Φρισκα

https://www.tumblr.com/blog/clandestinedysthymia

[phriscae]

I had to.

[phriscae]

I know that this can be Dream and Death in the sixth episode, or Dream and The Corinthian in any given situation, or Dream and Delirium in Brief Lives (not shown in the series as of yet), or Dream and almost ANY other character. But I put him with Desire because they were literally wearing feathers in the last episode, lol.

[vintageeurope]

Edinburgh, 19th Century

[anxietyproblem]

[notahorseindisguise]

everytime i wear an outfit like this i think about this tweet

[naogardunoyou]

funeral procession (miss you forever) I - IV, 2024, oil pastel on paper.

drawings of photos from the 99 highway in my home province of British Columbia during the past three years of driving up and down from city to town at midnight to catch planes to get to funerals.

[tsknny]

“Gris” (2018) reference

[scarlet48]

[phriscae]

Mathew Murdock smells like Jazz Club by Maison Margiela and you can’t change my mind!

[feelingsoftheday]

why does wanting to be loved sometimes feel so embarrassingly pathetic?

[imjunebitch]

[enbaluka-tokyo-drift]

[thoughtkick]

“You cannot make someone understand a message they are not ready to receive.”

— Unknown

[allthingseurope]

Porto, Portugal

[intopermanence]

It is so short and jumbled and jangled because there is nothing intelligent to say about a massacre. Everybody is supposed to be dead, to never say anything or want anything ever again. Everything is supposed to be very quiet after a massacre, and it always is, except for the birds.

Kurt Vonnegut, from “Slaughterhouse-Five”

[batsandboba]

“scientists don’t want you know” is a phrase that always cracks me up because if you actually meet a scientist they will be shaking and crying like an overstimulated chihuahua with the need to let you know

[gjroya]

Every Frame a Painting — The Phoenician Scheme

Since his first film, Wes Anderson has been a master of placing characters within a frame, whether it’s a few people or many, like here. The blocking is always impeccable and, to me, instantly eye-catching. Every character placement feels intentional, and your eye keeps traveling around the frame because there’s always another face or pose to notice.

Moreover, the blocking isn’t meant to evoke realism. In fact, it turns the room into something closer to a tableau or stage play, which is how many people describe Anderson’s films. Even with this many people in the shot, it never feels chaotic because each character occupies a distinct place within the composition. Lisel’s half-brothers are layered vertically and horizontally around her, but they’re posed with enough variation — one leaning, one sitting, one reading — that the shot still feels alive and inhabited rather than frozen like figurines (though some would disagree).

This shot is a great example of what Wes Anderson is incredibly good at (among many other things): crafting highly designed compositions that still feel lived-in by people with histories and backstories we never hear about, yet still inform the blocking and relationships within the frame.

[myheartflutters]

It’s an enamel pin of a cat biting another cat’s butt. No further explanation needed. (IT'S AVAILABLE HERE)

[ashed13]

@theunknowngrowshere

... I found it. Love they made it into a pin–

[theunknowngrowshere]

Yay ill order it