𐙚⋆°。⋆♡ 𝘴𝘵𝘦𝘳𝘦𝘰𝘴𝘦𝘳𝘦𝘯𝘢𝘥𝘦𝘴, a musings blog presented to you by ginger.
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𐙚⋆°。⋆♡ 𝘴𝘵𝘦𝘳𝘦𝘰𝘴𝘦𝘳𝘦𝘯𝘢𝘥𝘦𝘴, a musings blog presented to you by ginger.
writing sideblog . muses . pinterest .

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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FINN BENNETT as ROBERT FRANKLIN BACKROOMS (2026)
LUCKY (2026) S01E01 | No Shortcuts
DROP DEAD GORGEOUS (1999) dir. Michael Patrick Jann
Madonna's "Erotica" album advert (1992)

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She’s got it Yeah baby, she’s got it I’m your Venus, I’m your fire At your desire
Anya Taylor-Joy in The Queen’s Gambit (2020)
anyway! i love stories about disillusionment and bitterness and resentment and casual cruelty and senseless betrayals and festering grudges and lost causes and unhealed traumas and unbreakable cycles and all-encompassing and all-consuming conflicts that have been going on for so long that no one can even recall how they actually came to be. and also divorce.
Catherine Deneuve, early 1960s
PAPER

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vintage star rhinestone hair comb
[ DRUNK ]: sender finds receiver drunk. + reverse (dylan & brooks)
[ DRUNK ]: sender finds receiver drunk. + reverse — brooks and dylan
ever since the kiss, brooks has been throwing himself into sadie, attentive in all the ways a guilty man imagines might compensate for the betrayal his girlfriend knew nothing about. he almost lets the call ring out as it arrives just after midnight, until he sees dylan’s name illuminate his screen. music floods through the receiver when he answers. she isn’t crying, isn’t even speaking much, just laughing too softly in the unmistakable way she only ever does after one drink too many. he tells her he’ll be there — of course he does. he finds her sitting on the curb outside the party with her heels abandoned beside her as she lifts her head at the sound of his footsteps. “ c’mon, dyl. ” the drive unfolds beneath comfortable silence, songs playing faintly through the speakers, and every so often she’d glance toward him with heavy-lidded eyes, as though reassuring herself he hasn’t vanished between traffic lights. she murmurs her gratitude while he keeps his attention on the road. “ you don’t have to thank me. ” but thank you for always coming. she doesn’t say tonight. she says always. like every version of them — children, best friends, lovers, exes — could be distilled into that singular, immutable truth. he came. he has never learned how not to. by the time he settles her beneath the blankets in her bedroom, she watches him from the pillow with an expression rendered startlingly young by fatigue, all hollywood polish stripped away until only the girl he’d grown up loving remains. brooks ? “ yeah ? ” stay .. until i fall asleep. “ i shouldn’t. ” words emerge without conviction, to which she offers the faintest nod and that quiet acquiescence wounds him more profoundingly than her pleading could. “ .. just until you fall asleep. ” he lowers himself into the chair beside her bed, intending to preserve whatever boundaries they still possessed, but sometime during her rambling observations about a film she watched and a dog she’d met outside the venue, her searching hand finds his. just two fingers. exactly the way she’d held onto him walking home from school when they were fifteen. she keeps talking for another minute before her words dissolve into drowsy fragments, as sleep claims her mid-sentence while still clutching those same two fingers with unconscious certainty. brooks remains there long after she’s asleep. unable to disentangle himself. unable to ignore the terrible, undeniable realization that even unconscious, dylan still reached for him first.
[ BLOOD ]: sender walks into receiver's room covered in blood. (lola + abel hehe)
[ BLOOD ]: abel walks into lola's room covered in blood. — lola and abel
every time she closed her eyes, she could still feel the abrupt violence of being yanked backward into the alley, the cadence of her own breathing as she’d wrenched herself free and run without looking back. abel had listened in near silence while she stumbled through the story, his expression growing no harder than it ordinarily was. if anything, the absence of visible anger had unsettled her more. then he’d walked out the door without offering an explanation. the lock finally clicked well after midnight, relief propelling her to her feet. “ abel— ” his name dissolves almost immediately, the blood declaring itself before the rest of him did, darkening the front of his shirt in broad, uneven blooms, streaked across his forearms, dried in the creases of his hands. there was too much of it, far too much for a cut, for a fight, for any explanation that belonged to the ordinary world. her stomach lurches violently enough that she has to stagger back a step, fingers flying to her mouth as though she can physically hold the panic inside before it escapes. the room suddenly feels airless, every breath arriving too shallow, her pulse ricocheting so loudly she can’t hear herself think. she shakes her head before she even realizes she’s doing it. “ no .. ” the denial isn’t directed at him. it’s aimed at the irrevocably of it. at the unbearable certainty that another human being had been alive only hours ago and now wasn’t. her eyes squeeze shut for the briefest moment, but the image remains seared behind her eyelids anyway. she’d devoted years to becoming the sort of woman who no longer needed rescuing. she hadn’t accounted for what it would cost when someone insisted on rescuing her anyway. “ i didn’t ask you to do that, ” the words arrive ragged, almost pleading, like saying them aloud might rewind the evening by a handful of impossible hours. yet beneath the horror, the nausea clawing its way into her throat, another truth settles with equal cruelty : she had never believed, not for a single second, that he wouldn’t.
enfants riches déprimés ss𝟤𝟨
Nicole Kidman at the Cannes film festival, 2003

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Alicia Vikander in Anna Karenina