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isa | 30 | follow for tepid opinions & soft social hermitry

[kerabytes]

“On the night of the full moon, if shadows move on their own and laugh, it must be Gengar’s doing.” ~ LeafGreen

(Ko-fi)

[susiephone]

in honor of the new roaring 20s, we as a culture are going to stop sleeping on lackadaisy. 

it’s a webcomic written and drawn by tracy j. butler, set in 1927 st. louis. we follow the staff of a failing speakeasy as they struggle to keep their business afloat. chaos and a lot of murder ensues. it started in 2006 and still updates – no particular schedule, but always, always worth the wait. i’ve been a loyal reader for a decade now. it’s dark, funny, has SO much research put into it, and has some mindbogglingly gorgeous art. it was always great, but as the years have gone by it’s just gotten better and better. some samples:

this was all done by one person.

one. person.

ONE. PERSON.

if you’re into mystery/thrillers, prohibition era fiction, anthropomorphic kitties, awesome character development, and comics with lots of supplementary content to tide you over between updates…. go read lackadaisy.

[lackadaisycats]

This was a really touching post to stumble upon. Thank you so much!

[littlestpersimmon]

Ah yes. The Moomins. That story about an idyllic and peaceful life in the meadow. Much similar to Winnie the Pooh. That story.

[omgthatdress]

This is officially the only good thing to come from the final season of Game of Thrones.

[world-of-cats]

Source

[beardedeldridge-deactivated2025]

Necro Maria, a marble sculptured reinterpretation of Our Lady of Sorrows ~ a collaboration between 3D Illustrator & Art Director Billelis & Sick Mick @sick666mick

[anyskin]

1920s black silk shoes with silver embroidered spider web

[ddeathspell]

[khatoblepas]

There they are, the two genders.

[samael]

only a cis deals in absolutes

[cornchipz-revival]

all of life and history aligned for that one joke we’re done everyone go home

[icantwritegood]

rawest fucking florence and the machine lyrics in no particular order:

no more dreaming of the dead as if death itself was undone

want me to love you in moderation, do i look moderate to you?

this will be my last confession, ‘i love you’ never felt like any blessing, whisper it like it’s a secret only to condemn the one who hears it

because i am done with my graceless heart, so tonight i’m gonna cut it out and then restart

tenderest touch leaves the darkest of marks and the kindest of kisses breaks the hardest of hearts

but the loneliness never left me, i always took it with me, but i can put it down in the pleasure of your company

at seventeen i started to starve myself, i thought that love was a kind of emptiness, but at least i understood then the hunger i felt, and i didn’t have to call it loneliness 

the fabric of your flesh, pure as a wedding dress

it’s an even sum, it’s a melody, it’s a battle cry, it’s a symphony 

but i know it’ll have to drown me, before i can breathe easy

to the crowd i was crying out, and in your place there were a thousand other faces

and it’s over and i’m going under, but i’m not giving up i’m just giving in

in a moment of joy and fury i threw myself from the balcony like my grandmother, so many years before me

and it’s peaceful in the deep, cathedral where you cannot breathe

i know i seem shaky, these hands aren’t fit for holding

i’m not beat up by this yet, you can’t tell me to regret, been in the dark since the day we met, fire help me to forget

it seems that i have been held in this dreaming state, a tourist in the waking world, never quite awake

shower your affection, let it rain on me, pull down this mountain, drag your cities to the sea

and i did cartwheels in your honor, dancing on tiptoes, my own secret ceremonials

a year like this passes so strangely, somewhere between sorrow and bliss

in the spring, i shed my skin and it blows away with the changing winds

i swallow the sound and it swallows me whole until there’s nothing left inside my soul

and i want you so badly, but you could be anyone 

i was in the darkness, so darkness i became

[vrabia]

In their depictions of Eastern European immigrants in the United Kingdom, British media producers not only drew on familiar TV genres like ‘poverty porn,’ but also revived an older discourse that has, since the eighteenth century, constructed the European continent’s eastern and southern margins as the constitutive ‘Other’ of civilised Europe. Echoing 19thcentury depictions of southeast Europeans by analogy with Europe’s colonial subjects or lower classes, contemporary British representations were also enabled by the broader language of tutelage characterizing the process of EU accession.

Not least because of their growing mobility, Eastern Europeans have increasingly returned the gaze as the Romanian reactions to British shows and ad campaigns indicate. While many Eastern Europeans have spoken back in the shared civilizational discourse of an exclusionary European identity, their responses, whether angry or ironic, also indicate that the imaginary West of democratic and material plenitude conjured during the Cold War has been progressively demystified. Finally, the cultural production and consumption of a show like The Romanians Are Coming indicates that the historical East-West division of the continent is crisscrossed by important, if often obscured, distinctions of class, generation and education that can weigh heavier than culture or nationality in enabling border crossing.

hey, if you want to understand a thing or six about contemporary european politics put this in your eyeballs.

[larvinya]

[tepig-guy]

long????

[joeseph-stallion-deactivated202]

fool, that is the embodiment of death

[tepig-guy]

death incarnate: shows himself to be a black cat, ominous and dreadful

me: hehe flufy worm boy, long man jenkins

[jakegyllenhaal]

The Love Witch (2016 dir. Anna Biller)

[dehvron]

gucci, cruise 2019.

[leafie-draws]

a witch house 🌙

[70sscifiart]

Henri Lievens

[jjustwantobehere]

“Netflix and Amazon are driving what I call “Concentration Creep” across the industry. Concentration creep means that consolidation in one part of an industry causes consolidation in other parts. Disney, for instance, is trying to mimic the company by launching what may be a below-cost streaming service. It also bought Fox’s media assets, so it can bulk up and gain market power. And Trump’s Antitrust chief, Makan Delrahim, is considering getting rid of the Paramount Consent Decrees, which might prompt Amazon or Netflix to simply buy a movie theater chain. It’s becoming increasingly clear that the only goal now in Hollywood is to become gain market power in distribution or must-have content production, and then use that monopoly power to reduce the quality of output and reduce the bargaining leverage of artists. Even the agents, who are supposed to represent artists, are getting into the vertical integration game. The net effect is higher prices, less paid to artists, a less creative industry, and ultimately, the death of the Hollywood ecosystem of storytelling. Such a dynamic isn’t just a problem in terms of a more arid artistic world, but is in fact a political and national security problem. We learn a lot from our movies and TV shows, including about politics and geo-politics. The U.S. military tends to subsidize movies that make them look good; with fewer producers of movies, such subsidies will have more impact, and perhaps make it less likely artists criticize the state or powerful corporations. But the free expression problem imports overt government censorship into America and the entire West.”

— The Slow Death of Hollywood

[hodlmyvodka]

Knights of the Round Table