Shifting Tides, Anton Elfilter
"I'm Dorothy Gale from Kansas"
cherry valley forever

#extradirty

No title available
occasionally subtle
2025 on Tumblr: Trends That Defined the Year
$LAYYYTER
Keni
we're not kids anymore.

Love Begins
trying on a metaphor
Mike Driver

if i look back, i am lost

Discoholic đȘ©

Andulka
hello vonnie
No title available

ç„æ„ / Permanent Vacation

shark vs the universe
taylor price
seen from United States

seen from United States
seen from Brazil

seen from North Macedonia
seen from United States

seen from Colombia
seen from Vietnam
seen from Kyrgyzstan

seen from Kyrgyzstan
seen from Philippines
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States
seen from United States
@hanmki
Shifting Tides, Anton Elfilter
me: iâm just working at a gas station :( im not doing anything w my life :(
my foremothers bc iâm not working in a field or pregnant:
oc doodles (green haired girl is friend's oc)
My copium au where they get to grow up
Falling Through Dreams.
she conquers the night sky
Creatures of the night
âOne thing never changed: the brilliant charge of their infrequent couplings was darkened by the sense of time flying, never enough time, never enough.â [âŠ] âThere was some open space between what he knew and what he tried to believe, but nothing could be done about it, and if you canât fix it youâve got to stand it.â
BROKEBACK MOUNTAIN, written by Annie Proulx
Katya dies. Katya lives. Katya fakes her own death, which is a metaphor for dying, even if she survives. Note that we never see Katya after her fake death is reported to Goncharov, because the movie is not interested in Katyaâs survival; it is interested in her loss. Note that it can be argued this lacuna is of no particular significance, given that we never see her before that, either, because the movie doesnât exist. Note that Goncharov never sees her, really: note how often in their scenes his eyes are somewhere else, how rarely their conversations fall into the familiar visual rhythm of shot/reverse shot (compare with his exchanges with Andrey, particularly just before the scene on the bridge). Note how often this has been true, on screen and off it: that a husband never really sees his wife. Note how often the effect of cinema as an art form has been to document that men never really see women. They see their mothers, they see sex, they see their desires and their failures, their potential and their shame, their delusions of grandeur and their grubby biographies laid out side by side. They see the airbrushed ad campaign and the unsmooth reality of flesh laid out side by side and they look at the lie and say That one, I want that one, and then they win an Oscar for it. They see themselves. Narcissus at the pond. (There is a story from an ancient land, a story of a love more passionate and powerful than the human desire to survive: A girl loved a boy. A boy loved himself. He couldnât understand that she was always trying to talk to him; she couldnât understand that he would never try to speak to her. Their love killed them both.) Note that moment at the start of the bridge scene, before everything falls apart, where we see their reflections in the water, just long enough to note that his eyes are on his wavering image, and so are hers. Note that Goncharov doesnât see her, because he doesnât see women as people. Note that Goncharov doesnât see her because heâs not in the movie because the movie doesnât exist. Note that actually itâs Goncharov and Andrey on the bridge, because Katya by that point is dead.
did i lose it and write like two thousand words of uh idk some cross between an experimental prose poem and a deranged shitpost about tumblr's current favorite inside joke? well that's none of your business but if you are nosy then yes i did post it on ao3 because of my personal spiritual policy against censoring my own derangement
Goncharov (1973)
goncharov 1973 fanart
BEWARE THE VILLAINESS CHAPTER 92
this obliterated me
Antigonick, Anne Carson
POSEIDON LOVED SALLY AND PERCY AND THE ONLY REASON HE LEFT WAS BECAUSE SALLY TOLD HIM TO HE WOULDN'T HAVE LEFT ON HIS OWN ACCORD BECAUSE HE HAS BEEN WAITING FOR HUNDREDS OF YEARS TO RUN INTO ONE OF SALLY'S LIVES AGAIN AND HE FINALLY FOUND HER AND HE COULDN'T HELP BUT FALL IN LOVE WITH HER AGAIN AND WITH EACH TIME HE MEETS HER MORE AND MORE OF HIM BECOMES MORTAL HE LOVED HER SO MUCH THAT HE WAS BECOMING A HUMAN SO THAT HE COULD STAY WITH HER BECAUSE HE COULDN'T STAND THE IDEA OF BEING APART FROM HER AND HE OFFERED TO TAKE HER WITH HIM UNDER THE SEA BECAUSE HE DIDN'T WANT TO LEAVE BUT HE KNEW THAT SHE WOULDN'T LET HIM STAY BECAUSE SHE ACCEPTED THE FACT THAT HE WAS A GOD AND SHE WAS A MORTAL AND THAT THEIR RELATIONSHIP SHOULDN'T EVEN EXIST BUT HE DIDN'T WANT TO LOSE HER AGAIN SO HE ASKED IN VAIN FOR HER TO COME WITH HIM BUT SHE WAS ALWAYS GOING TO SAY NO AND HE KNEW THAT SHE WAS ALWAYS GOING TO SAY NO BUT HE STILL ASKED AND HE LOVED HER SO MUCH THAT HE LEFT BECAUSE THAT WAS WHAT SHE ASKED HIM TO DO