THE PRINCESS BRIDE 1987, dir. Rob Reiner

祝日 / Permanent Vacation

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taylor price
"I'm Dorothy Gale from Kansas"

Origami Around
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occasionally subtle

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shark vs the universe
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2025 on Tumblr: Trends That Defined the Year
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@the7thbel
THE PRINCESS BRIDE 1987, dir. Rob Reiner
The 'hyperspecific situations' polls are really once again highlighting that native English speakers tend to forget that 'foreign' doesn't mean 'non-English' or 'non-American'
"Did you watch a foreign language movie in the past three days?" Yeah I watched the foreign movie "The Martian" with foreign actor Matt Damon
Op why would you hide this is the tags
[Image ID: Tumblr tag reading: 'Do you speak a foreign language?' Yeah yours /End ID]
The Odyssey but retold as a low-stakes modern adventure of one guy out with his girlfriend leaving the bar with his buddies to do just one (1) simple thing real quick, it'll take like 15 minutes tops, he'll be right back, but then some bullshit happens and the trip keeps getting more complicated as more bullshit keeps happening while he just tries to get back to the bar because he promised his girlfriend that he'd get back and he knows that she's still there because she told him she'd wait there.
And by the time he finally gets back it's almost 3 am and the bar is about to close while she's sitting there stone cold sober, surrounded by 5 drunk guys unsuccessfully trying to convince her to give up on waiting for him and go home with one of them instead. And the guy shows up to proceed to beat the shit out of them before explaining himself to her like hey sorry bullshit kept happening, my phone fell into a storm drain and my wallet got stolen when I was trying to find someone who'd borrow me a phone so I could call and
His girlfriend had been fending off the 5 drunk guys for most of the evening by explaining that even if she was going to ditch her boyfriend, she can't possibly leave without finishing her beer, which she is keeping perpetually full via careful sleight of hand where she's just pouring it back and forth into and out of the pitcher.
However the drunk guys are also drinking, and eventually she can't afford to buy another pitcher for the table so she can't keep up the ever-full beer glass trick. At this point she has to resort to setting up the pool trick shot that she's never seen anyone but her boyfriend pull off, and says she'll leave with whoever manages the shot first.
That buys her another hour or so and then, finally, her boyfriend makes it back. He looks like shit, hair down and just a mess, he's wearing an entirely different jacket that he got from an alley, and barely recognizable—especially to 5 guys who've been drunk for hours now. He lurks for a minute, finds out what's going on, and proceeds to pull off the trick shot first try. Throws the jacket off, fixes his hair with a hair tie his girlfriend lends him, finally looks like himself again, and THEN beats the shit out of them with the pool cue.
yuh i was there, that's how it happened
yuna aoki + kazuki tomono @ fantasy on ice 2026: la la land
‘Gentleman Jack’ Brings a Quiet Revolution to Ballet
Annabelle Lopez Ochoa’s new ballet, based on the life of one of the first modern lesbians, is changing how dancers view their traditional roles.
by Laura Cappelle - The New York Times, March 2, 2026
One morning last August, the female dancers of Northern Ballet tried something most of them had never done before: partnering each other.
In one of the company’s studios in Leeds, England, there were giggles and some near falls. Carefully but eagerly, the dancers tried to steady their partners on pointe — in ballet, usually the task of men. By lunchtime Federico Bonelli, the director of Northern Ballet, was demonstrating the correct way to hold out an arm for support — palm up, not too close to the body, at bellybutton level — to women in line for coffee.
“It’s the opposite,” said the dancer Nida Aydinoglu, 20, miming how she usually gives her hand to a male partner, palm down.
“It’s just a new technique,” Bonelli replied with a smile.
Six months later, Aydinoglu and her female colleagues are now flying through closely entangled lifts and turns — and will soon showcase them in a landmark new work that premieres on March 7 at Leeds Grand Theater: “Gentleman Jack,” Annabelle Lopez Ochoa’s adaptation of the 2019 television series about Anne Lister, a 19th-century English landowner known as one of the first modern lesbians.
For most of ballet history, heterosexual romance has been the default. Telling Lister’s story is a quiet revolution. Openly queer characters are a rarity in the art form’s repertoire, and allusions to romance between women are always fleeting: a scene in Bronislava Nijinska’s 1924 ballet “Les Biches”; a pas de deux in Roland Petit’s “Proust” half a century later; a kiss in Wayne McGregor’s “Woolf Works,” a 2015 production inspired by Virginia Woolf.
Rachael Gillespie, foreground left, and Gemma Coutts in a rehearsal for “Gentleman Jack.” Sophie Stafford for The New York Times
By contrast, Lopez Ochoa offers an intimate, in-depth look at Lister’s relationships with two of her long-term lovers: Mariana Lawton, who has chosen to be married to a man over staying with her, and Ann Walker, a local heiress whom she “marries” in a secret, symbolic ceremony. Both women are described at length in Lister’s diaries, which were partly encrypted to hide her sexuality.
“To actually have a ballet centered on a queer woman — that’s a really radical shift,” said Clare Croft, a dance historian and theorist at the University of Michigan, and the dramaturg for “Gentleman Jack.”
The idea came to Bonelli, he said, after he was appointed to lead Northern Ballet in 2022. The company of 36 dancers has long specialized in storytelling, and boasts a repertoire of original ballets inspired by literary works and historical figures, like David Nixon’s “Wuthering Heights” and Cathy Marston’s “Victoria,” based on Queen Victoria.
Yet Bonelli wanted to diversify the stories ballet often tackles, and “Gentleman Jack” “felt right in so in so many ways,” he said in February. In Yorkshire, the English region that is home to Northern Ballet, Lister is also a local celebrity: Her estate, Shibden Hall, is about a 20-minute drive from Leeds and open to the public for visits.
When Bonelli pitched the idea to Lopez Ochoa, an in-demand Belgian Colombian choreographer who has created a number of biographical ballets, her answer was a resounding yes. Her interest in gender fluidity had already led her to develop a script with the writer Luke Jennings for a ballet adaptation of “The Danish Girl,” the 2015 film inspired by the life of the pioneering transgender woman Lili Elbe.
But no ballet company wanted to produce it, Lopez Ochoa said, adding: “They told us, ‘We think our patrons wouldn’t want that.’”
Left, Annabelle Lopez Ochoa, the ballet's choreographer. Sophie Stafford for The New York Times
She could relate to Lister’s struggle with gender norms. Lopez Ochoa “wanted to be a boy” growing up in Belgium, she said, and struggled with ballet’s expectations of dainty femininity throughout her training as a dancer. “I wanted to be taken seriously,” she said, “to have a voice.”
In “Gentleman Jack,” the women performing Lister’s role have had to undo some of their classical training, too. For most of the ballet, they are in flat shoes rather than the more unstable pointe shoes, to allow them to be more grounded. They also wield canes and have gotten sore arms from lifting their partners, albeit not overhead. “The more you allow yourself to take space, the better it is,” Lopez Ochoa told them in rehearsal.
To help the dancers, Croft, the dramaturg, showed them video compilations of the commanding walk developed by Suranne Jones, the British actor who played Lister on television. “She looks like she’s always on a mission,” said Gemma Coutts, a 24-year-old dancer who is set to dance Lister on opening night. Instead of stretching her feet elegantly, Coutts had to think “heel-toe”: “I’m not just wafting off the stage,” she said. “I’m going from A to B.”
For Coutts, who said she usually gets “nervous and shy in front of a lot of people,” playing the unapologetic Lister has been confidence boosting. “Gemma has come out of her shell,” said her colleague Julie Nunès, who plays Ann Walker.
The women of Northern Ballet have also embraced portraying same-sex romance. “I think they are less prude than I am,” Lopez Ochoa said with a laugh. Coutts said that she was a little anxious at first about kissing a woman, but the feeling went away fast. “Female or male now, I realized that I’m just acting,” she said, pointing out that gay men in ballet companies “have to pretend like they’re in love with women all the time.”
For “Gentleman Jack,” Lopez Ochoa, who is straight, put together a creative team that included several members who identify as queer. Croft, who grew up taking ballet classes and later edited a book on queer dance, was especially elated. “Ballet is my first dance love, but the codes of chivalry are so deep in it,” she said. “When it shows up in relation to queerness, it tends to focus more on the men.”
Gillespie, center, as Ann Walker, whom Anne Lister “marries” in a secret, symbolic ceremony. Sophie Stafford for The New York Times
Initiatives like #QueerTheBallet, a collective started by Adriana Pierce to bring queer women and nonbinary artists together during the coronavirus pandemic, have improved visibility in recent years. Pierce, a former New York City Ballet dancer who is now a choreographer, said she has gone “from being the only person I knew to meeting people every day in the New York dance scene who are young and queer.”
Still, challenging ballet’s gender binary through choreography takes the kind of research and time that mainstream ballet rarely provides. “I don’t see a lot of larger companies investing in specifically queer voices and stories, or even anything that’s different,” Pierce said. Queer retellings of ballet stories have come instead from independent artists, like Kade Pyle, who has produced queer versions of classics including “Giselle” and “The Sleeping Beauty” through her company, Ballez.
By contrast, an established company like Northern Ballet, which tours widely around Britain, can bring a story like Lister’s to “a massive audience,” said Croft, who described the “civic function” of the art form: “People take pride in their ballet companies.” One worry for Bonelli was that the male dancers of Northern Ballet would have little to do in a production like “Gentleman Jack,” with only two soloist roles for them. But Lister “lived in a man’s world,” Lopez Ochoa said, and throughout the ballet, she squares off against businessmen to defend her financial interests, as she did in real life.
The men haven’t complained. “People are interested that the company is willing to take this direction,” the dancer George Liang said. “And having a strong woman challenge me onstage is so much fun.” Aydinoglu, who performs the role of Lister, commented with a laugh: “I’ve really enjoyed bossing the men around, I’m not gonna lie.”
“The more you allow yourself to take space, the better it is,” Lopez Ochoa told dancers in rehearsal. Sophie Stafford for The New York Times
Northern Ballet hosted an open rehearsal in January to gather feedback from women from Calderdale Friends of Dorothy, a social support group for lesbians, and a handful of younger queer women. They took their role to heart: In the discussion afterward, a sensual pas de deux between Lister and Walker came under criticism because Lopez Ochoa had opted to have two men — embodying genderless “words,” a reference to Lister’s diaries — carry the women aloft in the scene.
“One of them said, ‘You cannot put men into an intimate moment between two women,’” Lopez Ochoa recalled. “I let it simmer. Then I thought, I have to fix it.” Now, the women are alone onstage.
The group of queer women who sat in on the rehearsal were “blown away,” said Rachel Lappin, the Anne Lister program coordinator for Calderdale Council, who organized the outing. “One member commented that it was the best day out she’d had in decades.”
Support for “Gentleman Jack” has also translated into “incredibly successful” fund-raising for Northern Ballet, Bonelli said. Last year, the project, which is co-produced by the Finnish National Ballet, won the Fedora - Van Cleef & Arpels Dance Prize, a prestigious European award that supports the development of innovative stage productions. A crowdfunding campaign that runs alongside the prize “not only met but surpassed its target,” Edilia Gänz, the director of Fedora, said in an email.
Ahead of the premiere, the dancers of Northern Ballet say the effects of embodying Lister’s bold individuality are already felt. “As a woman, you often try to blend in, even in real life,” Aydinoglu said. “It’s been really, really different to just be my own person. At the end of the day, you don’t need to please everyone.”
And for queer women in dance, “Gentleman Jack” is a special milestone. When asked about it, Croft paused, visibly moved.
“It’s probably telling that I’m trying to catch myself from tearing up,” she said. “It’s rare you get to do something that you never imagined would happen.”
What's a book written by a woman that changed your life or that you consider a classic? Any genre, any language.
I know that Peter’s Jackson Lord of the Rings trilogy technically has flaws but also….it doesn’t. It’s perfect.
‘Are these magic cloaks?’ asked Pippin, looking at them. with wonder.
‘I do not know what you mean by that,’ answered the leader of the Elves. ‘They are fair garments, and the web is good, for it was made in this land. They are Elvish robes certainly, if that is what you mean. Leaf and branch, water and stone: they have the hue and beauty of all these things under the twilight of Lorien that we love; for we put the thought of all that we love into all that we make.”
- Fellowship of the Ring, Chapter 8: Farewell to Lorien
This is how I think of Jackson’s movies. Yes, there are serious flaws - Gandalf’s de-powering, Gimli as comic relief, and Faramir, namely - but come on.
Remember when the guys making their chain mail invented a new method for quickly producing large amounts of it by hand? Remember Miranda Otto walking down the street, practicing sword positions? The guys who forged all of the swords - for leads and for extras? The men and women riders who volunteered to be riders of Rohan? The costume designers who designed the inside of Theoden’s armor (which no one would ever see) so beautifully that Bernard Hill said he felt like a king? The friendships between the cast, and their size doubles, and the stuntmen?
When they made that movie, they put all that they loved into all that they made.
#just hundreds of people who went ‘sure let me try this’ #and they made something breathtaking #and then they made it 12 more times in different sizes ( @byjoveimbeinghumble )
Wait tell me more about that chainmail thing
“Kaynemaile has worked tirelessly to perfect the material science behind beautiful architectural mesh, collaborating with architects and designers on projects that embolden urban environments with positive buildings. The company’s patented polycarbonate mesh, inspired by 2,000-year-old medieval chainmail, was initially created for the armor and weapons seen in the The Lord of The Rings movie trilogy and is now used on major architectural projects around the world.
“The film’s art director and Kaynemaile’s founder Kayne Horsham worked with his team to construct each garment from plastic plumbing tubes, coating them in pure silver. Once filming wrapped, Horsham dedicated himself to creating a change to the liquid state assembly process to mass produce the polycarbonate chainmail for architectural applications — products that were light, but strong enough to protect the interior or exterior of a building. Now an industry-leading manufacturer, Kaynemaile produces mesh for everything from small interior screens to large scale exterior façades. Their mesh is easy to install and can be custom created for specialized applications.”
https://architizer.com/blog/practice/materials/kaynemaile-mesh-facade-systems/
Kaynemaile's patented mesh façade systems are incredibly lightweight and easy to install while bringing a bold look to any scale building.
YOU GUYS
they took forced perspective and scaled sets to a new level by adding moving set pieces to create the illusion that the hobbits and dwarves were much smaller than everyone else even when the camera moved.
every scene you see in the 11+ hours of glory that is the LOTR masterpiece is most like ridiculously elaborate or expensive–from model towers to the all-new motion capture technology used for gollum to the costumes and sets to the aerial on location shots of mother-fracking new zealand and the big impressive battle scenes and horse charges.
but then the story and the screenplay too–there is just SO much lore that is there in the background lurking if you want to look for it, yet it still remains simplified for the average viewer. Crazy impressive feat.
And the acting is heartfelt and real and makes you love the characters.
ALSO DON’T GET ME STARTED ON FREAKING HOWARD SHORE AND HIS 100+ HEARTSHATTERINGLY BEAUTIFUL LIETMOTIFS AND BRILLIANT SUBTLE VARIATIONS IN THE FLIPPING 13 HOUR SOUNDTRACK. AND ENYA SINGING IN REAL ELVISH.
There’s so much detail in the costuming that we can’t even see, it’s wild. One of my favourite things I saw on a tour of the WETA collection was seeing a Gondorian sword and on the pommel of the grip, there were concentric rings with a triangle wedge raised about them. They had a representation of frigging Minas Tirith as a part of the sword.
Also, here are a few close-up costume/prop details from the costumes they had on display in the shop and at sites around Wellington:
The LOTR movies’ lore is as extended as Tolkien’s lore.
A thing i remember from visiting the Hobbiton set is how there were little paths worn in the grass, from each hobbit house to where the laundry was hanging to dry, or to the well, or to the vegetable patches. Someone asked about how these were planned and the guide went "Planned? Oh no, we didn't plan them, we just walked to the laundry/wells/gardens every morning so that the paths would look natural and in use"
All of it is a work of love <3
I'm re-reading the Vorkosigan Saga for the first time in a long time (I think it's been maybe 15 years since I read the earlier books) and I remembered how much I liked them, but I forgot how feral they made me. sorry to anyone in my general orbit for the next 12-14 months.
Lois McMaster Bujold really did go: here have space opera shenanigans paired with an exploration of societal upheaval and intergenerational trauma, told from the perspective of a family composed entirely of people who are deeply unhinged. A+, no notes.
I think Tumblr is sleeping on Aral Vorkosigan tbh. fascinating set of life experiences that HAS to fuck one up in new and inventive ways.
witnessed most of his family being murdered at age 11 and two years later his new emperor hands him a blade to help chop up the old emperor who ordered it. obsessed with honor and yet is constantly either flung into situations that force him to override it or lapses in his attempts to strive for it. bisexual and almost certainly weird and repressed about it at first given Barrayar's general cultural milieu, his upbringing, and his first(?) boyfriend turning out to be a sadistic sociopath. kills his first wife's two lovers in impetuous duels and twenty years later confesses this to to the next woman he proposes to within days of meeting her. repeatedly escapes consequences for the times he genuinely fucks up - and he knows this! - and gets ripped to shreds for things he tried to prevent. keeps getting handed increasing levels of political power and he hates it so so much. there are several things wrong with him but crucially I don't think they're the things he thinks.
and we never get his POV directly. 10/10 guy to me, I want to study him under a microscope.
Cordelia kind of wins the award for Most Normal by default, but a) the bar is on the floor, and b) this is also a woman who has, in order: risked her own life to help resolve an attempted military overthrow of an enemy commander that she met like a week ago, left her entire former life behind in part to protect the political secrets of a planet she had one single personal connection to, charged into an occupied city in the middle of a coup for a guerilla raid with THREE people to rescue her kidnapped son, ordered the extremely mentally unwell guy who follows her every order to chop off the head of the guy who did it, and tossed the head in the middle of a conference table to make a point.
I do not think Miles got his impulsive streak from Aral, is what I'm saying.
Often in books, especially with a younger/teenage protagonist, there's an inciting incident, something external that either gets the narrator into trouble or gets them involved with the plot. everything that happens in Warrior's Apprentice is the direct result of Miles just deciding of his own free will and with zero provocation to do the most bonkers shit imaginable. yeah I'm gonna go rescue this random drunk-off-his-ass pilot I've never met who's holding an empty ship hostage so he can keep flying. he has diplomatic immunity now. yeah I'm going to mortgage my family's irradiated land to buy the ship. yeah I'm going to take a cargo run and now the client thinks I run a real mercenary outfit. at no point will I correct him.
this does make sense for him as a character because he has a complex family legacy to live up to AND a girl to impress, however. the entire plot of this book happens solely because of who this ADHD 17-year-old is as a person, and that is kind of beautiful.
I love that opera sits in this limbo where it's extremely well-known but not really beyond a surface level recognition, so you get commercials for makeup or whatever to the tune of the I Hate Women So Much It's Unreal aria
#in the first bridgerton book daphne describes her crush feelings as if her heart is playing the queen of the night aria from the magic flute#which i can totally see if you have never found out what the words mean. very high and fluttery.#but the lyrics are along the lines of THE VENGEANCE OF HELL BOILS IN MY HEART. IF YOU DON'T MURDER THAT MAN I WILL DISOWN YOU.#and i laughed so hard i had to put the book down
via @tophatandboots
oh my god??
@lymeandcoconut
#lmaooooo #my fave is that episode of white collar where neil is doing a theft #and the music they play over it is leporello's 'here's the list of all the hundreds of women my boss has fucked' aria from don giovanni #it's supposed to just sound grand and sophisticated but the guy is singing about how DG fucks tall women short women #fat women skinny women princesses and peasants he fucks them all! #and here's the numbers broken down by nationality! #he's fucked over 1000 women in spain you know!
#oh and he's singing all this to a former conquest who tracked DG down because he promised to marry her then ditched her #anyway it's a lot
THE GIFFABLE SHOMA RETURNS TO US!
Hell yeah he does
i'm personally in favour of 18 episodes and a heist
This game, about listing as many animals as you can, is shockingly well-considered and polished for such an apparent shitpost of a game idea
hot new brain workout
I got scared and started listing colors and objects
😭
Insane ball knowledge
The Feed Is Fake
That “viral” song, movie, meme, influencer, and celebrity drama was probably the product of a stealth marketing campaign.
link to the actual article here
Joe Lim estimates that 90 percent of what you see on the internet is advertising in disguise, and he should know. For three years, Lim ran a company called Floodify, which at its peak operated 65,000 dummy social-media accounts used to drum up attention on behalf of paying clients. On a typical day, he says, Floodify posted 50,000 videos across TikTok, Instagram, YouTube, and X, all of them designed to pass for the unscripted output of ordinary users.
"The Fencing World Championships will introduce the "Sword Tip Visualization System." This system was developed by Japanese engineers, used at the Tokyo Olympics, and can track and display the sword tip's movement trajectory without any markers." (X)
260516 // kaori sakamoto ☆ sports graphic number - special talk show