ALAN RICKMAN as COL. BRANDON Sense and Sensibility ‧1995 ‧ Dir. Ang Lee
🩵 avery cochrane 🩵
untitled

Love Begins
cherry valley forever

@theartofmadeline
2025 on Tumblr: Trends That Defined the Year
YOU ARE THE REASON
d e v o n
𓃗
let's talk about Bridgerton tea, my ask is open
Noah Kahan
🪼
we're not kids anymore.

bliss lane
Claire Keane
Show & Tell
will byers stan first human second

★
Lint Roller? I Barely Know Her
Mike Driver
seen from United States
seen from United States
seen from Türkiye
seen from United States
seen from Indonesia

seen from United States
seen from Venezuela

seen from Malaysia

seen from United States
seen from United States
seen from United States
seen from United States

seen from Canada

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Japan
seen from Iraq
@zaricats
ALAN RICKMAN as COL. BRANDON Sense and Sensibility ‧1995 ‧ Dir. Ang Lee
not to be a downer on the #hopecore angle we could take with this but i have seen this claim nigh on ten times now today and it's infuriating because of how obtuse it is. sure, it's great that the racist and transphobic comments didn't detract from the odyssey, but they were never going to. if there's one thing people will turn out for, it's christopher nolan's big blockbuster epic centered around a straight white man.
ghostbusters and the little mermaid remake were starring an almost all women cast and a woman of color respectively. it is absolutely a notable factor when looking at their turnout, especially considering how well shitty remakes & nostalgia baits starring white people/men do. acting like it has nothing to do with anything is disingenuous and it's asking for people to treat justified concerns about racism and sexism as invalid.
Ethan Hawke in First Reformed (Paul Schrader, 2017)
JENNIFER COOLIDGE & JENNIFER TILLY The 14th Annual GLAAD Media Awards – Los Angeles – April 26, 2003
in any given fictional situation, there is exactly one character who is At Fault and every other character involved is a passive victim. media literacy is when you correctly identify and condemn this character
Naobumi Seimiya aka 清宮質文 aka Seimiya Naobumi (Japanese, 1917-1991, b. Tokyo, Japan) - 行手の花火 (Fireworks Ahead), 1981, Color Woodcut on Paper
mb: Goodnight Robicheaux & Billy Rocks
Ethan Hawke for the Los Angeles Times, 2026. Photographed by David Urbanke
anselm kiefer, winterlandschaft (1970) peaky blinders (2013-) christina rossetti, in the bleak midwinter (1872)
SIX FEET UNDER (2001-2005) S01E01 ♱ Pilot
kitten, daddy is gonna shoot himself after work
daddy is a coward and needs you to do it
Even the daddy kink tries to parentify me.
Daddy needs you to be daddy for a while
Sidney Poitier visits Jack Lemmon and Tony Curtis on the set of "Some Like It Hot"
i’m getting more and more put off by this inescapable mode of fandom analysis centered around judgement. it has its uses - i think a lot of people use it to build their politics and ethics in a communal space. i identify x political message in the text, either explicit or implicit, i condemn it, i build my own sense of my values by doing so. but i just feel like well, i’ve already done this. i’m an adult and actually really confident about many of my moral viewpoints. so i am anti-monarchy, anti-hierarchy, anti-war, as deeply held personal principles. i don’t need to categorize and condemn the faulty and suspect values of the characters in order to affirm my own via contrast. but this is much of what is going on. the characters believe in the divine right of kings, which is risible and deluded. they believe in their special bloodlines that give them a birthright to their various privileges, which is of course very mockable. they believe in the exercise of force to achieve political aims, and also have corresponding socioreligious beliefs that valorize warfare, which is Bad. the task of fandom analysis is mostly to notate all this with fine precision, or at least to make jokes about how absurd everyone is. the viewer is politically and ethically superior to the characters, and sits in the place of judgement weighing their sins. we come from a self-evidently better civilization than this pseudo-medieval one, and also, in the many ways it can be connected to our contemporary world (source text written by a 21st century US american, adapted for television by same, inflected inescapably with the POV of the present) we are better than any possible analogues. again, i don’t think this is a wrong way to engage, it is just one i find really annoying and unrewarding and at odds with anything i am interested in doing at this juncture. it is very unfashionable to say that one comes to fiction for the transformative exercise of empathy - i think in resistance to the idea that said exercise has some inherent positive political effect, which i also agree is very critiquable. but it does have a more complex moral and political meaning for me to do this, to suspend judgement, to try to put that aside and ask questions about what it is to live another life from inside, what beliefs - no matter how objectionable - someone might hold to be able to do so, to get into the skin so deeply i merely have to let myself feel their force.
Twin Peaks, Fire Walk With Me (1992) ✷