#.lindsay

[musicallisto]

🌊 as cliche as it may be (and if i may cheat) could you do adele skyfall + lestappen + rivals trope? kissing your feet in supplication

« this is the end / hold your breath and count to ten / feel the earth move and then / hear my heart burst again »

the news catches him off guard like a thunderbolt piercing the italian sky. all charles can do is stare at the video on his phone with furrowed brows, as if all the words max verstappen is saying were foreign, incomprehensible.

"personal decision... time has come... immense honor... still got races to win..."

nobody in ferrari mentions the elephant in the room—not before the charity event in monaco, where the jewels of motorsport parade in too-tight tuxes before walls paneled in crimson and ivory.

once he is certain no cameras are rolling, charles runs up to max.

"you're retiring?"

the dutchman blinks, but isn't surprised by charles' bluntness. is there anything left in charles that could possibly surprise him?

"yes, i am."

and though charles says nothing, max knows he wants to ask "why?", because he has always known the monégasque's next move before he could even think of it himself.

"i've accomplished what i had to and i'm happy with what i've done. this sport doesn't need me anymore. my family does."

there is a lump in charles' throat that he cannot explain nor justify. max's family needs him, not the sport—but what name do you give the boy you grew up beside, ever lingering in the shadows you cast—now a man, tall and mighty, wreathed in triumph—the man whose tear-tracks you'd know even beneath the visor—what do you call that man, if not family?

"so this is the end?"

"well, i suppose i'll still be around, and we've still got a season to finish. but pretty much, yeah."

seb, mentor though he was, had not left as unutterable a void upon his departure, because it had been expected. now charles is standing at the edge of a precipice like the very soil has collapsed from under this feet.

he should be glad. after all, max verstappen was always the raincloud that darkened his maranello sun. with his rival out of the way, charles has never had a clearer shot at a world championship.

but is victory truly victory, if it is not wrestled from his very grasp?

max lays a kind hand on charles' shoulder, shutting down his furious thoughts.

"come on, mate. we've had a great run. and that doesn't mean i'm gonna go easy on you in the next races."

leclerc recalls those words the week after, as he's about to throw himself headlong into his first qualifying lap at zandvoort. the orange tide—thousands of tulips bowing their heads before their soon-to-be-fallen king—blurs in his peripheral vision.

they never did know how to go easy on each other.

[smoothoperador]

do you have any f1 blogs you'd recommend?

i mostly follow writers, but i love @schuvries @starsainz @spiderbeam @isaadore @goldsainz @driverlando @drgnsfly ! @sketiana had my favorite shitposts and general commentary but they're done with tumblr at the moment i think. i also love @theereboseffect's art 🫶

[chappellsroans]

Mean Girls (2004) dir. Mark Waters

[stunning10s]

[ihateadulthood]

[jamesusilljournal]

The Moon Thief, Norman Lindsay, 1925

[weirdlookindog]

Norman Lindsay (1879–1969) - Other Lovers, 1924

[birthdaysuitcelebs]

Lindsay Lohan

[nicostiel]

#Tag yourself

[younghollywood4ever]

[storyofmorewhoa]

Pygmalion and Galatea (1763) by Étienne Maurice Falconet Paul and Virginia (1844) by Alessandro Puttinati Worship of the Female Form (early 20th century) by Alméry Lobel-Riche Kneeling man embracing a standing woman (1908) by Gustav Vigeland In Paradise (1918) by Max Svabinsky Thief of the Moon (1924) by Norman Lindsay

[musicallisto]

🐋 also i neeeed a charles leclerc royalty au you don't understand PLS

· · · · ♡ modern royalty au!charles leclerc��

he's so modern royal... see my fantasy royal au!carlos sainz for contrast

[smoothoperador]

K NO BUT CAN WE TALK ABOUT IT.

cause yeah ttpd is SO boring. like i know most of the songs are 3+ min but tbh most of them don’t sound like songs! gun to my head i couldn’t tell you the difference between the prophecy the manuscript chloe or sophia or marcus or whateverthefuck that song is called.

i miss when she put actual effort into her albums, like red. like the tv of red is so amazing, but with 1989 tv it just feels SO lacking especially in the production, and the vault songs don’t even sound like songs! like with red and fearless and even speak now we got fully produced songs that felt special, but with 1989 tv and 80% of ttpd it sounds like scraps she picked up from the floor and glued them together to make a semblance of a song and it’s so disheartening from someone who has genuinely loved her music for years and the different eras but now it all sounds the same

yeah i've been vocal about how much I dislike her new stuff dating back to midnights. i really DON'T LIKE this stripped down, minimalistic synthpop where everything is the same note and there is not a single drum or guitar and i found midnights quite frankly very underwhelming upon its release, but i figured to each their own; besides, taylor's sound famously always evolves in between eras. but she never departed from that direction, which i honestly don't know who to fault for... is it because she genuinely likes it and thinks it's her forte? (it's not. her forte is dramatic storytelling and epic guitars. her forte is speak now and folklore!!) is it because jack and aaron pull her in that direction? is it because she comes to them with half-assed ideas and they're too reluctant to go against their wishes? is it simply mass production of songs? idk, but what she knows is that she could release out a voice memo of her singing the abcs and it would go platinum.

the 1989 vault tracks were the ones i was looking forward to the most, and they were truly disappointing... 1989 had a clear line of production that i loved, but all of the vault tracks were CLEARLY produced after (or during) midnights. now it all feels like midnights rejects that didn't make the cut, and to be honest the last release that felt like it really belonged on its original album is all of the girls you loved before (and sntv vault tracks i guess, i didn't like them tho)

but even THEN midnights was bearable because it had highs (songs that were different, like snow on the beach; or songs that were poignant, like yoyok) but ttpd ... ttpd is unforgivably BLAND. all the songs mesh into one another, even without the sour aftertaste of matty healy the lyrics are abysmal in comparison to what she's come up with before. theres a few good songs hiding in there (so long london and who's afraid are my faves (but once again im gonna hunt down the coward who couldn't make it an actual ROCK song as it shouldve been), i hate it here could also be cute were it not for the corny gen-z title and horrible horrible 1830s lyric), but theyre all undermined by this boring ass coating that envelops the whole album and also drowned out by the sound of 31 SONGS (!!!!) 31 songs is like thrice the size of some albums and it's TOO. MUCH. doesn't give room for the good songs to shine and also pollutes the air with tracks that clearly should've never left taylor's diary. (ttpd song, bdilh, guilty as sin etc are all SO BAD AND ICKY theyre unforgivable)

i've said this before but taylor is truly the mcu of the music industry: she has an incredibly strong and devoted fanbase, she's easily accessible (as in she makes fun pop and pop rock with easy lyrics and hooks which is something MOST of the general public enjoys), she comes out with several new installments a year (of varying quality...), and the longer it goes the more enjoying her and her music requires an encyclopedic knowledge of her previous works (with all the references, easter eggs, etc). and im really sad to think we'll never see the daring taylor that released red when everyone was highly skeptical of the mixed pop/country sound, or the taylor that has the range to make both better than revenge and ivy.

[rowanhoney]

…….thinking about this………..always thinking about this…..

[enchantedbook]

Αrt by Lionel Lindsay, (1874 - 1961).