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Film is forever

The Director [Paulo Ravinski] | Uzdrav sa skoro

"Do not worry, moja hviezda. You will shine bright again."

Translation (from google): "Uzdrav sa skoro" → "Get well soon"

Tag list: @lonleydweller

Instead of offering sympathy, he sees your pain as a compelling story. He might document your suffering with his film camera, muttering about “raw emotion” and “genuine distress”, not out of cruelty, but because he believes hardship creates true art. However, after a while, he lowers the camera and, in a rare moment of sincerity, murmurs, “Do not worry, moja hviezda. You will shine bright again.”

If you’re sick, he demands you stay in bed, not out of kindness, but because “the body must be preserved for its final performance.” He’ll pace around your shared room like a neurotic director, making sure you “follow the script” (aka resting). If you try to get up too soon, he gives you an unimpressed look, forcing you to lay back down and warns, “Uzdrav sa sko.” It sounds like an order rather than encouragement.

Expect strange herbal concoctions, foreign medicines, or even unsettling treatments like cupping therapy because he read somewhere that “suffering must be drawn out like poison.” He watches you drink the odd-tasting brew with the same intensity as when he’s waiting for the perfect shot, nodding when you finally swallow it. “Good,” he says. “You are committed to the role.” He’ll also go to Albert for advice if he notices you aren’t getting any better.

He’s not the comforting type, but he’s always nearby. Sitting in a chair in the corner, watching with that unsettling intensity, taking mental notes, making sure you stay alive and well. It’s creepy, but oddly reassuring.

If you refuse to eat, he won’t take no for an answer. He won’t spoon-feed you (unless you physically cannot feed yourself), but he places food in front of you with the ominous expectation that you will eat it. Maybe it’s simple soup, maybe it’s an elaborate, foreign dish he says is good for “endurance.” Either way, there’s no escaping it. He won’t move until you take a few bites. “Even the strongest actors must sustain themselves,” he reminds you.

At some point, he sits beside you and reads to you a cryptic, philosophical book about how suffering forges the strongest individuals. “The weak perish. The strong endure. Like you. You… you are meant to endure.” His voice is firm, unwavering, like he’s willing your survival into existence.

If someone else hurt you, oh boy, he sees that as an unforgivable offense. Not because he’s particularly sentimental, but because “only I control the suffering in my productions.” Whoever wronged you? They just became the next star of his next film… and that’s never a good thing.

If you’re vulnerable, he becomes oddly territorial. He won’t outright say he cares, but his actions, subtly positioning himself between you and others, ensuring you’re not disturbed, keeping an eerie watch over your surroundings, speak volumes. No one gets near you unless he allows it (Surprise, he doesn’t).

If you can’t sleep, he might put on old, eerie orchestral film scores, claiming “this is the soundtrack of the subconscious mind.” It’s not exactly relaxing, but hey, it’s better than silence. If that doesn’t work, to his minor disappointment, he’ll climb into bed with you and let you cuddle into him. He’s surprisingly warm even though he’s been undead for nearly 19 years.

He won’t admit it, but if you start getting better, there’s a shift. His stare lingers less like he’s observing a specimen and more like he’s… relieved? He won’t acknowledge it, though. Except maybe a chaste kiss on the forehead or a lingering touch on your face.

*knock knock*

So I was able to get my hands on yet ANOTHER piece of Director history. I got a large gallery print of some proof sheets.

Credit to Dean Karr, chill guy and always offers great stuff!!!

Here’s them in the package 👇

The Director [Paulo Ravinski] | Daylight sure does suck

"People say they want to watch real horror, real suffering, and they want to be terrified. But when you give it to them, they don't have the stomach for it. Well I'll show them my reality."

Taglist: @lonleydweller

Warnings: Mentions of violence/murder/gore (he's a snuff filmmaker), mentions talking to dead victim

Context: This is written before he became a herald and is set as the hollywood storyline after he gets fired. Mainly based on these kinds of videos.

𝘔𝘰𝘳𝘯𝘪𝘯𝘨 (10 𝘈.𝘔. - 11:30 𝘈.𝘔.)

𝘗𝘢𝘶𝘭𝘰 𝘪𝘴 𝘯𝘰𝘤𝘵𝘶𝘳𝘯𝘢𝘭, 𝘴𝘱𝘦𝘯𝘥𝘪𝘯𝘨 𝘯𝘦𝘢𝘳𝘭𝘺 𝘢𝘭𝘭 𝘩𝘪𝘴 𝘵𝘪𝘮𝘦 𝘪𝘯 𝘩𝘪𝘴 𝘦𝘥𝘪𝘵𝘪𝘯𝘨 𝘴𝘶𝘪𝘵𝘦 𝘰𝘳 𝘢𝘵 𝘵𝘩𝘦 𝘗𝘢𝘭𝘢𝘤𝘦 𝘛𝘩𝘦𝘢𝘵𝘳𝘦. 𝘉𝘶𝘵 𝘰𝘯 𝘵𝘩𝘦 𝘷𝘦𝘳𝘺 𝘳𝘢𝘳𝘦 𝘰𝘤𝘤𝘢𝘴𝘪𝘰𝘯 𝘵𝘩𝘢𝘵 𝘩𝘦 𝘥𝘰𝘦𝘴 𝘨𝘦𝘵 𝘴𝘰𝘮𝘦 𝘴𝘩𝘶𝘵 𝘦𝘺𝘦, 𝘩𝘦 𝘭𝘪𝘬𝘦𝘭𝘺 𝘧𝘢𝘭𝘭𝘴 𝘢𝘴𝘭𝘦𝘦𝘱 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘭𝘢𝘵𝘦 𝘩𝘰𝘶𝘳𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘰𝘳𝘯𝘪𝘯𝘨 𝘣𝘦𝘧𝘰𝘳𝘦 𝘵𝘩𝘦 𝘴𝘶𝘯 𝘦𝘷𝘦𝘯 𝘳𝘪𝘴𝘦𝘴 𝘢𝘯𝘥 𝘸𝘢𝘬𝘦𝘴 𝘶𝘱 𝘭𝘢𝘵𝘦𝘳 𝘪𝘯 𝘵𝘩𝘦 𝘮𝘰𝘳𝘯𝘪𝘯𝘨. 𝘛𝘩𝘦 𝘮𝘪𝘯𝘪𝘮𝘶𝘮 𝘢𝘮𝘰𝘶𝘯𝘵 𝘰𝘧 𝘴𝘭𝘦𝘦𝘱 𝘩𝘦’𝘥 𝘨𝘦𝘵 𝘪𝘴 2-4 𝘩𝘰𝘶𝘳𝘴, 𝘪𝘧 𝘵𝘩𝘢𝘵.

𝘏𝘦’𝘭𝘭 𝘸𝘢𝘬𝘦 𝘶𝘱 𝘭𝘢𝘵𝘦, 𝘴𝘩𝘳𝘰𝘶𝘥𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘭𝘪𝘨𝘩𝘵 𝘰𝘧 𝘩𝘪𝘴 𝘥𝘦𝘤𝘳𝘦𝘱𝘪𝘵 𝘴𝘵𝘶𝘥𝘪𝘰. 𝘌𝘪𝘵𝘩𝘦𝘳 𝘰𝘯 𝘩𝘪𝘴 𝘱𝘶𝘭𝘭 𝘰𝘶𝘵 𝘤𝘰𝘵 𝘰𝘳 𝘢𝘵 𝘩𝘪𝘴 𝘥𝘦𝘴𝘬. 𝘏𝘪𝘴 𝘴𝘱𝘢𝘤𝘦 𝘮𝘪𝘨𝘩𝘵 𝘴𝘦𝘦𝘮 𝘤𝘭𝘶𝘵𝘵𝘦𝘳𝘦𝘥 𝘵𝘰 𝘢𝘯 𝘰𝘶𝘵𝘴𝘪𝘥𝘦𝘳𝘴 𝘱𝘦𝘳𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦 𝘣𝘶𝘵 𝘩𝘦 𝘬𝘯𝘰𝘸𝘴 𝘸𝘩𝘦𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘢𝘯𝘥 𝘨𝘰𝘦𝘴 𝘸𝘩𝘦𝘵𝘩𝘦𝘳 𝘪𝘵 𝘣𝘦 𝘭𝘢𝘣𝘦𝘭𝘦𝘥 𝘳𝘦𝘦𝘭𝘴 𝘰𝘧 𝘧𝘪𝘭𝘮, 𝘤𝘭𝘪𝘱𝘱𝘪𝘯𝘨𝘴 𝘰𝘧 𝘧𝘶𝘵𝘶𝘳𝘦 𝘴𝘤𝘦𝘯𝘦𝘴, 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳 𝘧𝘪𝘭𝘮𝘪𝘯𝘨 𝘦𝘲𝘶𝘪𝘱𝘮𝘦𝘯𝘵. 𝘏𝘦’𝘥 𝘴𝘵𝘢𝘳𝘵 𝘩𝘪𝘴 𝘮𝘰𝘳𝘯𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘳𝘦𝘷𝘪𝘦𝘸𝘪𝘯𝘨 𝘳𝘢𝘸 𝘧𝘰𝘰𝘵𝘢𝘨𝘦 𝘧𝘳𝘰𝘮 𝘱𝘳𝘦𝘷𝘪𝘰𝘶𝘴 𝘥𝘢𝘺’𝘴 “𝘴𝘩𝘰𝘰𝘵𝘴” 𝘸𝘪𝘵𝘩 𝘢 𝘮𝘶𝘨.

𝘞𝘩𝘪𝘭𝘦 𝘴𝘪𝘱𝘱𝘪𝘯𝘨 𝘦𝘪𝘵𝘩𝘦𝘳 𝘢𝘯 𝘰𝘷𝘦𝘳𝘭𝘺 𝘴𝘵𝘳𝘰𝘯𝘨 𝘮𝘶𝘨 𝘰𝘧 𝘣𝘭𝘢𝘤𝘬 𝘤𝘰𝘧𝘧𝘦𝘦, 𝘰𝘳 𝘑𝘢𝘤𝘰𝘣𝘴 𝘒𝘳ö𝘯𝘶𝘯𝘨 (𝘐 𝘵𝘩𝘳𝘪𝘷𝘦 𝘰𝘯 𝘵𝘩𝘪𝘴 𝘴𝘩𝘪𝘵 𝘣𝘵𝘸-), 𝘩𝘦 𝘴𝘤𝘳𝘪𝘣𝘣𝘭𝘦𝘴 𝘪𝘥𝘦𝘢𝘴 𝘪𝘯 𝘩𝘪𝘴 𝘯𝘰𝘵𝘦𝘣𝘰𝘰𝘬. 𝘛𝘩𝘦𝘴𝘦 “𝘴𝘤𝘳𝘪𝘱𝘵𝘴” 𝘰𝘧 𝘩𝘪𝘴 𝘢𝘳𝘦 𝘭𝘦𝘴𝘴 𝘢𝘣𝘰𝘶𝘵 𝘥𝘪𝘢𝘭𝘰𝘨𝘶𝘦 𝘢𝘯𝘥 𝘮𝘰𝘳𝘦 𝘢𝘣𝘰𝘶𝘵 𝘱𝘭𝘰𝘵𝘵𝘪𝘯𝘨 𝘩𝘰𝘸 𝘵𝘰 𝘤𝘳𝘦𝘢𝘵𝘦 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘨𝘦𝘯𝘶𝘪𝘯𝘦 𝘢𝘯𝘥 𝘷𝘪𝘴𝘤𝘦𝘳𝘢𝘭 𝘳𝘦𝘢𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘯 𝘧𝘪𝘭𝘮 𝘵𝘰 𝘩𝘪𝘴 “𝘢𝘤𝘵𝘰𝘳𝘴” 𝘦𝘹𝘱𝘦𝘯𝘴𝘦.

𝘏𝘦’𝘭𝘭 𝘩𝘦𝘢𝘥 𝘵𝘰𝘸𝘢𝘳𝘥𝘴 𝘩𝘪𝘴 𝘱𝘳𝘦𝘧𝘦𝘳𝘳𝘦𝘥 𝘧𝘪𝘭𝘮𝘪𝘯𝘨 𝘭𝘰𝘤𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘴𝘵𝘢𝘳𝘵 𝘮𝘦𝘵𝘪𝘤𝘶𝘭𝘰𝘶𝘴𝘭𝘺 𝘢𝘳𝘳𝘢𝘯𝘨𝘪𝘯𝘨 𝘱𝘳𝘰𝘱𝘴, 𝘵𝘩𝘦 𝘭𝘪𝘨𝘩𝘵𝘪𝘯𝘨, 𝘢𝘯𝘥 𝘢𝘯𝘺 𝘰𝘵𝘩𝘦𝘳 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦 𝘦𝘭𝘦𝘮𝘦𝘯𝘵𝘴 𝘩𝘦 𝘮𝘪𝘨𝘩𝘵 𝘵𝘩𝘪𝘯𝘬 𝘰𝘧𝘧 𝘸𝘩𝘪𝘭𝘦 𝘱𝘳𝘦𝘱𝘢𝘳𝘪𝘯𝘨. 𝘌𝘷𝘦𝘳𝘺 𝘥𝘦𝘵𝘢𝘪𝘭 𝘪𝘴 𝘥𝘦𝘭𝘪𝘣𝘦𝘳𝘢𝘵𝘦, 𝘩𝘪𝘴 𝘰𝘣𝘴𝘦𝘴𝘴𝘪𝘰𝘯 𝘸𝘪𝘵𝘩 𝘳𝘦𝘢𝘭𝘪𝘴𝘮 𝘮𝘦𝘢𝘯𝘴 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘮𝘶𝘴𝘵 𝘧𝘪𝘵 𝘩𝘪𝘴 𝘷𝘪𝘴𝘪𝘰𝘯 𝘢𝘯𝘥 𝘭𝘰𝘰𝘬 𝘢𝘶𝘵𝘩𝘦𝘯𝘵𝘪𝘤, 𝘦𝘷𝘦𝘯 𝘧𝘰𝘳 𝘩𝘪𝘴 𝘶𝘯𝘴𝘶𝘴𝘱𝘦𝘤𝘵𝘪𝘯𝘨 “𝘴𝘵𝘢𝘳𝘴.”

𝘕𝘰𝘰𝘯/𝘌𝘷𝘦𝘯𝘪𝘯𝘨 (1 𝘗.𝘔. - 10 𝘗.𝘔.)

𝘏𝘪𝘴 𝘯𝘦𝘹𝘵 𝘴𝘵𝘦𝘱 𝘪𝘴 𝘤𝘢𝘴𝘵𝘪𝘯𝘨 𝘩𝘪𝘴 “𝘢𝘤𝘵𝘰𝘳𝘴.” 𝘏𝘦’𝘭𝘭 𝘴𝘱𝘦𝘯𝘥 𝘵𝘪𝘮𝘦 𝘴𝘤𝘰𝘶𝘵𝘪𝘯𝘨 𝘵𝘩𝘦 𝘵𝘩𝘦𝘮𝘦 𝘱𝘢𝘳𝘬 𝘧𝘰𝘳 𝘩𝘪𝘴 𝘯𝘦𝘹𝘵 𝘭𝘦𝘢𝘥𝘪𝘯𝘨 “𝘴𝘵𝘢𝘳” 𝘰𝘳 “𝘴𝘵𝘢𝘳𝘭𝘦𝘵”. 𝘞𝘩𝘪𝘭𝘦 𝘩𝘦 𝘩𝘢𝘴 𝘵𝘳𝘪𝘦𝘥 𝘨𝘦𝘵𝘵𝘪𝘯𝘨 𝘩𝘪𝘴 𝘸𝘰𝘳𝘥 𝘰𝘶𝘵 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘤𝘢𝘴𝘵𝘪𝘯𝘨 𝘤𝘢𝘭𝘭𝘴, 𝘴𝘵𝘢𝘣𝘭𝘪𝘯𝘨 𝘩𝘪𝘴 𝘱𝘰𝘴𝘵𝘦𝘳𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩𝘰𝘶𝘵 𝘱𝘭𝘢𝘤𝘦𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘢𝘳𝘬, 𝘵𝘩𝘢𝘵 𝘸𝘢𝘴 𝘴𝘰𝘰𝘯 𝘤𝘶𝘵 𝘴𝘩𝘰𝘳𝘵 𝘣𝘺 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭 𝘚𝘵𝘢𝘧𝘧 𝘮𝘶𝘤𝘩 𝘵𝘰 𝘩𝘪𝘴 𝘢𝘯𝘯𝘰𝘺𝘢𝘯𝘤𝘦. 𝘞𝘩𝘪𝘤𝘩 𝘭𝘦𝘧𝘵 𝘩𝘪𝘮 𝘪𝘯 𝘵𝘩𝘦 𝘥𝘦𝘤𝘪𝘴𝘪𝘰𝘯 𝘵𝘰 𝘸𝘢𝘵𝘤𝘩𝘪𝘯𝘨 𝘢𝘭𝘭 𝘸𝘩𝘰 𝘦𝘯𝘵𝘦𝘳 𝘵𝘩𝘦 𝘱𝘢𝘳𝘬, 𝘯𝘰𝘵𝘪𝘯𝘨 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦𝘮 𝘢𝘴 𝘵𝘩𝘦𝘺 𝘪𝘯𝘥𝘪𝘴𝘤𝘳𝘪𝘮𝘪𝘯𝘢𝘵𝘦𝘭𝘺 𝘴𝘢𝘶𝘯𝘵𝘦𝘳 𝘢𝘳𝘰𝘶𝘯𝘥 𝘵𝘩𝘦 𝘴𝘵𝘳𝘦𝘦𝘵𝘴 𝘰𝘧 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭. 𝘐𝘯 𝘩𝘪𝘴 𝘮𝘪𝘯𝘥, 𝘩𝘦’𝘴 𝘯𝘰𝘵 𝘴𝘦𝘭𝘦𝘤𝘵𝘪𝘯𝘨 𝘷𝘪𝘤𝘵𝘪𝘮𝘴, 𝘣𝘶𝘵 𝘮𝘦𝘳𝘦𝘭𝘺 𝘥𝘪𝘴𝘤𝘰𝘷𝘦𝘳𝘪𝘯𝘨 𝘩𝘪𝘴 𝘯𝘦𝘹𝘵 𝘳𝘪𝘴𝘪𝘯𝘨 𝘴𝘵𝘢𝘳𝘴 𝘧𝘰𝘳 𝘩𝘪𝘴 𝘮𝘢𝘴𝘵𝘦𝘳𝘱𝘪𝘦𝘤𝘦.

𝘏𝘦’𝘭𝘭 𝘱𝘳𝘰𝘸𝘭 𝘵𝘩𝘦 𝘴𝘵𝘳𝘦𝘦𝘵𝘴 𝘰𝘳 𝘩𝘪𝘥𝘥𝘦𝘯 𝘤𝘰𝘳𝘯𝘦𝘳𝘴 𝘰𝘧 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭 𝘚𝘵𝘶𝘥𝘪𝘰𝘴 𝘸𝘪𝘵𝘩 𝘩𝘪𝘴 𝘚𝘶𝘱𝘦𝘳 8 𝘧𝘪𝘭𝘮 𝘤𝘢𝘮𝘦𝘳𝘢 𝘶𝘯𝘵𝘪𝘭 𝘩𝘦 𝘧𝘪𝘯𝘥𝘴 𝘸𝘩𝘰 𝘩𝘦 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘴 𝘧𝘪𝘭𝘮 𝘸𝘰𝘳𝘵𝘩𝘺 𝘵𝘰 𝘣𝘦 𝘪𝘯 𝘩𝘪𝘴 𝘯𝘦𝘹𝘵 𝘩𝘪𝘵. 𝘛𝘩𝘦𝘳𝘦’𝘴 𝘵𝘸𝘰 𝘸𝘢𝘺𝘴 𝘩𝘦’𝘭𝘭 “𝘢𝘤𝘲𝘶𝘪𝘳𝘦” 𝘩𝘪𝘴 “𝘢𝘤𝘵𝘰𝘳𝘴.” 𝘌𝘪𝘵𝘩𝘦𝘳 𝘣𝘺 𝘮𝘢𝘬𝘪𝘯𝘨 𝘵𝘩𝘦𝘮 𝘷𝘶𝘭𝘯𝘦𝘳𝘢𝘣𝘭𝘦 𝘵𝘰 𝘩𝘪𝘴 𝘤𝘩𝘢𝘳𝘮 𝘢𝘯𝘥 𝘮𝘢𝘯𝘪𝘱𝘶𝘭𝘢𝘵𝘪𝘰𝘯 𝘵𝘰 𝘧𝘰𝘭𝘭𝘰𝘸 𝘩𝘪𝘮 𝘣𝘢𝘤𝘬 𝘸𝘪𝘭𝘭𝘪𝘯𝘨 𝘵𝘰 𝘩𝘪𝘴 𝘴𝘵𝘶𝘥𝘪𝘰, 𝘣𝘭𝘪𝘯𝘥𝘭𝘺 𝘧𝘰𝘭𝘭𝘰𝘸𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘣𝘦𝘤𝘰𝘮𝘪𝘯𝘨 𝘢 𝘴𝘵𝘢𝘳 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘪𝘭𝘷𝘦𝘳 𝘴𝘤𝘳𝘦𝘦𝘯 𝘖𝘙 𝘩𝘦’𝘭𝘭 𝘨𝘦𝘵 𝘵𝘩𝘦𝘮 𝘢𝘭𝘰𝘯𝘦 𝘰𝘳 𝘢𝘵 𝘭𝘦𝘢𝘴𝘵 𝘪𝘯 𝘢 𝘣𝘭𝘪𝘯𝘥 𝘴𝘱𝘰𝘵 𝘢𝘯𝘥 𝘶𝘴𝘦 𝘧𝘰𝘳𝘤𝘦 (𝘦𝘹. 𝘒𝘯𝘰𝘤𝘬𝘪𝘯𝘨 𝘵𝘩𝘦𝘮 𝘰𝘶𝘵, 𝘵𝘩𝘳𝘦𝘢𝘵𝘴, 𝘩𝘢𝘷𝘪𝘯𝘨 𝘢 𝘬𝘯𝘪𝘧𝘦 𝘢𝘵 𝘵𝘩𝘦𝘪𝘳 𝘣𝘢𝘤𝘬). 𝘏𝘦’𝘴 𝘛𝘩𝘦 𝘋𝘪𝘳𝘦𝘤𝘵𝘰𝘳 𝘢𝘧𝘵𝘦𝘳 𝘢𝘭𝘭 𝘢𝘯𝘥 𝘦𝘹𝘱𝘦𝘤𝘵𝘴 𝘵𝘩𝘦𝘮 𝘵𝘰 𝘧𝘰𝘭𝘭𝘰𝘸 𝘩𝘪𝘴 𝘰𝘳𝘥𝘦𝘳𝘴.

𝘖𝘯𝘤𝘦 𝘩𝘦 𝘩𝘢𝘴 𝘩𝘪𝘴 𝘴𝘶𝘣𝘫𝘦𝘤𝘵, 𝘩𝘦’𝘭𝘭 𝘦𝘹𝘦𝘤𝘶𝘵𝘦 𝘩𝘪𝘴 𝘵𝘸𝘪𝘴𝘵𝘦𝘥 𝘱𝘭𝘢𝘯𝘴 𝘸𝘪𝘵𝘩 𝘱𝘳𝘦𝘤𝘪𝘴𝘪𝘰𝘯. 𝘛𝘩𝘦𝘺 𝘰𝘯𝘭𝘺 𝘨𝘦𝘵 𝘰𝘯𝘦 𝘴𝘩𝘰𝘵 𝘢𝘯𝘥 𝘩𝘦 𝘦𝘹𝘱𝘦𝘤𝘵𝘴 𝘪𝘵 𝘵𝘰 𝘣𝘦 𝘱𝘦𝘳𝘧𝘦𝘤𝘵. 𝘏𝘦 𝘮𝘢𝘬𝘦𝘴 𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺 𝘮𝘰𝘮𝘦𝘯𝘵 𝘪𝘴 𝘤𝘢𝘱𝘵𝘶𝘳𝘦𝘥 𝘰𝘯 𝘤𝘦𝘭𝘭𝘶𝘭𝘰𝘪𝘥 𝘢𝘴 𝘩𝘦 𝘰𝘣𝘴𝘦𝘳𝘷𝘦𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘷𝘪𝘦𝘸𝘧𝘪𝘯𝘥𝘦𝘳 𝘰𝘧 𝘩𝘪𝘴 𝘤𝘢𝘮𝘦𝘳𝘢.

𝘈𝘧𝘵𝘦𝘳 𝘩𝘦 𝘨𝘦𝘵𝘴 𝘵𝘩𝘦 𝘴𝘩𝘰𝘵𝘴 (𝘢𝘯𝘥 𝘩𝘪𝘴 𝘴𝘵𝘢𝘳 𝘪𝘴 𝘯𝘰𝘸 𝘥𝘦𝘢𝘥), 𝘩𝘦’𝘭𝘭 𝘴𝘵𝘢𝘳𝘵 𝘵𝘩𝘦 𝘤𝘭𝘦𝘢𝘯𝘪𝘯𝘨 𝘱𝘳𝘰𝘤𝘦𝘴𝘴. 𝘈𝘴 𝘩𝘦 𝘦𝘯𝘴𝘶𝘳𝘦𝘴 𝘩𝘪𝘴 𝘧𝘪𝘭𝘮𝘪𝘯𝘨 𝘭𝘰𝘤𝘢𝘵𝘪𝘰𝘯𝘴 𝘢𝘳𝘦 𝘴𝘱𝘰𝘵𝘭𝘦𝘴𝘴 (𝘵𝘰 𝘢 𝘥𝘦𝘨𝘳𝘦𝘦), 𝘦𝘳𝘢𝘴𝘪𝘯𝘨 𝘢𝘯𝘺 𝘵𝘳𝘢𝘤𝘦 𝘰𝘧 𝘩𝘪𝘴 𝘱𝘳𝘦𝘴𝘦𝘯𝘤𝘦, 𝘩𝘦’𝘭𝘭 𝘮𝘶𝘵𝘵𝘦𝘳 𝘲𝘶𝘪𝘦𝘵𝘭𝘺 𝘵𝘰𝘸𝘢𝘳𝘥𝘴 𝘵𝘩𝘦 𝘥𝘦𝘤𝘦𝘢𝘴𝘦𝘥 𝘴𝘵𝘢𝘳. 𝘋𝘦𝘱𝘦𝘯𝘥𝘪𝘯𝘨 𝘰𝘯 𝘩𝘰𝘸 𝘵𝘩𝘦𝘺 𝘥𝘪𝘥, 𝘩𝘦’𝘭𝘭 𝘴𝘵𝘢𝘮𝘮𝘦𝘳 𝘱𝘳𝘢𝘪𝘴𝘦𝘴 𝘰𝘳 𝘤𝘳𝘪𝘵𝘪𝘲𝘶𝘦 𝘵𝘩𝘦𝘪𝘳 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘢𝘴 𝘪𝘧 𝘵𝘩𝘦𝘺’𝘳𝘦 𝘭𝘪𝘴𝘵𝘦𝘯𝘪𝘯𝘨. 𝘏𝘪𝘴 𝘱𝘦𝘳𝘧𝘦𝘤𝘵𝘪𝘰𝘯𝘪𝘴𝘮 𝘦𝘹𝘵𝘦𝘯𝘥𝘴 𝘵𝘰 𝘵𝘩𝘪𝘴 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘩𝘪𝘴 𝘳𝘰𝘶𝘵𝘪𝘯𝘦, 𝘭𝘦𝘢𝘷𝘪𝘯𝘨 𝘯𝘰 𝘦𝘷𝘪𝘥𝘦𝘯𝘤𝘦 𝘣𝘦𝘩𝘪𝘯𝘥 𝘦𝘯𝘴𝘶𝘳𝘦𝘴 𝘩𝘪𝘴 𝘢𝘳𝘵 𝘳𝘦𝘮𝘢𝘪𝘯𝘴 𝘶𝘯𝘵𝘰𝘶𝘤𝘩𝘢𝘣𝘭𝘦 𝘣𝘺 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭.

𝘕𝘪𝘨𝘩𝘵 (11 𝘗.𝘔. - 6 𝘈.𝘔.)

𝘉𝘢𝘤𝘬 𝘢𝘵 𝘩𝘪𝘴 𝘦𝘥𝘪𝘵𝘪𝘯𝘨 𝘴𝘶𝘪𝘵𝘦 𝘪𝘯 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘢𝘭’𝘴 𝘣𝘢𝘤𝘬𝘭𝘰𝘵, 𝘩𝘦’𝘭𝘭 𝘳𝘦𝘱𝘭𝘢𝘺 𝘵𝘩𝘦 𝘧𝘰𝘰𝘵𝘢𝘨𝘦 𝘧𝘳𝘰𝘮 𝘵𝘰𝘥𝘢𝘺, 𝘰𝘣𝘴𝘦𝘳𝘷𝘪𝘯𝘨 𝘢𝘯𝘥 𝘰𝘣𝘴𝘦𝘴𝘴𝘪𝘯𝘨 𝘰𝘷𝘦𝘳 𝘵𝘩𝘦 𝘳𝘢𝘸𝘯𝘦𝘴𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘳𝘦𝘢𝘤𝘵𝘪𝘰𝘯𝘴 𝘢𝘯𝘥 𝘧𝘦𝘢𝘳 𝘩𝘦’𝘴 𝘤𝘢𝘱𝘵𝘶𝘳𝘦𝘥. 𝘏𝘦’𝘴 𝘣𝘰𝘵𝘩 𝘩𝘪𝘴 𝘰𝘸𝘯 𝘤𝘳𝘪𝘵𝘪𝘤 𝘢𝘯𝘥 𝘢𝘳𝘵𝘪𝘴𝘵, 𝘳𝘦𝘷𝘦𝘭𝘪𝘯𝘨 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘶𝘤𝘤𝘦𝘴𝘴 𝘰𝘧 𝘵𝘰𝘥𝘢𝘺’𝘴 “𝘮𝘢𝘴𝘵𝘦𝘳𝘱𝘪𝘦𝘤𝘦” 𝘰𝘳 𝘭𝘢𝘮𝘦𝘯𝘵𝘪𝘯𝘨 𝘰𝘷𝘦𝘳 𝘸𝘩𝘢𝘵 𝘩𝘦 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘴 𝘪𝘮𝘱𝘦𝘳𝘧𝘦𝘤𝘵𝘪𝘰𝘯𝘴.

𝘐𝘧 𝘩𝘪𝘴 𝘥𝘢𝘺 𝘦𝘯𝘥𝘴 𝘸𝘪𝘵𝘩 𝘩𝘪𝘮 𝘤𝘢𝘱𝘵𝘶𝘳𝘪𝘯𝘨 𝘨𝘰𝘰𝘥 𝘧𝘰𝘰𝘵𝘢𝘨𝘦, 𝘩𝘦’𝘭𝘭 𝘦𝘯𝘥 𝘩𝘪𝘴 𝘯𝘪𝘨𝘩𝘵 𝘸𝘢𝘵𝘤𝘩𝘪𝘯𝘨 𝘰𝘭𝘥 𝘧𝘪𝘭𝘮𝘴 𝘵𝘩𝘢𝘵 𝘪𝘯𝘴𝘱𝘪𝘳𝘦𝘥 𝘩𝘪𝘮, 𝘤𝘭𝘢𝘴𝘴𝘪𝘤 𝘤𝘪𝘯𝘦𝘮𝘢, 𝘤𝘭𝘢𝘴𝘴𝘪𝘤 𝘩𝘰𝘳𝘳𝘰𝘳, 𝘰𝘳 𝘢𝘷𝘢𝘯𝘵-𝘨𝘢𝘳𝘥𝘦 𝘮𝘢𝘴𝘵𝘦𝘳𝘱𝘪𝘦𝘤𝘦𝘴, 𝘰𝘯 𝘩𝘪𝘴 𝘧𝘪𝘭𝘮 𝘱𝘳𝘰𝘫𝘦𝘤𝘵𝘰𝘳. 𝘏𝘦’𝘭𝘭 𝘤𝘳𝘪𝘵𝘪𝘤 𝘢𝘯𝘥 𝘤𝘰𝘮𝘱𝘢𝘳𝘦 𝘩𝘪𝘴 𝘸𝘰𝘳𝘬 𝘵𝘰 𝘵𝘩𝘦𝘪𝘳𝘴, 𝘢𝘭𝘸𝘢𝘺𝘴 𝘴𝘵𝘳𝘪𝘷𝘪𝘯𝘨 𝘵𝘰 𝘤𝘰𝘮𝘦 𝘶𝘱 𝘸𝘪𝘵𝘩 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘱𝘶𝘴𝘩𝘦𝘴 𝘵𝘩𝘢𝘵 𝘣𝘰𝘶𝘯𝘥𝘢𝘳𝘪𝘦𝘴 𝘰𝘧 𝘢𝘳𝘵 𝘢𝘯𝘥 𝘵𝘦𝘳𝘳𝘰𝘳.

𝕿𝖍𝖊 𝕯𝖎𝖗𝖊𝖈𝖙𝖔𝖗 𝖆𝖓𝖉 𝕿𝖍𝖊 𝕻𝖍𝖔𝖙𝖔𝖌𝖗𝖆𝖕𝖍𝖊𝖗 (2023)

*REDRAW* of my most popular piece on here. Thanks for all the love on these two. 🥰

𝔓𝔯𝔢𝔰𝔢𝔫𝔱𝔢𝔡 𝔟𝔶 𝔱𝔥𝔢 𝔘𝔫𝔦𝔳𝔢𝔯𝔰𝔞𝔩 𝔓𝔞𝔩𝔞𝔠𝔢 𝔗𝔥𝔢𝔞𝔱𝔢𝔯:

𝔗𝔥𝔢 𝔚𝔦𝔡𝔬𝔴𝔰 𝔈𝔶𝔢 𝔞𝔫𝔡 𝔅𝔩𝔬𝔬𝔡𝔩𝔢𝔱𝔱𝔦𝔫𝔤