nowhere girl

what the fuck man

INTERVIEW WITH THE VAMPIRE 2x02 | Do You Know What It Means to Be Loved by Death Welcome! To the displacement of reason. And the excretion of pathetic desires. By that I mean… Good evening. What you're about to see… is, for you, an outrage that masks a birth and a rebirth of what is [...] Instead of mere human drama, we here at Theatre Des Vampires, delve into the underbelly of the human soul, to present to you the highest form of art in the lowest of ways! Have you repressions that need airing? Oh, you've come to the right place. Phobias toward your next of kin? Amis, we assist in turning down the sheets! Bloodlust?! Fear of the insane?! I salute your honesty. Right after I take my boot from your arse! But seriously, mes amis, being vampires, and by nature superior to you mortals, we can replicate the level of bilge necessary to disrupt your tiny ship called human decency. In fact, we capsize it. So, if you don't leave here tonight seeing the world upside down and liking very much what you see, and feel, then we here at Theatre Des Vampires, have failed in our jobs which is, at the heart of it, to laugh alongside your misery while you cry and scream for more.

horse photography via sasha elage (@sashaelage on instagram)

Lack of almost everything

Not to mention that this uptick in "goth" aesthetics among the general public has also come accompanied by an even greater fetishism of goths, especially women, by outsiders. The more I hear "I want a big tiddy goth gf who will let me abuse her under the guise of BDSM 🥺" the more stories I hear from goth/alt women and gnc people being harassed by people with no respect or boundaries, both in real life and on-line. This selling of goth aesthetic without any ties to the subculture also means that this image is being shown to the public in association with behaviours and beliefs that don't inherently have anything to do with goth, but that are associated with promiscous behaviour packaged to the male gaze.

Salvaged from the ruins of Beirut after 1982, Abu Ali's early film has only recently been made available. Shooting under extraordinary conditions, the director, who worked with Godard on his Ici et Ailleurs (Here and Elsewhere), and founded the PLO's film division, covers conditions in Lebanon's refugee camps, the effects of Israeli bombardments, and the lives of guerrillas in training camps. They Do Not Exist is a stylistically unique work which demonstrates the intersection between the political and the aesthetic. Now recognised as a cornerstone in the development of Palestinian cinema, the film only received its Palestine premiere in 2003, when a group of Palestinian artists "smuggled" the director to a makeshift cinema in his hometown of Jerusalem (into which Israel bars his entry). Abu Ali, who saw his film for the first time in 20 years at this clandestine event noted: "We used to say 'Art for the Struggle', now it's 'Struggle for the Art'"

he doesnt like to eat anything so i dont even bother

like to charge reblog to cast

Inferno (1980)