Liza Sivakova
Sade Olutola
DEAR READER
he wasn't even looking at me and he found me

Andulka

blake kathryn

Product Placement
2025 on Tumblr: Trends That Defined the Year
art blog(derogatory)
trying on a metaphor
Cosmic Funnies

titsay
i don't do bad sauce passes
Misplaced Lens Cap
Not today Justin

shark vs the universe
Keni
AnasAbdin
$LAYYYTER
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@zapph0
Liza Sivakova

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thinking about werewolves and the concept of becoming a monster and discovering that something savage and uncontrollable exists within you and the potential that has to be a liberating narrative about growth and change and courage rather than a story about controlling and concealing it
Being a werewolf is about shame. I think it’s also about anger, trauma, not belonging, and the fear that you might be unlovable.
The shame of being a werewolf has to be that you were bitten by the wolf, and you survived. You survived because you became the wolf yourself. You are this terrible, monstrous thing, and the terrible, monstrous thing is you. It’s the part of you that survives the attack, and it’s terrifying that this is you.
I feel like werewolves are people who are very hurt. Not only that, they’ve spent their lives up to this point trying as hard as they can being whatever the opposite of a werewolf is—something tame, something yielding, something that’s not angry and unpredictable and bestial. But the Wolf is also them. Because no matter how much you don’t believe it, you want to make it. You want to survive, and you will fight so that you will live.
Or werewolves are people who are incredibly afraid. It’s about the inevitability of not being lovable; being a monster is unforgivable. It’s about the inability to withstand anything that will happen to you. It’s about your body betraying you. It’s about carrying a terrible and ugly you inside you, locked up where no one can see it, because the thought of anyone else seeing that you is unbearable. It’s about all of those things and more.
I think the Wolf is the part of you that loves you, unconditionally. It’s the part of you that bites when something tries to hurt you. When something tries to put you back in the place you’re supposed to be. Of course it’s scary. It’s scary to find that you are impossibly strong and maybe selfish, and that your self-hatred isn’t enough to save you from the savage, stubborn knot of self-love you carry in your chest. But it’s also the answer to that question: What if I am awful? What if I am terrible, too terrible to look at, too terrible to love? What if you are a monster? Well, what then?
La Figuera de Chaouen , The Chaouen Fig Tree - Magí Puig
Catalan, b. 1966-
Oil on canvas, 116 x 89 cm.
Eric Bowman.
Dawnridge. The house overlooks a ravine filled with pagodas, fantasy pavilions, and junglelike foliage.
The Los Angeles House, 1995

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Shell House by architect Jeff Shelton
why does every vulture look lesbian as hell
like honestly im dead certain i saw this couple drinkin pabst at a potluck last week its not just me right
a shopping mall in chongqing city
The Schooner Opal off the coast of Scoresbysund, Greenland, by James Rushforth, 2018
BERNIE FUCHS Embrace Oil on Illustration Board 25″ x 18″

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Fornalutx, Mallorca, Spain
I stumbled on some videos of actual same-sex competitions for adults and came away with some conclusions:
These people are great dancers and so fun to watch.
It is entirely possible to pull off a natural-looking leader switch - see 1:30.
The apparel for same-sex competitions can be so much cooler and more colorful than regular black tails and sparkly dresses. (See these videos for lovely costumes.)
I wish there could be more same-sex competitions and/or events around. It would do great things for broadening the ballroom community and increasing retention for newcomer dancers.
Pater Harrison, 1905, John Singer Sargent
Medium: watercolor,paper
https://www.wikiart.org/en/john-singer-sargent/pater-harrison
Madrid, Spain. 1972 (AR: Fernando Higueras)

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Eartha Kitt in Hamburg, Germany ca. 1980s (Photo by VIRGINIA/ullstein bild via Getty Images)
“But I keep coming back to how The Legend of Korra takes this opportunity to imagine a future without European and American colonisation and imperialism and give us nothing but that. And that leaves a very foul aftertaste. To suggest that Americana is the inevitable future of all worlds. That is no other possibility for modernity and progress. That westernisation is inevitable even in fantasy worlds without a “West.” …Within The Last Airbender, I felt like I could broadly trust my instincts and that references added to the story rather than taking away. When Zuko cut his hair or when Sokka put on makeup before war, those symbols carried with them the cultural weight they have in their original cultures in the world. The narrative was not stopped to explain what these things mean, but it was also largely unnecessary as we could also just infer their meaning contextually[4]. But in Korra, things just don’t work that way anymore. That feeling of fantasy that is trying to speak to you in your own language has gone away for me. Despite all its faults, that was a very special feeling that The Last Airbender offered. I’m very aware that for many of the asian diaspora, it was one of the first times (if not the only time) they felt that way with popular media. And I can’t help but mourn its loss.”
— Jeanette Ng, The Inescapable Whiteness of Avatar: the Legend of Korra