giggle bangs rice bowl.

ari. things I like, in no particular order: sharp dialogue, pretty people, ankle boots, cupcakes, delayed onset muscle soreness. tell me things.

[doona-baes]

[anxietyproblem]

[allthingseurope]

Orvieto, Italy (by Giuseppe M)

[filmgifs]

Oppenheimer (2023) dir. Christopher Nolan

[sophsun1]

Seinfeld – 4.09: The Virgin

[manny-jacinto]

THE IRON CLAW (2023) dir. Sean Durkin

[djjo-keerys]

NO HARD FEELINGS (2023) dir. gene stupnitsky

#every girl in her thirties refusing to move on from our twenties

[junkfoodcinemas]

EVERYTHING EVERYWHERE ALL AT ONCE (2022) Dir. Daniel Kwan & Daniel Scheinert

[ily-a]

SUCCESSION out of context

[lizzybennets]

“Go to our aunt and uncle’s in London, let it be known you are there, and I am sure he will come to you.”

PRIDE AND PREJUDICE (2005) dir. Joe Wright

[gena-rowlands]

CAST OF SUCCESSION: advice to their characters

[dearbisexual]

dam…….. that website “you feel like shit” (it’s like a questionnaire / troubleshooting guide for when you feel like shit) really works………………….. im not even all the way thru it and i even half-assed a lot of the suggestions and i already feel loads better

[dearbisexual]

for some reason, with this website, i was able to complete small tasks ive been fruitlessly bugging myself to do for weeks??

anyway, i feel almost good now :^)

[dearbisexual]

im glad this got some notes!!!! i hope it helps y’all find some measure of peace or comfort <3

[fuckyeahsnackables]

This is astonishing. I’m going to use and save.

[perioddramasource]

PRIDE AND PREJUDICE 2005 | Joe Wright

[y-eowang]

13 GOING ON 30 (2004), dir. Gary Winick.

[dearemma]

PERIODDRAMA APPRECIATION WEEK 2023

Day 6: Favorite character ( Emma Woodhouse )

[dailyflicks]

FERRIS BUELLER'S DAY OFF (1986) dir. John Hughes

[thepunkpanther]

But one is a stranger, a woman she notices while she sits on a bench, gathering herself. It’s a type of woman she has never seen before, because there are no old women in Barbieland. When Barbie looks at her, she finds her beautiful and tells her so. The woman already knows. Suddenly Barbie, the fraught aspirational figure, has beheld someone she might aspire to be, and it is a radiantly content nonagenarian, reading a newspaper on a Los Angeles bench, who knows what she’s worth.

“The idea of a loving God who’s a mother, a grandmother — who looks at you and says, ‘Honey, you’re doing OK’ — is something I feel like I need and I wanted to give to other people,” Gerwig says. When it was suggested that this scene, which Gerwig calls a “transaction of grace,” might be cut for time, she remembers thinking: “If I cut that scene, I don’t know why I’m making this movie. If I don’t have that scene, I don’t know what it is or what I’ve done.”