the departed.

Mari. Chicago, IL > Atlanta, GA. Creative Director. For Inquiries & Bookings, DM or Contact [email protected]

[iamyounicorn]

[guy whose bedtime is approaching fast] I need to write one billion words right now. and draw everything that has ever existed.

[dogpuppy]

[pyritetears-deactivated20260218]

Eartha Kitt at Home (1982)

[brndnslvra]

Original-Owner, 10k-Mile 1991 GMC Syclone

[veradraven]

DOECHII Denial Is A River Show

[thevoicefromanotherworld]

I mean fuck, I like pills, I like drugs I like gettin' money, I like strippers, I like to fuck I like day-drinkin' and day parties and Hollywood I like doin' Hollywood shit, snort it, probably would What can I say? The shit works, it feels good And my self-worth's at an all time low And just when it couldn't get worse My ex crashed my place and destroyed all I owned 

[emmaharwoods]

DOECHII performing at the 67th Annual Grammy Awards — February 2, 2025

[entersteller]

Sleepless In Seattle. (35mm)

[hellsite-yano]

>"nobody's gonna help you in the real world!!"

>go outside

>love and support in many places as long you have the courage to ask for it

[different-landscapes]

[ihave2010fever]

[ratfuck]

im like the 9/11 of sex because theres screaming and ppl never forget

[girlinsides]

[blackwoolncrown]

pretty shitty how baseline human activities like singing, dancing and making art got turned into skills  instead of being seen as behaviors

so now it’s like ‘the point of doing them is to get good at them’ and not ‘this is a thing humans do, the way birds sing and bees make hives’.

[quiet-oracle]

[pidoop]

[ruinedchildhood]

POV: it's 2004 and you're about to watch a Disney Channel movie

[throwbackblr]

[entersteller]

The Irony of Gendered Societal Expectations in an Age of Economic Strain:

The societal expectations placed on men and women deeply embedded in our cultural history bear an irony that has become increasingly complex in the face of modern economic challenges.

The roots of these gendered expectations can be traced back to historical contexts where men primarily shaped societal norms. Financial stability became a significant measure of a man’s worth, largely because laws and societal structures made it difficult for women to be self-sufficient. This forced women to rely on men for financial security, establishing a dynamic where men used material success as a means of attraction, and women were valued for their appearance and desirability.

In today’s context of late-stage capitalism and rising inflation, men who have historically been conditioned to measure their worth through their ability to provide, are finding it harder to meet these expectations. A struggle that seems to be leading to a sense of misplaced resentment toward women, as the societal norms we helped establish are now becoming burdensome under the current economic pressures.

Meanwhile, women face their own set of complex struggles within this framework of societal expectations. Historically valued for their appearance and desirability, the pressure on women to uphold beauty standards has intensified, leading to a rise in cosmetic procedures like plastic surgeries & bbl’s. This trend highlights a stark contrast: as economic conditions worsen, the pursuit of aesthetic perfection seems to escalate. Women, already navigating the challenges of a societal structure that has often undervalued their economic contributions, are now contending with an escalating expectation of physical perfection. This dynamic further complicates the gender discourse, as both men and women struggle to reconcile the deep-rooted expectations of the past with the harsh economic realities of the present.

To many men, women’s experiences under these societal norms may appear as a life of relative ease and leisure. This perception is fuelled by the notion that men should aspire to be providers, a role that seems to leave little room for rest or vulnerability. As a result, some men feel gaslighted and mocked for expressing a desire to step away from these relentless pressures. The narrative often misconstrued is not a desire to swap roles or identities, but rather a longing for the same permission to rest and be cared for. Ironically, the response from some women, shaped by the enduring legacy of these gender roles, can be unsympathetic: highlighting that men, having historically set these standards of provision, must now bear the consequences.

This dialogue, often tinged with frustration, overlooks the common adversary: a systemic framework that upholds these rigid expectations. Instead of mutual understanding, there’s a growing divide, with each gender grappling with their version of an ingrained societal script, often missing the opportunity to unite against the larger systemic issues at play.

[entersteller]

Killers of the Flower Moon by Martin Scorsese

In Review:

Martin Scorsese's "Killers of the Flower Moon" unveils a harrowing chapter of American history, spotlighting the Osage Nation in Oklahoma during the early 20th century. The Osage people had been forcibly removed from their ancestral lands by white settlers so they decided to settle in a barren land in Oklahoma with the hope that white settlers would have no use for it considering it was dry and couldn't produce anything. To their surprise they discovered a massive amount of oil on their land, catapulting them into a burgeoning era of wealth. However, this newfound prosperity soon became a death warrant as white men began targeting and marrying the Osage women and killing them off to inhert their wealth.

Watching Martin Scorsese’s, Killers of the Flower Moon, I was catapulted into a whirlpool of emotions and reflections regarding the inherent animalistic nature of humanity. Scorsese, through a candid lens, delves into the contrast of love and destruction that beheld the Osage people. In an interview, Scorsese spoke about how despite the professed love for the Osage, they were still mercilessly killed, a portrayal that an Osage contributor deemed as devoid of love. This discrepancy opens a Pandora’s box of what love and humanity truly signify amidst our primal instincts.

Majority of Scorsese’s films are critiques of the male ego and toxic masculinity, be it through the ambitions of Henry Hill in “Goodfellas” or the turbulent psyche of Travis Bickle in “Taxi Driver”. His characters often dance on the knife-edge of civilization and primordial urges, a dance that reflects the broader choreography of human society. This thematic exploration resonates profoundly within this dark tale, where the conquest for power and wealth unveils the savage underbelly of American society.

We, despite our veneer of civilization, are mammals at our core. Mammals with complex emotions, bound to the rudimentary laws of nature, navigating a world built on power dynamics often driven by masculine ambitions. The same laws of nature that compels some creatures to kill their mates post-procreation. This brutal instinct, albeit on an entirely different spectrum, reverberates within human actions and desires. The narrative of 'love' we cling to could merely be a facade masking our inherent savagery, a notion echoed in the actions of the perpetrators in "Killers of the Flower Moon".

America’s foundation is steeped in violent conquest, our laws and social norms attempt to refine us, yet the core essence of survival and dominance persistently echoes through time. The historical spectrum of power struggles and territorial claims reflects a relentless masculine ambition that continues to shape our nation's ethos.

Killers of the Flower Moon lays bare this harsh reality, yet, within the grim tale lies a sliver of hope, a choice to rise above our basic instincts. The journey towards a more compassionate society is arduous, yet not impossible. Our strive for personal and communal happiness is a beacon amidst the storm of historical repetition, a small yet significant step towards rewriting the narrative.

In conclusion, Scorsese’s "Killers of the Flower Moon" serves as a stark reminder and a cinematic mirror, reflecting the dark, often unexplored corners of human nature, and the male ego-driven toxicity that fuels it. Through this lens, hopefully, we can begin to dissect the complex fabric of humanity, unweave the threads of toxic masculinity, and perhaps, envision a tapestry that resonates with true love and civilization. Yet, as we delve into this introspection, a pertinent question looms - are we fundamentally those people from a bygone era whose actions were driven by sheer survival and conquest, or have we evolved? The murky waters between our animalistic instincts and the guise of civilization are a territory Scorsese navigates, urging us to do the same. Can two realities coexist? Can we acknowledge our primal nature, the blood-soaked soil upon which our history is built, and still stride towards a more enlightened, humane society? The uneasy dance between acceptance of our primal nature and the aspiration for a higher moral ground is a tension that not only courses through Scorsese’s narrative but also challenges us as a collective to introspect and choose the rhythm to which we shall move forward.