Truly garashir is about being each others favorite person despite all your flaws. We should all be so lucky as to spend eternity like that

Time loop episde concept: A plot is Kira and Quark having to work together to fix the time loop before some Bad Thing happens, and they think they're the only ones who realize there is a time loop. B plot is Bashir and Garak having their lunch and doing the same thing every time looping Kira and Quark stumble upon them - eating the same food and arguing about literature. Of course, Kira and Quark don't pay attention to Bashir and Garak and their book club so they miss the fact that their discussion is about something different every time (and there's been no interference that could have caused them to deviate from their looped conversation).

Me trying to say something to my partner about some cool fanart I just saw on my dash.

Lizardsex I love you...

... I see now your name is probably Lizards Exposed and not in fact Lizard Sex Posed.

ON. ON a girl's dick.

ON. ON a girl's dick.

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

How it feels when someone prevs you