had a gay childhood

[elssbethtascioni]

FILMS WATCHED IN 2024 The Children's Hour (1961) dir. William Wyler

[kallistoi]

[image description: gifs of scenes from the children’s hour.

- martha opens the curtains of a window and looks out

- karen leans against a trellis in front of the schoolhouse, looking back at it and shaking her head

- martha says something with a forceful expression to a person off-camera, then turns to look at karen, who stands behind her fretfully

- the schoolgirls play around in their dorm hallway

- karen rushes happily up to martha, who is ironing, and takes martha’s arm 

- mary and mrs. tilford are being driven in the back seat of a car, where mary climbs into her grandmother’s lap to whisper something in her ear that makes mrs. tilford push her away in shock

- martha watches out the window as karen walks away from the schoolhouse

end description.]

[plain text: Films Watched in 2024 The Children's Hour (1961) dir. William Wyler]

[andruillus]

the children's hour fanart (also the winner of the drawing poll I did at my main)

[kallistoi]

[image description: digital illustrations of martha dobie and karen wright from the children's hour. in the first, karen is sitting with martha on her lap and they're embracing. karen is drawn in lineart only, while martha is shaded. karen's face is hidden but martha is smiling.

the second image has two sketches, one in which martha is leaning into karen's lap as karen sits, their arms wrapped around each other. in the other, karen cups martha's face and kisses her on the cheek as martha smiles. text above them reads, "the children's hour (1961)."]

[the-real-numbers-deactivated202]

Girl help I'm violating the Hays Code

[scalproie]

I hope I'm not just a blog to you guys but also a gateway to acquire secondhand knowledge of medias you'll never get into

[blushbi]

gaybaiting is ok but only when i like it

[uspiria]

The Children’s Hour (1961) dir. William Wyler

[lichfucker]

[image description: 10 stills of Shirley Maclaine and Audrey Hepburn as Martha and Karen in The Children’s Hour, standing together and talking while Martha irons clothes.

Karen: “Martha, for God’s sake, do you expect me to give up on my marriage?”

Martha, visibly upset, with one hand on her forehead: “No, of course not. I’m sorry, Karen. I don’t know how I could be so selfish. Please forgive me.”

Martha looks back down at the ironing board; Karen looks at Martha with concern and tenderness.

Karen: “I already have. It’s been a long day, we both need some sleep.”

Martha: “Yes, you’re right. Who has the cooking detail for breakfast?”

Karen, turning to leave: “I do.”

As Karen reaches the door, Martha looks up (but not back at Karen) and says: “Karen… you know, don’t you, that I only want the best for you?”

Karen stops, turns around, and smiles at Martha: “I know.”

Karen walks back into the room and kisses Martha on the cheek.

end id]

[valtsv]

reverse kinning by projecting all my personality traits onto my favorite characters until they’re me whether they like it or not

[swimtonewyorkstate]

sorry i didnt “complete my obligations” i was busy having gay little thoughts and ideas

[butchjolyne]

im a sucker for those tragic loves

[kallistoi]

[image description: three digital illustrations of juri arisugawa and shiori takatsuki from revolutionary girl utena, rendered in dark green line art. on the far left is juri, standing with a sword drawn in an upright, ready stance. her arm is tucked behind her back and her expression is firm. in the middle is an illustration of juri and shiori embracing. juri’s eyes are closed and she looks a little desperate. shiori also has her eyes closed but is smiling and driving a sword through juri’s back into her own chest. on the far right is another drawing of juri and shori, leaning into each other and kissing. juri has one arm wrapped around shiori’s arm and another on shiori’s hip. shiori wraps one hand around the back of juri’s neck and drives a sword into juri’s stomach with the other.]

[wavelette]

like, the most compelling ships for me always stem out of one thing: the characters have a profound, ongoing effect on each other’s senses of selves. when they are apart, the characters’ actions are still affected by each other. the way they approach the world changes because of the other. 

which is this deeply Austenian view of ideal romantic relationships as mechanisms by which we come to know ourselves better and become better versions of ourselves. good romance, for me, is always tied in with a sense of self-actualization, and the way in which a beloved partner allows a person to know themselves better.

[bugbartdeactivated]

⭐ YOU CAN KILL YOUR OLD SELF ⭐

[lucysangels]

[image description: a painting of a bright pink figure lying on their back. their long hair hangs down and a tear falls from their one, wide, blue and yellow eye. they have three swords in their chest and are surrounded by bright yellow rays extending out into a dark purple background.]

[gaysie]

personally i’m going to miss being baited like this. the end of an era. media nowadays simply makes one boring gay side character and wipes their hands clean but where’s the FLAVOR that comes from ages long homoerotic homophobic tension? where’s the spice? homophobia makes things sexy and that’s just facts

[eicon]

r u seriously glorifying homophobia????? FOR REAL?????????

[gaysie]

yes ❤️

[marthadobies]

feeling gay gonna populate this blog with some gay content from main

[sappho-and-the-lesbos]

[stars-bean]

Paris When It Sizzles (1964) dir. Richard Quine

[hepburny]

Audrey Hepburn on the terrace of the Restaurant Hammetschwand at the summit of Bürgenstock, Switzerland, circa 1955.

[cinemaspam]

“We don’t love each other… We’ve been close to each other, of course… I’ve loved you like a friend. The way thousands of women feel about other women. You are a dear friend who is loved, that’s all. Certainly there can be nothing wrong with that. It’s perfectly natural that I should be fond of you.”

The Children’s Hour (1961) dir. William Wyler