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PUT YOUR BEARD IN MY MOUTH
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#extradirty
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YOU ARE THE REASON
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@montydo
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about 90% of fanfiction takes place in a utopia where men are thoughtful and unsure of their place in the world
@skulandcrossbones this might be the greatest tag on a reblog I’ve ever seen.
THE MUMMY (1999)
dir. Stephen Sommers
#of course she does rick you've known her a week#this tracks completely (via @ladytharen)
being sad and horny is a privilege
how do i say "horror novels these days are too woke" without sounding like a right winger. what i mean is: this one is about a woman serial killer who kills Bad Men, that one is about ~anticapitalist activists~, this one is ~queer~, that one is about *spins wheel* someone dealing with the ghosts of their immigrant roots, all of them are about intergenerational traumaaaaa. okay. cool. but is it good though. is it fucking scary
something something, losing the ability to convey horror through abstraction, through metaphor, through symbolism, through allegory, through raw unexamined un-psychiatrized feeling. if the real horror is.... dun dun dun! the patriarchy then i just feel preached to. don't use fiction as a vehicle for Saying Something About Society. write with total vulnerability and then see what it says. it will be probably be far more interesting and horrifying than what if the monster was uhh my mom's abuse or whatever. this brand of new horror writers are all so terrified of actually disclosing anything about themselves. it's like if an instagram infographic performance was a mediocre contemporary novel
YOU ARE MAKING THE TEXT DO THE WORK OF ANALYSIS!!!!!!!
maybe.....maybe 😉
HANNAH WADDINGHAM as JUDITH 'WHIPTAIL' BURTON in RIDE OR DIE (2026)
i’m reading emma thompson’s diaries from the filming of sense and sensibility and there are some really great bits
danny de vito sent good-luck flowers on their first day of shooting
in the published draft of the script, colonel brandon and willoughby fight a duel offscreen after brandon confronts him about impregnating beth, brandon’s ward
“kissing hugh [grant] was very lovely. glad i invented it. can’t rely on austen for a snog, that’s for sure. we shoot the scene on a hump-backed bridge. two swans float into shot as if on cue. everyone coos. ‘get rid of them,’ says ang [lee]. ‘too romantic.’
for a number of outdoor scenes, they would fire a shotgun in the air just before the cameras started rolling to get the local crow population to shut the fuck up for a few minutes
there was a dedicated line item in the budget for hiring flocks of sheep for exterior shots, ang lee was determined to use them as often as he could
“later found ang looking at the estuary with a mournful expression. i went and stood beside him. after a moment he said, waving towards the water, ‘tide goes in, tide goes out, tide goes in, tide goes out — and still no sex.’ ‘do you miss it?’ i enquired, after i’d stopped laughing. he nodded sadly. his family won’t be back for weeks.”
while filming the scenes at the palmers’ house with the screaming baby, it turns out that “we’ve hired the calmest babies in the world to play the hysterical thomas. one did finally start to cry but stopped every time chris yelled ‘action’. later: babies smiled all afternoon. buddhist babies. they didn’t cry once. we, however, were all in tears by 5 p.m.”
“very nice lady served us drinks in hotel and was followed in by a cat. we all crooned at it. alan [rickman] to cat (very low and meaning it): ‘fuck off’. the nice lady didn’t turn a hair. the cat looked slightly embarrassed but stayed.”
during the london ballroom scene hugh laurie kept treading on the train of imelda staunton’s gown, “which pulled it down so far it exposed her boobs. keep it in, i said, but she wouldn’t.”
“sunday, 11 june: drank far too much last night and woke at 5:30 a.m. could’ve gone on drinking all night. quite grateful for a hangover, it provides a bit of peace. walked on to my balcony completely naked last night and took the couple that have moved into the suite next door slightly by surprise. walked back in calmly affecting insouciance and then bit all my pillows, one after the other.”
while resetting a scene involving a carriage, “ang rode off on a bicycle and didn’t return. found him locked in the loo at trafalgar, having broken the key. he’s being rescued at present.”
“noon. finish scene with alan. me: ‘oh! i’ve just ovulated.’ alan (long pause): ‘thank you for that.’”
“hugh g. in a spot of bother up la, apparently. something to do with a blow job. it’s all right for some, i thought.”
i’m printing this out and i’m putting it on the mirror so i can confront myself with it
Just calmly taking a walk across the rolling sea ...
this video was so cool it compelled me to bust out my watercolors for the first time in over a year
Maybe lean out
you’re joking
“You write the beginning and then you go back and rewrite the beginning, and you never got off page one. It’s kind of a syndrome, and I have a rash piece of advice which is — Go on, page two, page three, and never look back. Get something finished, no matter how lousy it is. […] Perfectionists cannot get going unless they kind of do violence to their own instincts, and just blast ahead.”
— Ursula K. Le Guin, The Last Interview and Other Conversations
that photo is one of the sexiest things i have ever seen.
Tall women don’t you ever feel insecure, you hold so much power with just a simple stance, I love youuuuuuuuu
Obligatory truck I don’t trust reblog