#headers lav

[the-lavender-clown]

I just wanted to yap about how your header is SO COOL DKSNJD the lighting, the clothing folds, THEIR POSE?? jumping up and down the walls at your art :3/vvpos

THANK YOU SM 😭😭 I love them sm and the were so fun to draw! I’m still so proud of that drawing

[gwynlain]

The ship to end all shipping wars

May I present: Gwynlain

All aboard, all are welcome! <3

And this blog to fandom about it because iltsm & I know SJM will never go down this path… But, I shall captain the gay Gwynlain ship if I must, so we all can sail off into the sunset! Please feel free to join me & submit theories, head-canons, fics, fanart, etc.

🌈🩷❤️🧡💛💚🩵💜🖤🩶🤍🤎💖💜💙❤️🧡🤍💕💜🏳️‍🌈

You can call me Lila (short for Delilah) Lavendar (Lav for short), she/her, bi (LGBTQIA+) friendly, Zillenial. My main blog is @lavendarneverlands, though I’m primarily on my Maasverse blog @acourtofquestions; this is a side page of it🙃☺️

I really do love all the characters (including <3 Az) & I can ship anyone😂 (Elriel/Gwynriel/Elucien/etc.) I just want them all to be happy… & As we await the next book, here’s a ship that makes ME happy!😊🫶

*not here to dispute ships, characters, or come at any fans/other shippers, so please be kind & love our fellow fans*

Credits for Header image & Profile pic: Venus Folk

[campgender]

Omise’eke Natasha Tinsley on Miss Marsha P. Johnson, transmisogynoir, and Black femme ornamentation & excess

from The Color Pynk: Black Femme Art for Survival (2022). image description below the cut.

image description: three screenshots of an ebook section titled “Star Pynk” in pink text. the excerpt reads:

Triangles, double moons, handkerchiefs, pansies, roses while we’re still here: of course, of course, so many shades of pink sing queerness without saying a word. Writing this book, I spent uncounted hours gazing at very, very queer pink pantsuits, pink eye makeup, pink ribbons, pink altars, pink survival gear, even pink HuCows. But the sources of femme pinkness that drew me in deepest... that I returned to again and again like a river... were the gowns, flowers, and aura of Stonewall veteran, activist, artist, model, and performer Marsha P. Johnson. I fell into rose-colored time warps watching her on Tourmaline’s Vimeo, Randolfe Wicker’s YouTube, and Michael Kasino’s love letter of a documentary, Pay It No Mind.

On February 14, 2019, I brought art supplies to my Femme Theory class at Harvard so students could make valentines for Miss Marsha and leave them in public places. I entreated my amazing Harvard colleague Robert Reid-Pharr, who knew Marsha in the 1980s, to tell me stories. Gifted with a chance to moderate a conversation with CeCe McDonald and Elle Moxley in February 2021, I asked these brilliant women to talk about their love for the Queen Mother. Marsha P(ay It No Mind) Johnson is the color pynk to me—the femmebodiment of all its queer nuances, loving generosity, and improbable joys.

One of Mother Marsha’s most circulated images— the header on the Marsha P. Johnson Institute website and the model for murals in Dallas, Denver, Portland, and Jersey City—shows her smiling radiantly in an off-the-shoulder fuchsia taffeta dress, haloed by a crown of roses, carnations, daisies, peonies, and baby’s breath. In one of my favorite images she poses at Gay Pride in a shimmering, rose-gold gown, crowned with a wide-open wreath of pink and red flowers and adorned with a lav- ender sash embossed stonewall. In these and other images that live on my screen, Miss Marsha is always fabulously, fantastically ornamented to the hilt in ways that look like love.

Let me be more specific, though: Mother Marsha is gorgeously or- namented in ways that look like Black love. Everyone knows Black people love shiny things, right? That “aesthetical Negroes [are] content to waste money on extravagance, ornament, and shine.” That “things that bling, shine, or shimmer, that emit light are especially privileged” in the “everyday aspirational practices of black urban communities, who make do and more with what they have, creating prestige through the resources at hand,” as art historian Krista Thompson elucidates.

In his influential, unabashedly racist 1908 treatise “Ornament and Crime,” Viennese archi- tect Adolf Loos was indulgent of so-called Kaffirs’ love of the ornamental since, unlike “modern man,” they “have no other way of attaining the high points of their existence.” Twenty-first-century racists are less tolerant of African American accumulation of “bling, shine, and shimmer.” Noting derision of Hurricane Katrina survivors’ jewelry, Humvees, Louis Vuitton bags, and flat-screen TVs, Lisa Marie Cacho observes, “Poor African Americans are not only represented as unentitled to ‘luxuries’; they are also denied the power to decide what constitutes a ‘luxury’ and the power to define what they need and what they can live without.”

Not (only) luxuries, ornaments can be lifesaving shields more resistant than levees. “The ostentatious display of things might be interpreted as a protective means. We might understand the use of material goods and the production of blinding light as a shield or apotropaic, simultaneously reflecting and deflecting the deidealizing gaze on black subjects,” Thompson offers. “The beauty of black ordinary, the beauty that resides in and animates the determination to live free, the beauty that propels the experiments in living otherwise,” Hartman states in no uncertain terms, “is not a luxury; rather it is a way of creating possibility in the space of enclosure, a radical art of subsistence, an embrace of our terribleness, a transfiguration of the given. It is a will to adorn, a proclivity for the baroque, and the love of too much.”

For Black trans women, transfeminist scholar Eve Lorane Brown describes, the beauty of black ordinary—the “extravagance, ornament, and shine” of hormone therapy, hair extensions, contouring kits, or other everyday accessories of black femme-ininity—saves lives in more immediate ways. White trans women forgo makeup, breasts, or shaved legs and walk through her majority-Black Oakland neighborhood unharassed, she notices, benefitting from residents’ knowledge that interfering with any white person risks police intervention. The same isn’t true for Black trans women.

“No matter how unclockable” a trans femme of color might be, “no matter how well she could blend in, she still carried that seed of fear about being found out . . . fetishized, ridiculed, rejected, or attacked,” Janet Mock writes. “We don’t have to search for too long to watch footage of a girl being attacked on public transit or in the restroom, or read a story about the killing of yet another black or Latina woman.” Femme tech— manicures, wigs, foundation makeup, dresses, waist trainers, handbags, hormone therapies, plastic surgeries—are “‘luxuries’ [that] may be regarded as meeting basic physiological and safety needs for African American trans women,” Brown concludes. Diving into ornament as a daily practice of beauty and safety, Treva Ellison remarks, Black trans femmes engage “the sartorial, the expressive, and the performed” with a view to “reworking and repurposing the signs, symbols, and accoutrements of Western modernity” in ways that guard against “Black femme subjection, abuse, and premature death.”

But Marsha’s pink, shiny, frilly, plastic, floral femme tech wasn’t curated to blend seamlessly with—well, anything. She stood out, always. Queen Mother wasn’t shy to walk through town half en déshabillé: “She’d be coming up Christopher Street with the rolled-down stockings, fuzzy slippers, her wig in beer-can rollers: ‘Hello, everybody! What a wo-o-onderful morning!’” Sasha McCaffrey laughs. When fully dressed— gloriously “over the top with the jewelry, flowers in her hair, very creative looking, very commanding of attention,” performer Ron Jones recalls— Marsha embodied the Black aesthetic Hartman lyricizes as the “tendency to excess, the too much, the love of the baroque; the double descriptive: down-low, Negro-brown, more great and more better; the frenzy and passion; the shine and fabulousness of ghetto girls.”

Like her spiritual daughter Tourmaline, Marsha dressed as her “fullest and freest self in the most public of places”: “I remember seeing Marsha walk down the street in a miniskirt that she had made with nothing on underneath and it was clearly see-through. Clearly!” Rick Shupper emphasizes. “She wasn’t the kind of queen you questioned her drag,” Martin Boyce explains thoughtfully. “Because she had very little. And, you know, she wasn’t a well-dressed, coordinated kind of queen. She put on what was available and what, you know, fulfilled her idea of being a woman to some extent. It was a very, very natural look—and all her own.”

end image description.

[commaclear]

FORGOT TO MENTION @lav-endermoon

go back and read the header, that should point in the right direction

AHHHHH okokok can i have a hint about the key. i see that the word “key” is bolded, is that anything? where should i go from here

wow!!! You made it so far so fast, congrats!!

'key' is a hint at what kind of cipher the letter scramble is, so to decode it you'll need to figure out what kind of cipher it is

[whydontwexicons]

If you like or save please give a like/reblog

If you want you can credit on twitter @lxvelymarais

[briandthemoon]

Hello!! I just wanted to drop by to say that I hope you're having a wonderful day/night!!! Also,,, i might be misremembering here but did your age change in your bio? 👀

Thats so sweet aaaa!!! I hope you’re having an awesome day/night too!!

And I haven’t changed it since my birthday so I’m not sure when you last saw it? I have no idea, this head is empty. But dw, if you were worrying you’d missed my birthday or smth, you’ve got like, just under seven whole months til the next one lmao X) @noyin

[wdwnopsd]

© kixwwi or like this post

[viscountessevie]

The ‘Whites’ Who Loved Me: Interracial Romance, Hollywood, and Bridgerton’s “Post-Racial” Fantasies

Written By Tré Ventour-Griffiths

Public Historian-Essayist | Poet | Speaker: race, whiteness, Black History, dyspraxia/autism and more

[Took me a couple days to write this up but we finally did it so enjoy reading yall!]

This article was sent to me and our group by Lav @sweetestviscount​ and it pretty much hits the nail on why POC fans - especially Black and Brown fans - of the show who came for the diversity and the respective seasons that repped their communities are so disappointed with the way these characters have been treated. I urge everyone to go read the whole article in full! It’s well-structured, very comprehensive with his sources cited and linked, drops a lot of great truth bombs in the most subtle yet blunt manner that had me gasping so many times because HE IS RIGHT!

Anyways click under the cut only once you’ve read the whole essay and enjoy these highlights and my fave parts of the article with me!

[Note: This became longer than I expected so you all may want to sit down and read this when you have the time!]

Right out of the gate, he explains the use of ‘whites’ in the title which I thought was employed perfectly but glad he gave an explanation still before anyone could get in a huff (and oh boy did people get huffy but more on that later)

To reiterate the last line: the article is purely opinion as is my commentary of the article, that being said doesn’t it say something that this article resonated so deeply with my WoC fandom friends?

I also had a little giggle when he said it’s not research (though he probably clarified this for legal/academic reasons) when he really did put a lot of thought and research into this like I said above, there’s a lot of related links that I will definitely be going through when I have the time!

The Main Thesis of the Essay which is found at the top/sub-header once you click the article is essentially this:

There is a wider dominant media culture and narrative that situates Black and Brown people in interracial relationships only as worthy of love when in proximity to a white person and white families.

And in this article, the author essentially unpacks how and why Bridgerton feeds into this culture and narrative. To me personally, it feels more insidious coming from Bridgerton’s production because their very first and main selling point from Day & Season 1 was that it’s a very diverse show especially with casting actors of different races! This will be explained more in depth by the author and I’ll share screenshots. However now as the seasons go by, and the show featuring more white people thus making it like every other Regency show/movie from the 2000s which,,, what’s new?

I have also spoken about this topic before especially in regards to Mindy Kaling and Shondaland’s works. However, it’s important for me to share this point of view as well. This article to me was also the embodiment of “Ohmygod he put it into words!” So it’s definitely more thorough and in-depth compared to what I’ve said before. Especially since I come from an Indian POV while Tré, the author, provides the POV of a Black person.

Now to my favourite bits and lines!!

That being said, Bridgerton is not an anomaly, but part of an American film and television complex in Hollywood where whiteness dictates who is worthy of love on screen. Such programmes include Master of None, Brooklyn Nine-Nine, Girlfriends, Dear White People and Modern Family — which ‘legitimise’ the desire of Black and Brown people as only possible in proximity to a white person — accredited their ‘human status’ via affiliations with ‘white others’.

I AM LOVING THIS SONG! Honestly, if you boil this essay down to these sentences and it relates back to the main thesis statement above: “whiteness dictates who is worthy of love on screen. [Whiteness] ‘legitimise’ the desire of Black and Brown people as only possible in proximity to a white person — accredited their ‘human status’ via affiliations with ‘white others’.”

[God I could write a whole other essay on Aziz Ansari & Master of None. I would do anything to put him and Mindy in a room and write something completely insane chock full of internalised racism against our Indian community kjhdkjas.]

Okay but THIS WHOLE SECTION:

It speaks for itself and I have nothing to add, nor is it my place to do so!

[Also again yall please go give the actual article all the love because everything linked deserves a read too especially to give us a wider context and information of everything!]

THIS BIT HOWEVER:

Kate ends up married to Anthony, with Bridgerton reinforcing the Great White Hope of interracial relationships on mainstream television.

Mr. Tré I AM CACKLING!! ‘Great White Hope’ took me the fuck out because, he’s so so right. I love Anthony as much as the next person - yall know this. I am actually Show Anthony (with his book mortality issue and reckless with his life tendencies) but he is a whole clown and like Tré said, him and the rest of the other Bridgertons being white just fortifies the ‘Great White Hope’ narrative Hollywood has going on.

Okay so these two parts of the same para:

Every time people praise Bridgerton for its ‘diversity’, I am reminded how the ‘the diversity’ ended up being married into white families and thus ‘embodied property’ — as Aileen Moreton Robinson discusses in her 2015 book The White Possessive.

It’s the way THREE of the ‘prominent’ families of the Ton and show are all white - the titular Bridgertons, their foils Featheringtons and the villains, Cowpers. We couldn’t even get some adopted kiddos?? Complete blind casting like the Prince from Brandy’s Cinderella and his parents?

If Bridgerton aimed to do anything provocative, it would have been more useful to have been a Wakanda-esque regency fantasy world with a token white character (heck, Black Panther even has a token white man in Everett K. Ross played by Martin Freeman).

THIS would have been fun to see in Bridgerton. An example - other than Everett - that comes to mind is Nick in Wedding Season who was the token white character who was the butt of the jokes in the best way. He was also very endearing and respectful of his fiancee and their family but didn’t take focus away from the main characters!  All of whom were mostly Indian and Damian Thompson who played James, the main girl’s British boss which was brilliant! So refreshing to watch a story that was about my culture and it wasn’t centred on a white person and both of the leads were Indian!

Tré also calls out the show for never resolving Simon’s SA. Now there’s no reason to do so since Regé left and we saw how it was erased in S2 😭😭.

He then breaks down the roles each of the main Black characters played on the show in S1:

He goes on to compare the other media that’s been doing better especially in terms of showing Black love, namely Sandition with Georgiana Lamb and Otis Molyneux and showcasing the Black Tudors in love in The Spanish Princess. He also cites more sources and academic articles to back up his previous points. 

I really want to play THIS song for everyone though: 

if the Bridgerton showrunners wanted to depict Desi women, where are the Desi men? Bridgerton is a show that has used the popularity of D&I to garner record viewing numbers and it has worked par excellence, while at the same it is a white show pretending to be a diverse.

WHERE ARE THE DESI MEN?? 

Papa Sharma my beloved!! Lord Sheffield could have easily been an Indian man with a different last time, we could have just left the name Sheffields unmarred and in the old books. 

So not only did Mary’s classist parents and her marriage become a class issue, but it has an extra touch of xenophobia all because Papa Sharma was from India! The man was literally a ROYAL PERSONAL secretary to the King and was closer in proximity to a royal than Lord Sheffield himself ever will be AND THEY STILL had a problem with him? 

We could have also given Mary a hot brother or something, give the Sharmas girls a cool fun uncle to help them navigate the London season or something! 

And of course this is what we’ve all been saying for a while now: 

[Bridgerton] used the popularity of D&I [Diversity & Inclusion] to garner record viewing numbers and it has worked par excellence, while at the same it is a white show pretending to be a diverse.

That’s it. That’s the sentence, it speaks for itself. 

However, in a 2015 article, Kavita Bhanot writes that “The concept of diversity only exists if there is an assumed neutral point from which ‘others’ are ‘diverse’.” That default point is white.

Ms Kavita Bhanot is R i g h t! Unfortunately, the default IS white that's why that demographic always needs to centre themselves in conversations like these (more on that later - maybe a separate post on how this article was received on Tré's Twitter) and the majority always yell online about how "everything is woke nowadays" when talking about racial (and queer) diversity in media.

Why is the default white though? It's not as if people of colour just randomly materialised out of thin air in the 70s. If we put all of us together we certainly outnumber white people, so why is that not represented in mainstream media?

For the first paragraph, let me be very clear, it’s not that we didn’t know or want Polin AT ALL. We knew from the start - especially those who had read the books before and after S1 - that Polin will be endgame and canon in S4. 

What we didn’t expect was for them to be the leads a season earlier than expected and to be heavily promoted across every season, take up space in Kathony’s season and already being centred in their own love story. It’s the unfair favouritism and treatment they are getting over Jimone and Kathony. Them being S3′s leads also completely sidelines a show fan favourite Benedict and the chance for us to see another WOC lead in Sophie being loved up by this incredibly charming Bridgerton that GA has fallen in love with! Because after Sophie, there wouldn’t be a WoC romantic lead til Lucy if we ever get to S8. 

We just thought we’d get one more season of ‘the most diverse’ Regency show before they turned it 70% white. [Also Bridgerton has officially lost that title when Mr. Malcolm’s List is right there but I digress, that’s a review post for another day!] 

It does not help that a big part of the extreme side of that sub fandom gloats every time something goes in their favour and are completely oblivious as to how awful they sound. You are literally gleefully celebrating in the fact that the cast of colour is being ignored and overlooked for your white faves. As if that doesn’t happen every fucking day of our real lives. 

Also let’s talk about this bit: 

[Black-ish] still feels like a series tailored to the delicate sensibilities of the white people who do not have any Black friends!

I can’t comment directly on Black-ish (I just couldn’t get into the show’s humour - Mix-ish was more my speed!) as I didn’t watch past the pilot and Tré knows best so I’m taking his word for it! 

I brought up this part because that’s exactly how I have been feeling about this show lately. Yes, I’m sure many fans of colour like myself signed up for the show to see ourselves represented in a world where we could be the leads when we couldn’t be before. But now the racial diversity rep feels so incredibly superficial and there just to fill a quota. I LOVE the Mondrichs, don’t get me wrong but why are they still there? They were very heavily tied to Simon. However what I was hoping for in S2, is that they could have made them friends with Kathony with the Simon-Anthony connection. Maybe Anthony visiting the boxing ring again to let off some steam but nope Will is gonna start a bar! Where Colin can commit a microaggression against him YAY /s. 

Because of this superficiality and most fans of colour leaving the fandom and no longer tuning in for S3, it feels like the majority of people left behind (note; I don’t mean ALL just a big portion) feel like those kind of people who only appreciate the racial diversity so that they can pat themselves on the back for watching something that has a diverse cast in it. It’s very much giving “I can’t be racist because I have POC friends!” While they turn around and either ignore microaggressions/racially charged attacks other people in the fandom commit.  Or worse: commit microaggressions themselves, don’t see ANYTHING wrong with what they did, get defensive and never learn when called out for it. It’s just exhausting to see these type of people on my dash and tags across social media. 

The next few sections of the article goes back to the thesis statement of the article and then Tre makes really great comparisons to If Beale Street Could Talk and Moonlight (both by Barry Jenkins) and how they are “so important — when leading white characters are absent from the story.” It’s really great how he breaks it all down! 

I want to bring light to this part since this has been a point of heated discussion in our fandom. Especially before they announced who S3 was actually going to be about and everyone was speculating once again who Sophie could be: 

Simon didn’t come back cos of Regé’s departure (no one’s fault really) and they didn’t recast him (which as much as I wouldn’t have minded and I even have some fan casts in mind, it wouldn’t have flown with the GA) and now we know the Sharmas aren’t coming back with Chari doing her romcom and Shelley doing The Boys spin off - though they severely under-utilised Shelley as Mary anyways so I’m glad she just took the check and bounced.

So NaniCoolJ is ABSOLUTELY RIGHT. It IS a rotation of people of colour as if we are just interchangeable. 

With the Sophie casting speculation and fan cast, it felt like everyone was fighting for their lives to be represented in Sophie and as someone on here pointed out, it was starting to feel like the show and fans were trying do a racial Pokemon Catch It All with all the Bridgerton spouses (except Pen and Philip who have already been cast) and trying to fit as many different ethnicities as we can with the limited spots we have. Honestly it’s only 4 of them left - Sophie, John and Michael (though I imagine they won’t be adopted cousins) and Lucy.

[SPOILER FOR SHOW FANS]

If we ever get to see them, Gareth and his family are Black since Lady Danbury is. 

Do you see how incredibly fucked up it is, that out of ALL the three main families, we fans of colour are only represented as MAIN leads/characters by 7/9 of the spouses (including John)? That’s only 7 (potential) POC leads vs the current 18 white leads. As it stands, it’s only 2 against 18 are currently in the show - Regé as Simon and Simone as Kate. If we count Lady Danbury and Queen Charlotte, that’s 4 but still a HUGE disparity in numbers. I focused on Simon and Kate since they are the romance leads as this is a romance show even if production forgets that most times.  

Just some numbers to think about, next time yall wanna yell that the show is super diverse. Don’t even get me started on how some Polins use Nic/Pen’s weight as a ‘body diversity’ bargaining chip to completely invalidate what fans of colour are saying and using it to be against racially diverse casting. It just makes their body positivity activist come across as performative when you have to put down one form of diversity to uplift the other. This is more uncomfortable when you realise that Nicola herself has said multiple times that she doesn’t want people commenting on her body - positively or negatively and she DOES NOT want to be a body diversity activist. But more on that in another post since this is getting long enough!

And now the racists are back, louder than ever, sigh. It was bad enough they were slut shaming and throwing racial slurs at Marina and whoever defended her post-S1 and I was even privy to some of it still happening during pre and post-S2. Not to mention how Simone and Charithra were treated in different ways after their castings were announced. Now with their favourites being front and centre, they have become more insufferable and horrible to the rest of the fandom thinking they are above consequences. It’s really vile the things people will say behind the shield of anonymity. 

Tré then goes on to reference the The Blindian Project which sounds super cool and established to build solitary with Black and Brown communities which is such a vibe. 

Honestly I feel like most of us on here do get along well and band together against the racists so that’s been a great support system for all of us. Just to say once again, I am always here for you guys. I know all of this is so frustrating to experience and now we have this author outside of the fandom validating our experience. It kinda takes the load off, for me at least. And any time yall need to vent about how its all going in the fandom, my asks and DMs are always open.

Tré goes on to say this, which becomes even more relevant with all the white ladies arguing with him that “fAt ReP iS juSt aS iMpoRtAnT.” Which to be clear I’m not discounting that having fat rep is important. It IS important. However, this is not the conversation happening in the article. As I said above, it feels EXTREMELY performative of them to centre the conversation on a fat white woman when the conversation is about race and how Black and Brown characters are being sidelined and we don’t even have other ethnicities represented at all (not in a leading role at least). 

whiteness must be discussed always, even in the politics of love on and off screen. With the breadth of romance on screen still necessitating white people, there is a problem that in a dominant culture of white supremacy it says: ‘Black and Brown people are incapable of love, unless when a white person is present, or if this text is a ‘race show’ or ‘race film’.

These ladies in his replies really read that paragraph (or maybe they didn’t wouldn’t put it past them to just read the title and argue with him for the sake of it.) and specifically the line “whiteness must be discussed always, even in the politics of love on and off screen“ and decided to go “Ah yes, I’m going to discuss my whiteness now.” 

Also to Elora, Julia and Tanya (idc I’m naming names): to hijack a necessary conversation on race in Bridgerton by discussing fat representation denies the very real history of racism in the television/film industry and is quite frankly a disgusting case of whataboutism. This isn’t about you and as my friend Triv said (who also helped me phrase this paragraph), “Remember, it wasn't the fat woman who got sat at a segregated table at the Oscars even as she won the award; it was the Black woman.”

It’s so incredibly insensitive of them to diminish what Tré and the fandom is saying by throwing weight in our faces. I bet you, these women wouldn’t blink an eye if a fat WoC was cast on the show, they would probably still overlook her for their favourite girlboss. 

And for the finale:

Took us a while but we made it! Much like most of his article, this conclusion speaks for itself and so I shall leave it be. 

I have mostly said what I had to say in this commentary. Honestly, it got so long because it’s multiple conversations we’ve had all over the last few months all contained and condensed into one post. These concerns have also been a long time coming, it’s so good to let it out and try to move on now. Thank you once again to Tré for writing piece and vocalising a lot of the POC fans and our friends have been thinking for a while now. 

Thank you to everyone who read the article and this post all the way through, hope you enjoyed reading it and feel validated in other people sharing the same sentiments as you. Please know none of you who feel this way are alone and we’re all here for you and as I said earlier, asks and DMs are always open!

[cancerfairy]

TG 🫀

Sooooo your blog gives off very whimsical vibes. It’s definitely like I stepped into a fantasy with the utopian nature header. If you weren’t Uranus dom I would have said you give off Neptunian vibes. With that said, begin a Uranus dom, you’re probably not our typical fairy cancer stellium. You’re unique. And you stand out. And your blog does too. Love the lav background nice color choice👍🏼 but it blends with the header telling me your eye for aesthetic might be strong as well. Enough said.

Try not to roast me too hard with my worst trait

🥺👉🏼👈🏻

THANK YOU I LOVE THIS DESCRIPTION and honestly it's really accurate!! it made me happy to read this so i really appreciate it <3 mwah

☁︎︎ your best qualities:

you're someone very intelligent and you tend to pick up on topics very quickly. you're like the jack of all trades. so talented and skillful and you're probably really good at manifesting even if it's not your intention to. it's like all good things just naturally gravitate towards you. you're spontaneous, creative and original plus i see that you're pretty confident too. i'm sensing that you're just generally a powerful person. you're someone who's always hungry for success and wealth. you're not afraid to take risks when it's something you want and you're someone naturally very curious. your curiosity aides you in experiencing new things and this can help you on your spiritual journey. i see that you go through life very innocently, like you try to have fun with whatever you do. you can be very playful but you also know when to be assertive and hold people accountable when they do something wrong. you also hold yourself accountable and tend to reflect on past mistakes... a very deep thinker. because you think so deeply, when you're doing work and you have to evaluate it, you might be too hard on yourself or unsatisfied but just know that you're someone who will be or is very successful! you're naturally abundant so never forget that!

☁︎︎ your worst qualities:

(i bought out my shadow side deck for you bestie 👹👹)

sometimes you get overwhelmed with all your responsibilities and it makes you feel like you should give up. you struggle to find the balance between your hobbies and your work and you might lack the strength to continue so you just procrastinate and lay in your bed. you probably also sleep too much and daydream about finishing your work but it never actually gets finished. you're also probably also put others needs before yours and you might have one-sided relationships. yeah i'm seeing you're generous almost to a fault. you sacrifice too much for others!! also although you tend to be successful and a leader, you can be pretty bossy and demanding. you most likely make other people feel inferior.. you might want to check your anxiety and depression. even tho you're bossy at times, you still take the things people say to heart so be careful with emotionally overreacting. try to balance your feelings as well as your responsibilities and don't be so quick to accuse people. recognize that you're not always correct and try not to be so overly blunt to others <3

[noyin]

Your header in desktop mode is kinda wack. :/ On mobile it's very cute!! I love the green idk it just fits your blog. Anyway, i love your art lav! I look up to u!! 💜

Ahhh darn it tumblr-

I just tweaked it up a bit on desktop so hopefully it doesn't look weird anymore? I'm glad you like it tho!!

And asdfgh-thank you 💕

[that-catholic-shinobi]

LAV YOUR HEADER IS A THING OF BEAUTY

Thanks friend!

[whydontwexicons]

If you like or save please give a like/reblog

If you want you can credit on twitter @lxvelymarais

[nermallion]

1 and 6 please :-)

1. Favorite Historical Assassin

I love all my kids. I can’t choose. 

6. Favorite Villain

Maxwell Roth ....hehe

and OMG! Daisy Johnsonon your header image!!!!!!! I lav u!!

[fotballdraktbaby]

juventus ronaldo drakt  Fulham mønstre et

juventus ronaldo drakt  Fulham mønstre et par halvsjanser, men målvakt Hugo Lloris håndterte trusselen, spesielt fra en lav Hugo Rodallega-header, da Tottenham så ut spillet med selvtillit for å forsegle sin tredje seier i Premier League.

Andre Villas-Boas, Spurs-sjefen, sa: "Vi har hatt en veldig god uke. Vi har endret fart på resultatene. Det var et spill der ett mål kan låse opp spillet og vi var heldige som fikk det.

"Det var bra for Sandro, han er en så fotballdrakt barn billig  viktig spiller for oss, og Defoe har et klinisk preg."

[that-catholic-shinobi]

I’m lovin’ the header Lav A+++

Thanks

[shrimptomato3-blog]

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