Midsommar (2019) dir. Ari Aster
Xuebing Du
Misplaced Lens Cap

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Alisa U Zemlji Chuda

Product Placement
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Three Goblin Art
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Today's Document
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Lint Roller? I Barely Know Her
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Midsommar (2019) dir. Ari Aster
dani ardor in midsommar has the energy that margaery deserves after being maceās pawn and dealing with joffreyās shit thank uuuu
Lord Fallon: Make her stop, please. Charlotte: Make him squeal, Lucy.
āThe world was emptying itself of meaning. Everything was hollow. Everything was withering.ā
ā Margaret Atwood, from āThe Testaments,ā released c. September 2019
SHIERA.Ā Ā brightĀ star.
āĀ Ā IāM VERY GLADĀ Ā toĀ seeĀ youĀ lookingĀ muchĀ livelier,Ā ladyĀ falia.Ā haveĀ youĀ beenĀ eatingĀ wellĀ ?Ā Ā youāreĀ terriblyĀ malnourished.Ā Ā Ā āĀ Ā tenderĀ joyĀ takesĀ toĀ featuresĀ unearthly,Ā mismatchedĀ eyesĀ shineĀ likeĀ diamondsĀ belowĀ sheerĀ wavesĀ ofĀ tameĀ seas.Ā sheĀ sitsĀ acrossĀ her,Ā notĀ tooĀ near,Ā notĀ tooĀ far,Ā oneĀ daintyĀ handĀ dropsĀ aĀ cottonĀ thudĀ onĀ theĀ mahoganyĀ &Ā scratchĀ ofĀ silverĀ purrsĀ gentleĀ beneathĀ herĀ hold.Ā sheĀ reachesĀ forthĀ withoutĀ lifting,Ā slidesĀ itĀ closerĀ withĀ aĀ fragrantĀ smile.Ā aĀ flowerĀ pendantĀ Ā bloomsĀ withinĀ herĀ palm,Ā endowedĀ withĀ sapphiresĀ &Ā emeraldsĀ likeĀ theĀ heavyĀ necklaceĀ furtherĀ flatteringĀ herĀ daintyĀ neck,Ā dippedĀ inĀ theĀ depthsĀ ofĀ magicāsĀ protection,Ā thoughĀ invisible.Ā Ā Ā āĀ Ā aĀ gift.Ā Ā āāĀ Ā Ā Ā āĀ Ā sheĀ leansĀ back,Ā breathsĀ calmĀ asĀ theĀ sameĀ handĀ landsĀ onĀ herĀ belly,Ā andĀ herĀ leanĀ legsĀ crossĀ oneĀ topĀ ofĀ theĀ other.Ā Ā ā Ā Ā theĀ queenĀ wishesĀ weĀ stillĀ haveĀ theĀ courtĀ forĀ theĀ greyjoyĀ worm.Ā wouldĀ youĀ likeĀ toĀ attendĀ ?Ā Ā haveĀ aĀ wordĀ ?Ā Ā Ā Ā ā
ā Ā AS MUCH AS I CAN,Ā Ā māladyĀ Ā .Ā Ā .Ā Ā .Ā Ā āĀ Ā Ā herĀ tongueĀ stillĀ feelsĀ soĀ heavy,Ā Ā heavyĀ asĀ steel,Ā Ā butĀ tastesĀ areĀ moreĀ fragrantĀ now,Ā Ā foodĀ isĀ soĀ lushĀ Ā &Ā Ā evenĀ sweeterĀ thanĀ honeyedĀ dreamwine;Ā Ā euronāsĀ crimeĀ hasĀ nighĀ beenĀ forgotten,Ā Ā hereĀ inĀ thisĀ chamberĀ withĀ theĀ motherĀ ofĀ allĀ maidens,Ā Ā whetherĀ theyĀ beĀ meekĀ orĀ malevolent,Ā Ā &Ā Ā SHE HAS CERTAINLY BEEN BOTH.Ā Ā Ā ā Ā ---Ā Ā oh,Ā Ā āĀ Ā Ā herĀ eyesĀ seemĀ toĀ glowĀ inĀ theĀ paleĀ pyramidĀ light,Ā Ā ashineĀ byĀ gemsĀ moreĀ grandĀ Ā &Ā Ā beautifulĀ thanĀ anyĀ otherĀ herĀ dewyĀ gazeĀ hasĀ everĀ castĀ upon.Ā Ā theĀ jewelsĀ areĀ alikeĀ theĀ onesĀ aroundĀ herĀ ownĀ swanishĀ neck,Ā Ā sheĀ notices,Ā Ā &Ā Ā withĀ suchĀ realizationĀ sheāsĀ castĀ intoĀ exhilaratedĀ reveries.Ā Ā ā Ā itsĀ trulyĀ beautiful,Ā Ā māladyĀ Ā .Ā Ā .Ā Ā .Ā Ā youāveĀ beenĀ kindĀ toĀ me,Ā Ā soĀ muchĀ kinderĀ thanĀ iĀ mayĀ deserve.Ā Ā āĀ Ā Ā sheĀ cradlesĀ itĀ asĀ tenderlyĀ asĀ sheĀ hasĀ herĀ belly,Ā Ā asĀ tenderlyĀ asĀ sheĀ regardsĀ shieraĀ Ā &Ā Ā herĀ Ā dragonkin.Ā Ā butĀ faliaĀ wiltsĀ beforeĀ her,Ā Ā inĀ aĀ wayĀ thatĀ onlyĀ aĀ womanĀ wouldĀ notice;Ā Ā sheāsĀ suddenlyĀ transfixedĀ byĀ theĀ pendantĀ asĀ wouldĀ aĀ childĀ beholdingĀ theĀ daintiestĀ ofĀ creatures.Ā Ā somethingĀ escapesĀ her,Ā Ā brumingĀ betweenĀ themĀ likeĀ aĀ tangibleĀ ache.Ā Ā Ā ā Ā ---Ā Ā whatĀ couldĀ iĀ sayĀ Ā ?Ā Ā isĀ theĀ queenĀ notĀ crossĀ withĀ meĀ asĀ well,Ā Ā for--Ā Ā forĀ comingĀ too,Ā Ā underĀ theĀ sameĀ pretensesĀ Ā ?Ā Ā heĀ Ā .Ā Ā .Ā Ā .Ā Ā saidĀ weĀ wouldĀ beĀ sisters.Ā Ā ---Ā Ā myĀ trueĀ sistersĀ didnātĀ careĀ forĀ me,Ā Ā iĀ onlyĀ wantedĀ toĀ beĀ hers.Ā Ā āĀ Ā Ā sheĀ soundsĀ asĀ ifĀ sheĀ couldĀ weep,Ā Ā butĀ allĀ theĀ saltĀ hasĀ beenĀ drainedĀ fromĀ her,Ā Ā allĀ besidesĀ thatĀ clumpĀ inĀ herĀ belly,Ā Ā kickingĀ atĀ herĀ insidesĀ inĀ crestsĀ thatĀ couldĀ engulfĀ Ā &Ā Ā toppleĀ ships.Ā Ā sheĀ wishesĀ theĀ seaĀ had,Ā Ā toĀ spareĀ herĀ ofĀ allĀ thisĀ misery.Ā Ā Ā ā Ā whatĀ doĀ youĀ thinkĀ sheāllĀ doĀ toĀ himĀ Ā ?Ā Ā .Ā Ā .Ā Ā .Ā Ā willĀ sheĀ punishĀ me,Ā Ā tooĀ Ā ?Ā Ā ā
Painful moon-eyes,
Gertrud Kolmar, from Dark Soliloquy: The Selected Poems; āThe Toad,ā (via violentwavesofemotion)
Protect | Photographed by Alice Neale
SHIERA.Ā Ā motherĀ /Ā maiden.
ā Ā BLESSED MORNING, YOUR GRACE.Ā Ā youĀ seemĀ lovely,Ā sunlightĀ flattersĀ yourĀ beautyĀ evenĀ inĀ weakness.Ā āĀ Ā iāveĀ .Ā .Ā .Ā dismissedĀ yourĀ guards,Ā thoughĀ worryĀ not,Ā youĀ areĀ muchĀ saferĀ withĀ justĀ me.Ā iāveĀ comeĀ toĀ escortĀ youĀ outĀ ofĀ here.Ā iksÄĀ iÄĀ zaldrÄ«zes. Ā zaldrÄ«zotiĀ issiĀ daorĀ buzdari.Ā Ā Ā āĀ Ā
ā Ā YOU TELL LIES.Ā Ā whatĀ motivationsĀ wouldĀ youĀ haveĀ toĀ lieĀ toĀ aĀ grievingĀ motherĀ Ā ?Ā Ā āĀ Ā Ā herĀ figureĀ seemsĀ toĀ sway,Ā Ā half-deathĀ Ā /Ā Ā half-dream.Ā Ā theĀ chamberĀ smellsĀ ofĀ bloodĀ stillĀ Ā &Ā Ā theĀ sunlightĀ sheĀ speaksĀ ofĀ betrayĀ tearsĀ thatĀ haveĀ yetĀ toĀ cease,Ā Ā asĀ coldĀ Ā &Ā Ā clearĀ asĀ theĀ restĀ ofĀ her.Ā Ā Ā ā Ā ---Ā Ā whereĀ isĀ itĀ youĀ meanĀ toĀ takeĀ meĀ Ā ?Ā Ā where can i go that they will not followĀ Ā ?Ā Ā ā
VISENYA.Ā Ā allĀ mother.
ā Ā I WANT YOU ON THE THRONE. Ā i Ā have Ā lain Ā to Ā sleep, Ā though Ā we Ā are Ā awakened Ā all Ā the Ā same. Ā i Ā wonāt Ā have Ā the Ā throne Ā iāve Ā builtĀ outĀ ofĀ blood,Ā mineĀ &Ā theĀ preciousĀ bloodĀ ofĀ mine,Ā satĀ byĀ disgustingĀ leeches.Ā ā-Ā Ā iĀ satĀ theĀ throne.Ā rhaenysĀ satĀ theĀ throne.Ā wouldĀ iĀ allowĀ aegonĀ oneĀ breathĀ moreĀ hadĀ itĀ notĀ beenĀ forĀ fearĀ forĀ myĀ sisterĀ ?Ā Ā Ā Ā āĀ Ā womenĀ rule.Ā rageĀ rules.Ā menĀ pretend.Ā āĀ Ā burnĀ them,Ā saera.Ā haveĀ themĀ beg,Ā butĀ donātĀ spare.Ā whatĀ wouldĀ anyĀ meagreĀ verminĀ haveĀ againstĀ trueĀ dragonfireĀ ?Ā Ā Ā ā
ā Ā YOU SAT THE THRONEĀ Ā becauseĀ youĀ satĀ dragonsĀ asĀ well.Ā Ā iĀ wasnātĀ givenĀ aĀ dragon.Ā Ā iĀ wasĀ givenĀ sistersĀ whoĀ sneeredĀ atĀ me,Ā Ā &Ā Ā aĀ motherĀ whoĀ despisedĀ myĀ veryĀ beingĀ untilĀ allĀ herĀ otherĀ preciousĀ childrenĀ wereĀ deadĀ Ā &Ā Ā iĀ seemedĀ lessĀ likeĀ aĀ monsterĀ inĀ comparison.Ā Ā butĀ youĀ seeĀ Ā .Ā Ā .Ā Ā .Ā Ā iāmĀ stillĀ aĀ monster,Ā Ā &Ā Ā ifĀ sheĀ wereĀ stillĀ alive,Ā Ā &Ā Ā iĀ hadĀ aĀ dragonĀ asĀ fierceĀ asĀ theĀ blackĀ dread,Ā Ā I WOULD BURN HER FIRST.Ā Ā ---Ā Ā iĀ donātĀ wantĀ aĀ throne,Ā Ā iĀ wantĀ ash.Ā Ā iĀ wantĀ myĀ fatherāsĀ head.Ā Ā ā
Ready or Not (2019) dir. Matt Bettinelli-Olpin, Tyler Gillett
all the targaryen women are raging bipolar misandrist wlws. thatās the law now
āI know. Iām angry because I understand, not because I donāt.ā
ā Sarah Kane, from Sarah Kane: Complete Plays; ā4:48 Psychosisā
Belladonna of Sadness - Eiichi Yamamoto (1973)
VISENYA.Ā Ā allĀ mother.
ā Ā ITāS NOT OF SURPRISEĀ Ā thatĀ youĀ wouldnātĀ careĀ toĀ returnĀ toĀ usurpersĀ &Ā weaklings.Ā thoughĀ Ā ā-Ā Ā youĀ areĀ theĀ bloodĀ ofĀ theĀ dragon,Ā youĀ mustĀ takeĀ theĀ throne,Ā theĀ claimĀ isĀ yours.Ā takeĀ yourĀ revenge.Ā āāĀ Ā urnÄptreĀ zirȳ perzysĀ ÄnogÄr,Ā saera.Ā Ā āĀ Ā nyke'llĀ tameĀ iÄĀ zaldrÄ«zesĀ sytĀ ao.Ā Ā Ā ā
āĀ Ā FIRE & BLOOD DIED WITH YOUĀ Ā halfĀ aĀ millenniaĀ ago,Ā Ā whenĀ dragonsĀ wereĀ stillĀ conquerors.Ā Ā myĀ fatherĀ wasĀ aĀ weaklingĀ Ā &Ā Ā itĀ seemedĀ everyĀ predecessorĀ fromĀ aegonāsĀ lineĀ wasĀ theĀ same.Ā Ā itsĀ myĀ sonsĀ whoĀ holdĀ aĀ claim---Ā Ā whenĀ hasĀ aĀ womanĀ everĀ satĀ theĀ throneĀ herself,Ā Ā &Ā Ā whyĀ wouldĀ theyĀ wantĀ usĀ toĀ Ā ?Ā Ā --- Ā rageĀ isĀ allĀ weāreĀ goodĀ for,Ā Ā rageĀ Ā &Ā Ā fireĀ Ā &Ā Ā disarray.Ā Ā theyāveĀ madeĀ certainĀ ofĀ that.Ā Ā ā
Ā Ā Ā Ā Ā Ā Ā Ā Ā QUOTE STARTERSĀ VOL.VĀ Ā Ā MARGARET ATWOOD
ā I would like to be the air that inhabits you for a moment only. I would like to be that unnoticed and that necessary.Ā ā
ā Men are afraid that women will laugh at them. Women are afraid that men will kill them.Ā ā
ā In the end, weāll all become stories.Ā ā
ā I am inadequate and stupid, without worth. I might as well be dead.Ā ā
ā If you knew what was going to happen, if you knew everything that was going to happen nextāif you knew in advance the consequences of your own actionsāyouād be doomed. Youād be ruined as God.Ā ā
ā If you canāt go through an obstacle, go around it.Ā ā
ā Stupidity is the same as evil if you judge by the results.Ā ā
ā Time in dreams is frozen. You can never get away from where youāve been.Ā ā
ā Male fantasies, male fantasies, is everything run by male fantasies?Ā ā
ā We still think of a powerful man as a born leader and a powerful woman as an anomaly.Ā ā
ā If I love you, is that a fact or a weapon?Ā ā
ā You fit into me like a hook into an eye. ā
ā Knowing too much about other people puts you in their power, they have a claim on you, you are forced to understand their reasons for doing things and then you are weakened.Ā ā
ā Farewells can be shattering, but returns are surely worse. ā
ā Women have curious ways of hurting someone else.Ā ā
ā This is the one song everyone would like to learn: the song that is irresistible: the song that forces men to leap overboard in squadrons. ā
ā Get rid of death. Make it be spring.Ā ā
ā You are innocent as a bathtub full of bullets.Ā ā
ā I am the space you desecrate as you pass through.Ā ā
ā Favour me and give me riches, destroy my enemies. Save me from death.Ā ā
ā She is a raw voice loose in the rooms beneath me.Ā ā
ā Isnāt the moon warm enough for you, why do you need the blanket of another body?Ā ā
ā This is a torch song. Touch me and youāll burn.Ā ā
ā If you look long enough eventually you will see me.Ā ā
ā I would like to sleep with you, to enter your sleep as its smooth dark wave slides over my head. ā
ā I would like to give you the silver branch, the small white flower, the one word that will protect you from the grief. ā
ā But some people canāt tell where it hurts. They canāt calm down. They canāt ever stop howling.Ā ā
ā How else can we live, these days, except in the midst of ruin?Ā ā
ā What am I living for and what am I dying for are the same question.Ā ā
ā Gods always come in handy, they justify almost anything.Ā ā
Ā Ā Ā Ā Ā BOOK STARTERS VOL.52 Ā Ā SHARP OBJECTSĀ Ā Ā GILLIAN FLYNN
ā The face you give the world tells the world how to treat you.Ā ā
ā Sometimes I think illness sits inside every woman, waiting for the right moment to bloom.Ā ā
ā Women get consumed.Ā ā
ā Sometimes if you let people do things to you, youāre really doing it to them.Ā ā
ā A child weaned on poison considers harm a comfort.Ā ā
ā Safer to be feared than loved.Ā ā
ā I ached once, hard, like a period typed at the end of a sentence.Ā ā
ā Itās impossible to compete with the dead. I wish I could stop trying.Ā ā
ā I always feel sad for the girl that I was. ā
ā Every time people said I was pretty, I thought of everything ugly swarming beneath my clothes.Ā ā
ā How do you keep safe when your whole day is as wide and empty as the sky? Anything could happen.Ā ā
ā See, there I am. I told you I lived. I told you I was.Ā ā
ā Sometimes I think I wonāt ever feel safe until I can count my last days on one hand.Ā ā
ā To refuse has so many more consequences than submitting.Ā ā
ā Iām here. I donāt usually feel that I am.Ā ā
ā Iām tired of dying.Ā ā
ā What if you hurt because it feels so good?Ā ā
ā How confusing to live in the shadow of a shadow.Ā ā
ā Do you ever feel like bad things are going to happen, and you canāt stop them? You canāt do anything, you just have to wait?Ā ā
ā Sometimes my scars have a mind of their own.Ā ā
ā Everyone has their own version of a memory. ā
ā Isnāt a smile a girlās best weapon?Ā ā
ā My sense of weightlessness, I think, comes from the fact that I know so little about my past.Ā ā
ā Do what I want; I might like you.Ā ā
ā I feel sorry for Persephone because even when sheās back with the living, people are afraid of her because of whereās sheās been. ā
ā She has never told me she loved me, and I never assumed she did.Ā ā
ā The sight of it actually does something to you, makes you less human.Ā ā
ā It infects you. It ruined me.Ā ā
ā Your health is not a debt you just cancel. The body collects. ā
ā Men love to put things inside women, donāt they?Ā ā
hereās some details for post-asoiaf / queen of the reach margaery because [redacted] tried obliterating the concept and i canāt live with that on my conscience!!!
when margaery ascends as queen of the reach after the long night, she renews the golden peace of garth goldenhand and dawns her own golden reign.
her identity as a lesbian is widely accepted within her own court, and is otherwise unspoken knowledge throughout the other sovereign kingdoms, thus the reach springing into a quiet haven for all sorts of ādevianceā from westerosā post-conquer operations.
lavender weddings, in which gay men and gay women wed one another for domestic, political and financial safety while resuming their private relationships, are permitted under margaeryās new rites: many people from westeros to essos travel to the reach in search of gay liberation, and much of the nobledom there ā and particularly margaeryās closest confidants ā are all products of such arrangements.
due to the commonplace of lavender weddings (and thus, the lack of births) in her kingdom, she enacts the custom of adoption or permanent housing in place of wedding night consummation. with nation-wide collaboration, the reach becomes a massive network of supplemented orphanages and shelters for anyone displaced during the five kings war and the battle for the dawn. newly weds are neither required or expected to deliver heirs, but are instead encouraged to offer homes to orphans or lowborn children and their mothers and siblings; claims to land, titles and the like are no longer innately hereditary, but instead can be afforded to anyone to establish equal opportunities and abolish the toxicity of the class system that her own father had contributed to.
overall, the kingdom of the reach sees a period of peace, equality and economic stability, before becoming the polestar of westerosā most esteemed creations. incredible fashion and metalsmithing, and stock of the known worldās many harvestable foods from its multitude of gardens becomes its main exports, while some of the most revered depictions of the battle for the dawn through songs, tapestries and sculptures are unveiled first in margaeryās court.