#16.

[widowshill]

We aim to please. Especially when it only costs a quarter.

BURKE DEVLIN IN DARK SHADOWS, EPISODE 16.

[realsafari]

16 year old me saying "I HATE gacha heat" when i watched it on the regular

[frankensteincest]

detail of John the Baptist holding the Lamb of God | LORENZO LOTTO, the Santo Spirito Altarpiece

[canuzun17]

[peri-k-z]

" 16. yaşımdan , nefret ediyorum...."

[wherespikachu]

Luke. The frontman. My best friend. Will forever be proud and grateful to navigate life with you by my side. 27! You’re getting old and making me feel ancient. I love ya. Happy birthday. @hemmingbirdx

[turningbrain]

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[mediabureau]

(via Official #PIFF #UFF Best of... guides!)

[robertphilip]

wait what other reasons do they list cuz now I want to know

Robert is mean apparently and doesn’t believe Giselle (who would 😭), the age gap (I guess she’s 16 now but suddenly an adult in our world), Giselle was a bad person for trying to help Nancy and Robert but then wanting Robert, Edward was the only one who noticed Giselle was sad at the ball (she didn’t cry until after she left Robert so idk how Robert was supposed to know), and Edward knew Robert’s kiss would help (can’t exactly blame Robert for not knowing he was her true love 😭 but also if we’re gonna play that game, Edward didn’t even think about true love’s kiss at all so)

anyway, I love disney movie discourse, I wanna find more posts like this. I found one recently that was mad Robert threw away Giselle’s hotdog bc “she didn’t finish it!” even tho she said she was done

[catoswound]

you cant even begin poems with "i will sodomise and facef uck you" anymore. because of woke .

[bluejay757]

[wasabi-gumdrop]

local ladies man’s signature move totally useless against autistic monster enthusiast. more on Kabru’s fumble era at 6

[crumb-crumblet-s-crumbington]

did it mean anything to you

[frankensteincest]

In 1563, following the assassination of her first husband, the Duke of Guise, Anne [d’Este] participated in a remarkable piece of political pageantry whose effectiveness as drama and a discourse of power depended on its female articulation. With her mother-in-law, Antoinette de Bourbon, she led a procession outside the church at Meulen, where the king was at vespers, to petition Charles IX for redress and vengeance for the murder. According to Pimodan’s description, the two duchesses, ‘vetues de grandes robes à queues trainantes s’avançaient, soutenues par des femmes de service voilées de noir et remplissant l’air de leurs gémissements’. Powerful Guise relations, cardinals and dependents took part in the demonstration but it was led by the two women, the bereaved mother and wife, flanked by their grandchildren and children and accompanied by the sounds of lamenting women. Falling on their knees, the two duchesses presented a petition and asked if the role of a monarch was not to protect ‘veuves et pupilles oultraigez’.

The demonstration used a visible and verbal language of dependence and loss, drawing on the domain and imagery of female grief, and was placed in the shadow of a Roman Catholic Church many of whose core images, such as the pietà and the mourning Marys, celebrate and memorialize the holy and righteous grief of women. In the specular economy of an aristocratic culture, the details of clothing, such as the ‘grandes robes’, presumably court dress, and the extravagantly trailing trains, juxtaposed against the gestural language of submission, present a complex emblem, in which status and humility, grief and pride, were held in balance. The message the duchesses articulated was, moreover, directed to the very core of the regal power system of privilege and obligation. They reminded the king of his duties in a form (the rhetorical question) and description (‘veuves et pupilles’) which again hold in powerful apposition assertion and dependence. Angry male Guise relatives alone would, perhaps, have been too directly threatening; Guise women alone could, perhaps, have been ignored. The combination, however, of a female drama of grief and dependence backed up, literally, by the presence of militant and powerful male magnates, gives tactful expression to a threat of armed vengeance and endowed naked power with an acceptable female face. The duchesses were not standing in for men, nor were they shielding men; they were an integral part of a complex message in which the discourse of femininity was poised beside a discourse of power. The very inequalities of gender, in fact, enabled these women to become effective instruments in the apparatus of state and family politics.

JESSICA MUNNS and PENNY RICHARDS, ‘Exploiting and Destabilizing Gender Roles: Anne d’Este’

[lupinsuniverse]

พลั่วน้องD