Oh. Shit.

| Cary/A | 21 | whatever grabs my attention at this moment

[artemisia-caria]

Hi!!!

I'm Cary (or A), thanks for stopping by <3

not fandom specific here, this is pretty much just a collection of whatever has grabbed my attention at the moment.

this blog is gonna be a random collation of my art, photography, and probably my random thoughts (those always find a way to sneak in)

can't promise i will be on here with any regularity, but i will do my best <3

Anyways, thank you!!! for stopping by, i hope you enjoy my measly offerings lol. <3

[so-much-for-subtlety]

[pingintech]

literally a cartoon bad guy

[noodles-and-tea]

Me when I like my lawyers fictional

[vermiculaire]

BENOIT BLANC — “Do you see that?”

PERCEPTION [Challenging : Failure] — There’s something strange about the photo. An inconsequential leather bag.

JUD DUPLENTICY — “Yeah.”

BENOIT BLANC — “Oh. That is, uh…”

[phoenixfatality]

the camerawork and composition of Wake Up Dead Man is incredibly instrumental to the storytelling in a way that I think most people miss if they aren't art students or insane film nerds. (i am said art student and film nerd, my niche is literally camera angles)

Wicks is almost ALWAYS shot in a low angle. (also known as a worm's eye view). This is an angle used to make the subject look larger than they really are (think, a person looking down at the ground). This is used in film to convey power or presence in a scene. This angle conveys authority, power, who's in control in the scene. Now, it can also be used in reverse, but this is not the case with how it's used to frame Wicks. And if he is not in a low angle (rare), he is shown to be in control in other ways, be through other framing devices, or the fact that he is yelling or physically moving towards someone. Even in the scene where Jud is UP ON A LADDER, Wicks is positioned in frame as bigger than him. Wicks is always bigger. (AND WICKS IS SMALLER THAN JUD. JUD IS 6'1".)

And by contrast, Jud is, for most of the film, while interacting with the flock, shot in an level angle. Even if the angle has a slight high or low tilt, he is almost always equal in height or positioning with the other characters in the scene. While yes, he has authority and power over them via his position in the church, he does not abuse that power over them like Wicks does. He is trying to stay on their level. He is equal to them, and sometimes, he's shot in a way that makes him SMALLER than them. Jud is not a short character, and his past would imply he should have power over other characters if he wanted to. But he is small. He does not take up space. (which is another great element to characterization but that's for another post).

The camera angles and shot blocking of this movie are just as instrumental to the emotional storytelling and impact as the lighting is, and I hope it's noticed by more people

[miche-perez]

Every day we stray farther from the light when we could have this today, yesterday, tomorrow. 🕵🏻‍♂️ 🐸 🐷

[tanadrin]

It is a common error that many faiths believe the souls of the dead depart this plane of existence for some mythical heaven or hell. In fact, the souls of the dead go to UDFj-39546284, a high-redshift Lyman break galaxy in the constellation Fornax, about 32.7 billion light years away. When asked why the dead from across the universe should all be converging on this one faint galaxy, NASA astrophysicists said “it’s like an eel thing,” and refused to elaborate further.

[hiveswap]

Everyone go look up the song nasa banned from space

[hiveswap]

Don't forget to play it loud as fuck

[kowai-kabuki-tanuki]

please….listen to the whole thing. And imagine that you are IN SPACE in 1973 and you JUST woke up. Every time you adjust…it escalates somehow.

This song had to be designed in a lab for the sole purpose of fucking with astronauts. whoever added it to the NASA playlist was a genius.

[hiveswap]

It took them two tries to ban it?

[kvotheunkvothe]

[pmamtraveller]

Mammal in a Sunday Dress, by Georgina M. Cox, 2026

[originalaccountname]

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back. The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act. For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body. The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser. Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology. Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

source

[googledocsdyke]

remember when you were 10 and you would hang out with your friends in order to Look At The Computer together like you went to their house and experienced the information superhighway together. and then leave

[mostlybats-partiallyrats]

How fucking old are you people?

[googledocsdyke]

normal amount

[camilleflyingrotten]

In its right place

[river-of-wine]

Hades gives Orpheus a trial he knows he himself could never succeed at, but it isn’t just that Hades knows he would turn around. Hades has been failing this trial every single year. He shows up too early. He turns too soon. He is so full of doubt that even the natural order of the world, that Persephone will return to him, is not something he can trust. Hades would fail the trial he has given Orpheus, and he already has. All alone, his blood runs thin.

[artemisia-caria]

hey guys actually have free cat to give away. see she asked for pats then lied and bit and scratched me real hard. and then immediately asked for pats again and obviosuly i didnt respond fast enough (the fear) so then she bit my sleeve real hard and then she asked for pets and bit me and bit me and bit me and-

so anyway free cat to anyone who wants an evil little oval

[drchucktingle]

classic way

[voydhymn]

having many trinkets and books is so cool and fun until you realize you have to dust them

[fairycosmos]

OK i flop at my job i dont really date or drive my natural interactions and behaviours are awkward i am often a bit off putting in a non curated way

[etirabys]

I deserve more credit for not picking stupid fights on the internet than a nice person who doesn't pick fights does, because I have an unpleasant personality and it's harder for me