orixntal

[orixntal]

The Shining (1980) | dir. Stanley Kubrick

[orixntal]

under the cut are four seven 3D & 1 plain LIZA SOBERANO dash icons and will be updated accordingly!! please like/reblog if you use!

Keep reading

[orixntal]

Shira Barzilay, A Crazy Night in the Museum, 2022

[orixntal]

*    𝐩𝐮𝐛𝐥𝐢𝐜.     (   💌   )     ·     320  gifs  of  theo  james  in  s02  of  the  white  lotus  can  be  found  in  the  source  link  below.  all  of  these  gifs  were  made  by  me  from  scratch,  so  i  ask  that  you  don’t  redistribute,  add  to  hunts  or  claim  as  your  own.  please  like  &  reblog  if  you  find  these  useful.

information  about  my  commissions  can  be  found  here.

[orixntal]

COMMISSION  !     —     theo  james  in  archive  (  2022  )  !     /     by  clicking  here,  using  my  directory,  or  following  the  source  link,  you  will  find  two  hundred  and  thirty  five  (  235  )  gifs  from  his  role  within  this  movie.  all  gifs  are  made  from  scratch  and  should  not  be  edited  without  asking  first.  please  like  and  reblog  if  you  found  these  helpful  or  plan  to  use  them.

[orixntal]

BILL SKARSGÅRD as KEITH BARBARIAN (2022) dir. Zach Cregger

[orixntal]

me staring off into the void thinking about old rp partners i miss dearly:

[orixntal]

Church’s Fall/Winter 2017.18 Campaign ft. Kit Butler

[orixntal]

What a privilege it was to matter to you.

Beau Taplin /// Privilege (via lyricalabyss)

[orixntal]

[orixntal]

[orixntal]

On the Road (2012) dir. Walter Salles

[orixntal]

“Sometimes you need to do something bad to stop you from doing something worse.”

Stoker (2013) dir. Chan-wook Park

[orixntal]

He used to say, sometimes you need to do something bad to stop you from doing something worse. 

[orixntal]

crime-scened‌:

CHARACTER | Carter Roth ( Max Irons FC ) / STATS & BIO OPEN TO | All, but mutuals and followers preferred CONNECTION | Long time partner, one night stand, friends with benefits BEFORE REPLYING | Read the GUIDELINES

The body laying next to Carter was a solemn thing: perhaps a metaphor for the emptiness inside him and the need to fill the void, or a reminder of his incessant need to not be alone lest his own thoughts swallow him whole. Whatever they were, they were peaceful. Calm. Unaware of the rusty cogs that worked in Carter’s mind, and all the ways in which they sought to poison his every move. See, he, on the other hand, was a mess that came from a nightmare, wide eyes and heavy breathing. He could never be as peaceful as the body laying next to him; this was more tragedy than it was truth.

Carter forced himself to stand, even despite the fatigue that ran throughout his whole body. He was a downright mess, a plague of nightmares for bones and fear for a heart. As he paced around the room, he made much noise and sound. He didn’t mean to, of course; he never meant to, but each night brought with it the same suffering and so he must deal with it in the same manner. It was only when the other shifted on the bed did Carter flinch, almost as if he were afraid it were somebody else. “Sorry,” he said, and his voice echoed in the small room. “I think I have to leave.” His voice was far from calm, far from reasonable. “It’s not safe for you to be here. It’s— not safe for you to be with me. It’s—” His pacing quickened as he spoke.

Tomorrow her father will die. She knows this well, knows it intimately. She knows her father knows it too. Of course he does, she has told him; told him over a polite dinner of medium-well steak and greens. ‘I’m going to kill you,’ she has told him. He merely laughed, and when he replied that he would like to she her do it, the red of the steak in his mouth drips unto the cotton napkin and the table cloth. In retaliation, Sonja salts the meat more than necessary. Though the bullet she paid for will kill him faster, it pacifies her to know that a cardiac arrest is still a viable contingency, 

When she meets with Carter in polite privacy, she rides him with the wrath she’s too polite to let upon over the dinner table; and then she kisses him with tenderness as gratitude for finding a way for her to buy that bullet. Afterwards, after the hazy small talk and the hazier attempts of intimacy, Sonja falls asleep to the thought of blood on a white sheet of cloth.

The clock reads 02:12. Carter no longer occupies the other side of the bed, thank god.

Tomorrow is now today, and though this - this - is the peak of her story’s rising action, she remains restive -- limbs disappearing in the soft linens of a bed that knows her only when she’s naked and with a man she doesn’t need. “You’re right,” agrees Sonja, her words half-buried in the flush of her pillow. Carter is but a shadow moving on the floor, a distracting destruction on the spill of streetlight on the carpet. It seems surreal and unjust that these are the moments and the motions before rebirth of her, and yet they are so mundane. “Do you have money for a cab? It’s too early to take the Metro. -- come get my purse, I’ll give you some change.”

[orixntal]

You look like my father.

[orixntal]

She’s of age.