, it's perform under pressure. And she definitely chooses well, even picking up on colors (pink) and fabrics (silk) that become eventual staples.
🎀CLASSIC-VERSE w/ Ezzie🎀
Bess is here, and we know that she is the one to persuade Connie that he does look good in white. But I also imagine that Bess inevitably plays a huge role in helping Connie discover her fashion bias during her time working at Scrooge manor.
After all, Connie can't exactly wear her old New York socialite dresses for doing chores around the manor and assisting with tasks.
And for many reasons, Bess doesn't strike me as the type to throw a maid's uniform to Connie and call it a day, lol.
Maybe Bess looks through her wardrobe to find some dresses to loan in the meantime. Connie is grateful and accepts, promising to take care of them. All is well; it's not real a choice-choice.
But if they go shopping? Connie would simply stare.
"Which colors do you like?"
"Well, I'll be working in the manor. Do you have a color you like your ladies to wear?"
"No?"
"Oh. Um ... is there an option that's the least expensive?"
"They're all the same price. And money is no object."
"...Forgive me. I'm not sure how to choose."
"You like them all?"
"..."
"Oh ... you have no clue what you like, do you?"
But we know how things unfold from here. Bess encourages her, introduces her to pinks and blues, and inspires her to wear a ribbon in her hair. She meets Ezzie, and he reinforces those notions. Neither control her; they encourage her. And by the time she's married, she's excitedly trying new colors and cuts without hesitation.
☀️MODERN-VERSE☀️
Bess and the Pack girlies are essential.
While working at the coffee house and club, it's clear her clothes are mostly leftovers from her days with Orin. Seductive, fashionable cuts. All very fitting on her, but they show a side of her that the girls ultimately learn isn't true.
It's after a lot of thrifting and shopping sessions (and sharing wardrobe pieces) that a more clear picture of her kind of comes to light. The severe burgundy and green colors fade and are replaced by soft pastels. Her windswept waves become adorable ponytails. Her heels are, well, still heels. But more than just stilettos now. Heels boots, sandals, etc. She even gets (gasp) casual wear. She buys sweatpants. It goes down in the history books.
captive audience
Malcolm in the Middle S01 + 🏳️🌈
@quill-pen I fudged the colors lol, BUT, I kept thinking of Connie’s blond tips glowing in sync with her mood in the DnDverse. Especially as she finally gets to have those amazing first-time experiences, like falling in love.

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kermit the frog in 'the muppets take manhattan' (1984)
Crash 1996 dir. David Cronenberg
book cover illustration: Tristan Elwell
a handprint made in concrete is just the image of a hand, it’s not the real thing. or, it’s the absence of a hand, more than anything, the negative space. the casing around where it should be. it’s an indent that was made from something real - that could not have existed without something real - but it’s not the real thing, it’s just trying to be. maybe it’s not even trying. you put your hand there with your mother and the concrete remembers, and the handprint doesn’t even know why it exists, it just does. if we can make copies and not-things from real things in the world, who’s the say the world couldn’t do that itself? does it even need to know why?
If youre a closeted person somewhere out there thinking "I want to transition but it would be less progressive/unique/countercultural for me to be that gender instead of this one" please know that you are a real person not a character in a narrative and cant live your life based on what is good media representation. You are real you can only be yourself and theres no moral weight to any identity over another
Liberal transphobes enjoy positioning trans identities as regressive compared to cis queerness or like non-transitioning transness or anything else they can leverage to make transphobia look progressive and I think its easy to absorb that message subconciously. But in real life we just are what we are and no ranking of validity can change the fact that you have an identity that is NOT chosen and is just your unchangeable truth. Not only should you not have to live a life dictated by what is most countercultural to identify as or whatever but also: being trans is extremely countercultural and feminist and leftist to begin with and theyre only trying to convince you otherwise bc theyre bigots
"Why cant you be a feminine man society hates feminine men 🥺" and "all the butch lesbians are becoming men we need u 🥺" = stay in the closet for the noble purpose of being an abstract representation point in my new york times opinion column. You wont actually be a gnc cis person youll be a closeted trans person who uses the wrong words but I need you to do that because i hate you
BACKROOMS (2026) dir. Kane Parsons

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Me the first half of The Backrooms: "oh I get it. He's a down on his luck failed architect and even more failed furniture store owner who's trying to better himself. He'll probably be fascinated with the furniture/architecture of the backrooms and start selling the items there for money + notoriety. And eventually he'll go deeper and deeper to get more and more items until he gets trapped and encounters The Horrors. A classic tale of hubris :) "
Me the second half of the backrooms:
unexpected carlos