A pair of cheaters.

Beat back the commissars of culture.

[movieposteroftheday]

1929 Swedish poster for THE HOUND OF THE BASKERVILLES (Richard Oswald, Germany, 1929)

Designer: uncredited

Poster source: Heritage Auctions

[operaqueen]

Visit Original Link

I like this way more than Paul Simon’s version. She really brings the lyrics a whole different feel.

[operaqueen]

I like this way more than Paul Simon’s version. She really brings the lyrics a whole different feel.

[centuriespast]

Colossal Octopus [Pierre Denys de Montfort]; Orra White Hitchcock (1796–1863); Amherst, Massachusetts; 1828–1840; pen and ink and watercolor wash on cotton; 27 7/8 x 21 in.; Amherst College Archives & Special Collections.

[papillonnne]

ANNIE HSIAO-CHING WANG

ARTIST

[ifebrownsugar]

[ifebrownsugar]

[yesterdaysprint]

The New York Times, New York, January 3, 1897

[bathtimefunduck]

History in a nutshell

[thefingerfuckingfemalefury]

“What do women think about women?

WE ASKED A MAN”

[whitepeopletwitter]

[brucebocchi]

this is 100% why i never fucked with that “normcore” nonsense and why i’m still extremely self-conscious about what i wear and how my clothes fit, even after my weight loss. wearing “normal” clothes only becomes “fashion” when it’s on skinny attractive people and once it’s on a fat person it’s suddenly the trappings of the tacky and the unwashed poors. fuck out of here. you can make anything look good.

[everythingfox]

“Sheep discovers how to use a trampoline”

(via)

[orfamayquest]

[chewbacca]

Work Bitch (2013)  |  The Witch (2015)

[wehadfacesthen]

Vera Miles, 1956

Miles worked with Alfred Hitchcock on The Wrong Man (1956) co-starring with Henry Fonda. Hitch wanted her for Vertigo but she was pregnant, and so the part went to Kim Novak. Miles never had a big career, but it was steady and her performances were solid. She did work with Hitchcock again on Psycho (1960) when she played Janet Leigh’s sister.

[orfamayquest]

And was in the best Twilight Zone episode of all time.

[the-goldengirls]

[someauthorgirl]

Whatever or whomever they saw and judged, I agree. I never need to know the specifics.

[humansofnewyork]

“Honestly I just fell into it.  I started as an engineering major.  Then one night I was slaving over my physics homework, while my roommate sipped tea on the couch and read a novel.  So I decided to be an English major like her.  Ten years later I’m working as a copywriter at an advertising agency.  You know that feeling when you’re pulling into the driveway, but you can’t remember anything about your ride home?  That’s a bit how it feels.  Like I blinked and I’m eight years down a career path that I just sort of fell into.  There’s plenty to be grateful for.  It’s a good enough job.  I’m not living paycheck to paycheck.  I can afford to have fun and take vacations.  But my job is not my passion.  And every story you see elevated on social media is: ‘I loved this thing.  It became my passion.  And then it became my career.’  There’s not many people saying: ‘My job isn’t my passion, but I love mountain biking on the weekends.  And that’s enough for me.’  I think the feeling I’m trying to resolve is a sense of ‘enoughness.’ There’s so much I love about my life, but I spend most of my time at work.  Is it OK to get my joy outside of work?  Or does my passion need to be tied to my livelihood and a sense of responsibility?” (Toronto, Canada)

[sparklejamesysparkle]

Eartha Kitt (as Catwoman) picks up Cesar Romero (as The Joker) in her “Catmobile” in the classic ABC Batman TV series, 1967.

[okay-but-what-if]

[kitsunetsuki-deactivated2026051]

Cecil Beaton - Vivien Leigh as Anna Karenina (1947)

[silent--era]

“During the last years of the nineteeth century, cinematographic creativity was at its lowest level. French film, however, led by Georges Méliès’s audacious vision, breathed fresh life into the new medium and became a popular form of entertainment in Europe. Méliès rapidly revealed the scope of his talent and imagination by adding special effects into the film stock, as he developed a series of jointly artistic and technical views in his own style… With a myriad of special effects, superimpositions, double or more exposure, fade in, fade out, and painted-scenery backgrounds, Méliès generated a brand-new style.”

- Excerpt from French Cinema: From its Beginnings to the Present