The Homes of Hidden Animals Series by Jeniak
This artist on Instagram // Twitter

if i look back, i am lost
NASA
Show & Tell
let's talk about Bridgerton tea, my ask is open
Color Me Curious
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KIROKAZE
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EXPECTATIONS

gracie abrams

romaâ
RMH
Noah Kahan
Cookie Run:Kingdom Official!
Cosmic Funnies
đ©” avery cochrane đ©”
Monterey Bay Aquarium
seen from Moldova

seen from Pakistan

seen from Venezuela

seen from Senegal
seen from United Arab Emirates

seen from United States

seen from United Kingdom

seen from Colombia

seen from Venezuela

seen from United States

seen from Brazil
seen from United Kingdom
seen from Ukraine
seen from United States
seen from Bahrain

seen from Poland
seen from United States

seen from Ireland
seen from Bangladesh
seen from United States
@berath-nbs-pr
The Homes of Hidden Animals Series by Jeniak
This artist on Instagram // Twitter
Season 1: A Shadows Short: The American Flag
Travelling with Venusaur
Derry Girls (2018- )
Prepare for Pearl! And make it double⊠Pearl!
Statue of Lilith at BlizzCon.
Blessed Mother
its that time of year
TOMORROW IS IN YOUR HANDS
âI barely know youâ Thatâs a good thingâ
Jurassic World: Battle at Big Rock
Sometimes I think of how we went from the simple little line âyouâre gonna love my boyfriendâ in Paranorman (2012) which felt groundbreaking in childrenâs media at the time (and ticked off a fair number of people who consider lgbt+ content too âadultâ for children asfsdf)
To actual gay weddings in Steven Universe and Arthur, to openly gay and affectionate dads in She-RaâŠ
Progress for lgbt+ representation is slow and thereâs always backlash and opposition. But it feels like thereâs hope and Iâm so happy lgbt+ and queer kids get to see themselves in media.
Gary Turner
The Mirror-Faced Grim Reaper in Meshes of the Afternoon (1943) dir. by Maya Deren, Alexander Hammid
âThis film is endowed with an acute sense of restlessness and alienation; reflecting this uncanny estrangement in the doubling, tripling and quadrupling of its central character, and in its cyclic narrative, a structure that seems condemned to repetition. Why is the hooded Death figure constructed as a kind of mirror? Are we dealing with Nietzscheâs notion of âeternal returnâ (the theory that the universe and all existence and energy has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time or space)? You could go on forever about the meanings buried in this particular work. It invites and eludes analysis.â â Wendy Haslem & Rick Kelley