[portalibis]

 Splendor solis, c. 1582

[knightofleo]

"The Endsinger" by Yoshitaka Amano

[soren]

i struggle with this as someone who is obligation phobic but actually structuring my weeks to have specific regular social activities that i do in the evening during week days has actually been so life changing unfortunately

[captainvatican]

[soren]

i love showing my daughter cat tv but am pondering if it’s actually inhumane like what if they made you watch human tv and it was just a live feed of a big juicy burrito that you couldn’t eat…

[modelsof-color]

Anok Yai by Theo Liu for Vogue Japan April 2026

[kookiyu]

i dont miss overwatch but i miss the psychosexual dynamics of playing mercy or whatever like. getting to briefly exist in the body of The blender porn girl you know

[kookiyu]

playing mercy and just thinking wow everybody in this match wants to fuck me

[gemstone-gynoid]

Playing pyro in tf2 is still like this

[seinaet]

[mirrormaelstrom]

[miamaimania]

“The Nail in the Wall” (2020) ✦ Paul Rouphail

[absoluteconceptofbeauty]

if anything happens in your life you should start having strange thoughts and beliefs

[ventowol]

❤️‍🩹

[abel31blog]

[whenlovetriestoleave]

crouching tiger, hidden dragon (2000) dir. ang lee

[soren]

girl who can’t stop thinking about crouching tiger hidden dragon

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2001 — Peter Pau, HKSC 臥虎藏龍 / Crouching Tiger, Hidden Dragon (2000) Directed by Ang Lee Aspect Ratio: 2.39 : 1

"We make a lot of period action films in Hong Kong, and we generally use hard light and a full range of colors. We control them very carefully, often using extreme blacks and pure whites and mixing deep reds and blues with lots of fog and smoke effects. But that dynamic approach did not work for Crouching Tiger, because the storytelling approach was very dramatic; using those techniques would have overdramatized the film and taken the audience out of the story and away from the characters. Instead, we wanted a look that was realistic and comfortable, so the first thing I discussed with Ang was using a low-contrast visual approach with desaturated colors."— Peter Pau for The American Society of Cinematographers, January 2001

[exposenature]