cherry valley forever
titsay
2025 on Tumblr: Trends That Defined the Year
taylor price
d e v o n
Cosimo Galluzzi
Today's Document
I'd rather be in outer space 🛸
sheepfilms
if i look back, i am lost
Show & Tell
Andulka
blake kathryn
YOU ARE THE REASON
Game of Thrones Daily
Jar Jar Binks Fan Club
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@theroseandthebeast
"It's called a ggeomeoksali. It latches onto the living, not a place, and drains their yang energy. And those who have been affected by it...will die after witnessing terror. A truly terrifying creature."
The East Palace (2026) dir. Choi Jung Kyu
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literally real life though
Geyanna Youness
The baby swans at the Old Summer Palace fell asleep on their parents’ backs (cr 展扇轻摇)
Eric Bana as Hector Troy (2004)
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Dustin, halfway through a condescending lecture: -for all intents and purposes, we-
Steve: Makes no sense.
Dustin:
Dustin: What makes no sense?
Steve: Why would porpoises need a tent? They don't go camping. It makes no sense.
Dustin:
Dustin:
Robin: They don't even have hands
Steve: Exactly. How are they getting the flap open?
Steve: You need to think, Dustin.
#ragebaiting with pros #sometimes Steve gives in to how stupid Dustin seems to think he is #it's funny to him #and Robin is always there with the assist #Dustin is about three seconds from exploding btw (via @morganbritton132)
I said oh I'm sure
SENTIMENTAL VALUE (AFFEKSJONSVERDI) dir. Joachim Trier (2025)
Earthquake safety booklet distributed to Apple employees, cover. 1986.
Internet Archive
happy birthday tiny baby
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GREGORY HINES & MIKHAIL BARYSHNIKOV White Nights (1985) dir. Taylor Hackford
Masters of their craft.
My favorite thing about this sequence is that if you don’t know who Hines and Baryshnikov are, and I tell you one is a ballet dancer and one taps, you should be able to figure out who’s who based on their specific movements, even though the choreography is the same.
Blood farms and custom guitars: TVL production designer Andres Cubillan shares insights into the season’s most memorable setpieces.
As Lestat’s childhood flashbacks move through his adolescence to young adulthood, we’re given hint after hint that the family has fallen on hard times, mirrored by his father’s increasing infirmity, and the rest of his family succumbing to various illnesses. “We see less staff in the house,” production designer Andres Cubillan explains. “We see the food getting simpler. Even the china on the table. We go from a very sort of elaborate multi-piece setting, you know, crystal glassware, silverware, and that starts getting reduced. So you start feeling like they’re really impoverished in their sort of ridiculous aristocracy.”
“They’re not going to give [Lestat] some large bedroom. It’s going to be sort of awkward in size. I’ve spoken about the tile floor and the fact that it’s a material that would have been used for servants’ quarters or kitchens.” Lestat is a second-class citizen in his own home, and the images decorating his walls make a further statement about the violent undercurrents of his childhood. “The mural work on the walls, it was a play on the tropes of little boys’ rooms—the trains and the boats, and that heteronormative ideal for a little boys’ room in that era.” But instead of boats or scenes of boyhood adventures, Lestat’s bed is surrounded by “images of war and massacres and conquests,” creating a nightmarish backdrop to the only private space he has in the house.
another huge piece of advice: separate out 'tidying', 'cleaning' and 'organising' in your head. they're not the same thing and a lot of paralysis and overload comes from either misidentifying what your space needs, or trying to do all of them at once with conflicting goals.
TIDYING means clearing space, making your environment orderly and inviting. it usually entails removing clutter from surfaces, clearing the floor so you can move around easily, and creating psychological ease by putting everything visibly in its place. It's very visual, and can also involve things like straightening picture frames, squaring pillows, folding blankets on the couch, etc. It reduces chaos and noise and makes a space comfortable.
ORGANISING means sifting through belongings, ensuring that what doesn't need to be kept is thrown out and what does need to be kept is kept well. This often means categorising by room and function – teaspoons go in the teaspoon drawer, and the teaspoon drawer stays in the kitchen. It can also mean indexing things so you can find them easily (markers sorted by colour, paperwork divided into topical folders, books alphabetised) and preserving things (moving photos out of direct sunlight, keeping open flour in a sealed container, sleeving trading cards).
CLEANING means removing built up dirt, dust and grime, reducing the level of environmental contaminants and making your space sanitary. Bacteria are a fact of life, they love to hang out in dust and cling to pet hair and multiply on any given surface. Cleaning is how you keep that stuff in check, preventing it from building up to the point it affects your health. This means wiping frequently touched surfaces with disinfectant, sanitising utensils (doing the dishes), washing bedding and clothes (and yourself), and sweeping/vacuuming and taking out the trash to physically remove dirt from your home.
Tidying is not the same thing as organising – shove the mail, bills, dirty teaspoons and your gardening gloves in a drawer, and you've tidied the table. Sort the paperwork into piles by deadline, put the teaspoons in a cup, and roll the gloves together so they don't get separated, and the table is untidy but organised.
Similarly, a tidy or organised space can still be filthy. Just because all the yellowed newspapers and trash bags are sorted by date in the basement, out of sight, doesn't mean they're clean. A chaotic, cluttered space can still be very sanitary if it's being kept clear of refuse, and wiped and dusted often.
Sometimes tidying makes your space less organised, and vice versa. Organising often shakes out a lot of dust and makes the space dirtier. The classic "it's even worse than when I started" feeling is often the result of going into a room with the intent of tidying, then actually starting the task of organising instead. It's a lot easier to tidy an organised space, and organising first is usually the right instinct, but the distinction isn't intuitive so the sudden cluttering effect can be really demoralising. Remember they're three different things with different goals. Sometimes they overlap, but sometimes they conflict. That doesn't mean you're doing it wrong.
oh yes, video format is a wonderful way to receive information, practically effortless, just put on the closed captions and increase the speed as high as it'll go and it's nearly as fast as just reading a text version except sometimes it is also a little slow to load because of my ad blocker, so yeah, basically a perfect format
Mammal in a Sunday Dress, by Georgina M. Cox, 2026
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.
source
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How Ilya was moving in the last chapter of SSBL (L)
I’m sorry. I’m going to sleep now.
