Anya Taylor-Joy

Discoholic 🪩

oozey mess
let's talk about Bridgerton tea, my ask is open
🪼
PUT YOUR BEARD IN MY MOUTH

shark vs the universe
RMH
d e v o n

@theartofmadeline

Andulka

祝日 / Permanent Vacation

❣ Chile in a Photography ❣
taylor price
"I'm Dorothy Gale from Kansas"

Origami Around
No title available
occasionally subtle

No title available
Monterey Bay Aquarium
Alisa U Zemlji Chuda

seen from United States

seen from Germany
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seen from Morocco

seen from Malaysia
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seen from Singapore

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seen from TĂĽrkiye

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@andithinkshewasright
Anya Taylor-Joy
Anya Taylor-Joy in Japan
🗝 ༝
It used to be that thinking in your head was the very most basic freedom you had. And people are just... giving that away.
❀ Emma Woodhouse & Harriet Smith.
EMMA, 2020 (dir. Autumn de Wilde)
Japanese Wisteria (Wisteria floribunda 'Alba')
Weird Fantasy (1950) #18 written by Al Feldstein and drawn by Joe Orlando, with editor Bill Gaines
So he said it can't be a Black. So I said, "For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!" So he said, "No, it can't be a Black". Bill just called him up and raised the roof, and finally they said, "Well, you gotta take the perspiration off". I had the stars glistening in the perspiration on his Black skin. Bill said, "Fuck you", and he hung up.
Al Feldstein, Tales of Terror: The EC Companion
Just to add context for those not aware of the impact of this story.
The reason it was so important for narrative purposes, was that the plot concerns the visit of the Astronaut, in his completely opaque spacesuit, to a planet populated entirely by self-aware robots (originally from Earth) who have built their own society and are petitioning to be allowed to interact with Earth again as equals.
They have a democratic government and free choice of careers etc. as the orange robot serving as guide tells the Astronaut.
The Astronaut notices that there are two different types of robot on this world; the orange ones, who are in charge, gifted access to all information and facilities. and the blue robots, who are seen as more limited in function, have less access to information and resources, and are not allowed positions of power or as wide a choice of employment opportunities. Even transportation is segregated.
The Astronaut investigates further and discovers that the blue and orange robots are actually structurally identical, there is absolutely no difference between their potential or capabilities, and it is only because the orange robots are instructed by their Educator system to consider themselves superior, that the difference exists.
The Astronaut tells the robots they are not ready for re-alignment with Earth, until they come to terms with their own unfairness, and how Earth had had to deal with this issue themselves. When that time comes, the robots will be able to ally with Earth.
Then he leaves in his spaceship, and it's only in that one final panel that we see the Astronaut is black.
Not subtle, nor should it be, but for 1950 this was a breathtakingly powerful statement, perhaps the first of it's kind in the genre.
The black character was not a caricature, or comedy relief, he was a main character in his own right, a human who "simply" was black.
When I was a professor I fucking LOVED teaching this comic. You can read the full thing here (and please read the letters to the editor at the bottom as well—including a message from Ray Bradbury).
CHAPPELL ROAN via Instagram — January 29, 2026
The most decorated rapper in GRAMMYs history.
I think we need to be less gentle and forgiving of women who date shitty men. You knew he had DV allegations/SA allegations/children he’s abandoned/fucked up political beliefs and you still threw him some pussy? Bird. Off with both of your heads sorry
Please if you have a chance, report this GoFundMe!
Here’s the Report Fundraiser link: https://www.gofundme.com/contact/suggest/fraud
And here’s the ICE agent’s GoFundMe which you’ll need to copy and paste into the report: https://www.gofundme.com/f/ice-offuver-jonathan-ross
Template for report:
This GFM is fraudulent, as it claims to be raising funds for the Beneficiary with statements such as: “legal defense fund pays attorney fees and court costs” and “mounting medical bills” yet his employer, the Federal Government, will cover his legal defense and offers him and his family full medical coverage. The GFM Organizer has also admitted to having no affiliation with the Beneficiary and has not been in contact with him. This breaks the GFM terms of service 8.2: “Fundraisers that are fraudulent, misleading, inaccurate, dishonest or impossible.” Additionally, this GFM breaks terms of service: "8.10. the legal defense of financial and violent crimes, including those related to money laundering, murder, robbery, assault, battery, sex crimes or crimes against minors.” These funds are fraudulent and a celebration of murder and a great risk to GFM’s reputation that must be stopped.
between this fundraiser and another one on "givesendgive" around $600,000 has been raised. Please help prevent this man from getting a half-million dollar prize for shooting Renee Nicole Good in the head.
PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (2003) dir. gore verbinski
in World War 1 around 8 million horses died but in World War 2 it was under a million which can only mean horses started to evolve bullet resistance
im sorry i couldnt just let these slide
I love animation history and one of the things that always baffled me was how did animators draw the cars in 101 Dalmatians before the advent of computer graphics?
Any rigid solid object is extremely challenging for 2D artists to animate because if one stray line isn’t kept perfectly in check, the object will seem to wobble and shift unnaturally.
Even as early as the mid 80’s Disney was using a technique where they would animate a 3D object and then apply a 2D filter to it. This practice could be applied to any solid object a character interacts with: from lanterns a character is holding, to a book (like in Atlantis), or in the most extreme cases Cybernetic parts (like in Treasure Planet).
But 101 Dalmatians was made WAY before the advent of this technology. So how did they do the Cruella car chase sequence at the end of the film?
The answer is so simple I don’t know why it didn’t occur to me sooner:
They just BUILT the models and painted them white with black outlines 🤣
That was the trick. They’re not actually 2D animated, they’re stop motion. They were physical models painted white and filmed on a white background. The black outlines become the lineart lines and they just xeroxed the frame onto an animation cel and painted it like any other 2D animated frame.
That’s how they did it! Isn’t that amazing? It’s such a simple low tech solution but it looks so cool in the final product.
Rosamund Pike in PRIDE & PREJUDICE (2005) dir. Joe Wright