morrie really went from being the one who climbs into his lover's (clive) window to having his lover (alec) climb into his window...
Misplaced Lens Cap

tannertan36
TVSTRANGERTHINGS
todays bird
taylor price
trying on a metaphor
YOU ARE THE REASON

@theartofmadeline

Love Begins

Andulka

Alisa U Zemlji Chuda

祝日 / Permanent Vacation

occasionally subtle
hello vonnie
Peter Solarz
$LAYYYTER
seen from Türkiye
seen from Canada

seen from United States
seen from Pakistan
seen from United States
seen from United States

seen from Germany

seen from Spain

seen from Poland
seen from United States
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seen from United States
seen from Algeria

seen from United States

seen from United Kingdom
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seen from United States

seen from United Kingdom

seen from Türkiye
@simcox
morrie really went from being the one who climbs into his lover's (clive) window to having his lover (alec) climb into his window...

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Mysterious Skin by Don Jaucian and Jansen Musico
Ang Sayaw ng Dalawang Kaliwang Paa (2011) D: Alvin Yapan S: Jean Garcia, Rocco Nacino, Paulo Avelino
To dismiss Ang Sayaw ng Dalawang Kaliwang Paa (The Dance of Two Left Feet) solely as a gay film is to do it disservice. It is much more than that. It is a film that takes on gender roles and how dance and the little gestures that build it become a means of communication and sexual expression, and an exploration of the interplay between the people engaged in it.
Sayaw follows three individuals: Karen (Jean Garcia), a professor of literature who sidelines as a classical dance instructor, and her two students. The first is Marlon (Paulo Avelino), a well-to-do guy who enrolls himself in her dance class to get her attention, and the other is Dennis (Rocco Nacino), Karen’s apprentice who secretly teaches Marlon the dances on the side. Their stories are interwoven, each so carefully told and fused through words, form, and movement. Art binds the three. There are hardly ever overt displays of physical or verbal intimacy. It’s solely in the medium in which they scream their innermost longings.
The relationship between Marlon and Dennis isn’t overtly pronounced. Their glances and gestures, particularly during their dances, are charged with tension so sharp it slices the atmosphere between them. Marlon uses movement to express his longing for Dennis, how the kineticism of each touch, slide and grasp depicts his all consuming desire.
Karen emerges as their guide, an orchestrator who never imposes herself. She embodies the feminist poetry she teaches and merely aims to reveal what is naturally there, a hidden passion so palpable it gives weight to each step and stance of their performances. Though she might be subjected to the gazes of both Marlon and the audience, she averts them, by revealing herself as not an object of desire, but an independent subject driven by her own principles. There are moments in which Karen seems most vulnerable. Coincidentally both scenes occur in front of mirrors. Here the filmmakers effectively break any imposing gaze and reveal nothing but the characters themselves.
But more importantly, Sayaw deals with artistic pursuit and the state of artists in a third-world country. Set in the FEU campus, which is home to art deco architecture, the film perfectly melds poetry and dance into an everyday setting, questioning the place of art and its role in our lives. The film also centers on how the arts are taught in a country where such subjects are relegated to the sidelines.
If there’s an abundance of romanticism that happens in the film, it is mostly focused on poetry, dance, and art rather than the non-love affair between the two male leads. Dennis, Marlon, and Karen are transfigured into a means of conveying a love affair with the arts, lovingly enunciating each word in every poem, every turn and sleight of hand evoking a torrent of emotions any of them will never get to say.
Sayaw is a technically proficient film. The scenes are edited tightly and the dance sequences, choreographed by Eli Jacinto, are nicely shot, which is almost an achievement itself. The film resolves to be a ravishing waltz into the burning fires of desire; you can actually feel the anguish that each of the leads feel. Ultimately, Sayaw is a cultural triumph, highlighting the achievements of Filipinos in the poetry, architecture, and dance.
I'm not religious, but there's definitely a special place in hell for the IOF. Let them all be eternally damned and SUFFER immensely over and over again. I'm beyond enraged. These poor children. The horror the absolute horror.
Keanu, when asked what sort of girls he likes. 1994.
Big Breakfast: What sort of girls do you like?
Keanu: Oh man…*holds face in hands* *repeats question* they’re all angels.
Big Breakfast: really? And are you single at the moment?
Keanu: Yeah…*howls softly like a sad dog*
In case you lost it - a link to the eSIM donation guide. Even if you feel sick and powerless, you can at least do this. And even if you really, really can't donate, you can always at least share this and remind others.
https://gazaesims.com/esim-purchase-tutorial/
the lowest tier, which costs 9 dollars, offers a week of connection while the very next, 16 dollars, will provide a full month of contact with the world to someone who desperately needs it. this is not some idle step. an entire month is a huge length of time for people who are displaced, terrified, and isolated.

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what studying literature feels like
mine both incoherent
I need this.
Reblogged last year, hoping it comes this year
LIBERATION OF PALESTINE
one of the many reasons Fleabag is so heartbreaking and relatable is because no one ever chose her. Not her family. Not her lovers. Not her supposed “soulmate”. The one person that picked her died. She was no one’s choice or option, not even to herself. The way we can feel her loneliness through the screen is enough to make me collapse into a mess of tears on the ground and shake uncontrollably
omfg
Palestinian militants protecting the Maghen Abraham Synagogue in Beirut from attacks during the Lebanese Civil War. The synagogue stood from 1925 until the IDF bombed and destroyed it in 1982
the misinformation here is appalling! and replies are turned off so no one can provide fact-checks, which is so convenient. they arent “protecting” the synagogue, they’re guarding the cache of weaponry stored inside it to be used in the civil war, and were instructed to do so during the approach of the IDF to indicate that the most significant jewish place of worship in beirut had been occupied and desecrated. it was damaged, not destroyed, by Israeli bombardment of the broader area in 1982, and was not the target - if you read up on the war then you can make your own informed opinions on the presence of the IDF in Lebanon during the conflict - but by that time the Jewish community had shrank to a minute size due to the violent targeting of Jewish civilians by militant extremists, most fleeing as refugees to Israel. the synagogue was rebuilt in the early 2000s, partially as an attempt by the government to portray itself as tolerant of Judaism, but no services are held there due to the fact that there are less than 50 Jews left in Lebanon. next time try your best not to fall for easily refuted propaganda …
Replies are restricted to followers for all my posts. This post isn't special and neither are you. Funny you talk about “reading up” on the history of MY HOMELAND when literally all your facts are wrong. I would looove to see your sources 🤔
There is no evidence that there were weapons stored at Maghen Abraham. The IDF claimed that there were, purely on the basis that the PLO had members stationed in the neighborhood. The same thing they do now when they want justification to bomb important civilian institutions.
Here’s a New York Times article from the time:
BEIRUT'S ONLY SYNAGOGUE IS CASUALTY OF THE ISRAELIS (Published 1982)
It was not rebuilt by the government. It was rebuilt by the Lebanese Jewish community, using private donations and grants. Photos from before the 2009 restoration:
As you can see, it had no fucking roof. Because the self-anointed "Jewish state" bombed it. After driving out the majority of Beirut's large, thriving Jewish community by funding violent Christian ethnonationalists and starting a regional war.
Nice try though
Feeling an incredibly weird specific nostalgia but what piece of media defined 2020 for you (as in you spent that year with it) mine is mtv's catfish
#htgwm

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why is religious Christmas imagery all so joyful and pleasant? where is the inherent horror of the birth of Christ? A mother is handed her newborn child, wailing and innocent. Her hands come away sticky. Red. Simply by giving her son life she has already killed him. He is doomed from the beginning. Her love will not save him from suffering. Because the thing cradled in her arms is not a baby, it is a sacrifice: born amongst the other bleating animals whose blood will one day be spilled in the name of what demands it. the night is silent with anticipation. Mary, did you know? That your womb was also a grave?
revisited here to reblog this piece
kisses you so deeply and passionately I am so excited to see this show
Oh...ok 👉👈
there's a gay saw musical?!
BARTŁOMIEJ DEKLEWA as Niko Absolute Beginners (Absolutni Debiutanci) · S1·EP4
Bartłomiej Deklewa as Niko Absolute Beginners (Absolutni Debiutanci) · S1·EP4

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Josh O'Connor and Alec Secăreanu as Johnny Saxby and Gheorghe Ionescu
God’s Own Country (2017) dir. Francis Lee
ALEC SECǍREANU as Gheorghe Ionescu GOD’S OWN COUNTRY (2017) dir. Francis Lee