"we don't take Ls, we only take inconsistent Ws"

#funny #charming #beautiful #Gorgeous #cool #Nonchalant #cozygaming ||| mae ||| she/it • • • also i draw @moylis • • •

[achillesinhighheels]

[secret--songs]

What if you made up a guy who suffered suffered suffered suffered suffered suffered

[ambarrvioleta]

[fact-dogsarehappiness]

The Guy Who Didn’t Like Musicals | Galavant 2x07

These two scenes have lived next to each other in my brain since 2018 (which Paul would hate since Galavant is a musical)

[kosmogrl]

[eclipse-ofthe-sun]

[kakushimiko]

[enki2]

[barokworks]

BOSTON LEGAL ∙ S5.E11 (2008)

[bunnywan]

ryan gosling they could never make me give a fuck about you.

[bunnywan]

next person that reblogs this saying something even the slightest bit positive about ryan gosling is getting their ass beat

[miamaimania]

Warm guns by Natalie Baxter

[dogrotpdf]

A Little Life, dir. Ivo Van Hove, 2021

[quinngefail]

BACK AT IT WITH MORE STICKER ORDER DOODLES 🔥🔥🔥

[there-is-no-romeo]

bauhaus. in the middle of baustreet

[indirectcomedian]

xena gave us trans drag lesbianism as a treat

[autisticexpression2]

There are layers to this. Earlier in the episode, Xena discovers her secret while they're sharing a locker room. A woman she has got naked with turned out to be trans. It's the exact scenario terfs are always fear-mongering about, but Xena just shrugs it off.

Also, the kiss was a big deal not just because it was gay but because the trans actress was HIV positive. They wanted to show the world that you can't contract HIV just from kissing someone. Bear in mind, the AIDS crisis was still fresh on people's minds in the 90s.

Happy Pride.

[scramratz]

I think people would be less suicidal if they were allowed to talk about being suicidal without risk of being sent to the Torture Dungeon

[psych-zine]

💚Merch Items💚

These Polaroids are going to have you remembering the good times with the guys, thanks to @/lastghast (bsky) they have made some lasting memories !

https://embracethedeceptionzine.bigcartel.com/

[mybeingthere]

The trees Tony Bevan paints are “isolated, like a human. I like the trunk, how it expands beyond and grasps. [The branches] are almost like elbows crossing. They’re very human-like forms and that’s what interests me, creating these spaces… in these tendon-like colours.”

Tony Bevan, born in Bradford, Yorkshire, in 1951, is known for his graphic paintings and drawings, constructed with jet-black charcoal and pigment-rich acrylics. With raw, physical energy, he renders a range of subjects – from self-portraits to architectural forms – through networks of lacerated vertical and diagonal lines, set against vivid backdrops of red, scorched orange, or cobalt blue.

Bevan studied at the Bradford School of Art, Yorkshire, between 1968 and 1971, followed by Goldsmiths College between 1971 and 1974 and the Slade School of Fine Art between 1974 and 1976, both in London.

Tony tells: “I grind my own pigments in acrylic. That came about many years ago when I was a student we used to make our own etching inks. You never realise there are different blacks until you make your own. Some might be charcoal, some might be burnt bone. All are different.”

Burnt bone. It sounds like something you’d find lying at the foot of one Bevan’s trees if he ever turned his gaze away from the branches and towards the root. Why does he favour such rich tones? “I wanted the tendon-like rawness. All my work has a very physical and raw nature…. all this charcoal, I like the way it moves and shatters. The debris gets fixed there so the process of the making shows up in the final work. [The archive paintings] have been painted with brushes in which a lot of the bristles have been taken off. So it’s almost like a kind of gouge into the surface.”

[haciaelmar]

three tree trunks | Olympus OM-1 | Candido 800 | 2026