#long and messy post

[gogandmagog]

✨Anne Blythe’s (Anne Shirley-Blythe’s namesake granddaughter) father is not Jem. It’s Shirley. It’s totally Shirley, you guys. It’s gotta be.✨

And like, Ieading right off by saying of course there’s no definitive answer to be had here, since Maud obviously isn’t available to confirm or refute any hypothesises, but I do big persist in suggesting that a very rational case can be presented for Shirley... one that at least outweighs what I now see as the generally baseless widely accepted assumption that Anne is Jem’s daughter. Keep in mind, I’m in no way trying to dog on this. The assumption is ready and easy to make, and I’d accepted fully this theory too, until about a week agooo.

ABOUT A WEEK AGO, I was poring over various Wikipedia entries for the Anne book series, and inevitably also ended up looking through the edit history of those pages. While sorting through the edit history (super extensive and interesting, by the way), the username ‘blefebvre’ popped into the archive, contributing a ton of information to the Anne pages overall, around 2008 and 2009 particularly. And literally, who else could this user be besides THE Benjamin Lefebvre? Brilliant Maud scholar and essayist, inexhaustible editor and publisher of ‘the Blythes are Quoted’? Welllll, one of these edits, a written family tree of Anne and Gilbert’s grandchildren, mentioned Anne Blythe... and pointedly noted that she was either the daughter of Jem or Shirley.

Reading that? Already a huge jump-scare surprise to me. This immediately challenged what I thought I knew about the third generation of Blythes. I sat straight up in bed, brain doing a nosedive, like wait wait wait wait wait… hold on, what? We don’t know for sure? We don’t know for sure? 

Guys. We don’t know for sure. 

Whichhhhh sent me on an immediate hunt to gather up what we do know for sure. The facts we do have. And it wasn’t a huge task, either… there’s really not a lot to collect.

But here it is:

In ‘the Blythes are Quoted’, Anne Blythe is mentioned in only one story, titled “The Road to Yesterday” (not to be confused with the TBAQ abridged predecessor book of the same title 😅).

All we really have of her is her name, and a couple of superficial second-hand anecdotes from a guy named Jerry (who is impersonating a fellow named Dick, but more on this a little later).

Her paternity is unconfirmed, but because her surname is Blythe (not Ford or Meredith), we can logically eliminate the possibility of her belonging to Nan, Di, or Rilla. Walter was, of course, lost in France. This leaves Jem and Shirley. 

Tiny details about Anne.

As a matter of housekeeping, let me try to get the jump on any potential counter-arguments, and clear the air.

The only reason I’ve seen Jem credited with Anne is because…

1. Jem was married.

That’s the entire basis.

And I’ll grant you that. This is more than we got for Shirley. But let’s remember that at the end of ‘Rilla of Ingleside’, we only had a canon engagement between Jem and Faith... it takes getting around to ‘the Blythes are Quoted’ to absolutely conclude that their marriage went through. With the added extra bonus of finding out that they have children.

But even allowing that, ‘the Blythes are Quoted’ as an epilogue isn’t all inclusive. It isn’t a complete picture. It’s half a picture at the very best. Maud, pressured greatly, basically dumped all her disorganised, non-chronological and unedited Anne relevant WIPS + short stories + poems on her publisher's desk two days before she died. This is not a book that Maud put together, as a tailpiece collection. It was an assortment of partial works and in-character conversations that she’d tinkered with over decades. Works she never intended to see being published. They were vague ideas she was forming, little seeds. (It took a lot of effort from Benjamin Lefebvre to put TBAQ together in a readable way that made sense.)

Maud was over Anne. Over Anne by twenty years, at this point. So much so that noticeable character details and world building started slipping in Ingleside and Rilla… for obvious instance, in the lack of continuity around Shirley’s birth year, and the way readers saw almost no closure/representation for Shirley and Di, with varying degrees of near erasure in the original books. 

But this doesn’t mean that Maud didn’t have plans for these two characters... their incomplete or unsatisfying stories certainly weren’t nefariously intended to be that way (there’s no secret meaning to the exclusion); Montgomery was just depleted and had been feeling ruinously dispassionate about the Blythes stories since ‘Anne of the Island’.  

In ‘Reading Rilla’ we see in Maud’s many pages of left-out notes, that an ultimately scrapped journal entry from Rilla indicates that Diana Blythe wrote to their mother of her engagement to a foreign overseas officer. It’s unclear if this officer is the same ‘Austin boy’ that an older Glen woman in ‘the Blythes are Quoted’ privately wonders about (if Di 'really is engaged to him or not'), but this contradictory bit is probably just erroneous gossip from an unreliable narrator.  

Anyway. All of this to say... that just because we don’t have a canon marriage for Shirley, it doesn’t disqualify him from having had a wife and kids in Maud’s post-war Four Winds. TBAQ stories were, to reiterate, half-pictures. Pictures that did/could drop a plot bomb in a single sentence. Looping back to Di, canonly we don’t have a marriage for her either... and yet, we do have two engagements that half-register. One engagement was definitive, reported by Di herself. The other a passing curiosity from someone not close enough to the Blythe family to know.

So... clearly, Maud had active intention, a plan, for Di and her own little happy epilogue. The same can be believed for Shirley. (I’m dying for the day the ‘Rainbow Valley’ and ‘Ingleside’ manuscripts get published, I’m convinced there’s more Shirley be found in the notes.)   Now, let’s dig in to Anne Blythe herself.  

‘The Road to Yesterday’ is a short story about a woman named Susette (a spinster at 28), who is on the brink of an engagement to a wealthy man named Harvey Brooks. She expects the next day to be proposed to. On a whim and feeling nostalgic, she drives to Glen St. Mary, where she lived in her girlhood, for the evening. While there, she runs into a fellow, whom she believes to be Dick, her childhood bully who she hated profoundly. Except now, they’re grown and capable acting chummy over their shared memories. The weather takes a bad turn, and they take shelter and a meal together. Susette spends most of the time, all their ‘do you remembers’, being irritated by Dick’s constant name-dropping of the Blythes. He claims to have been kind of secret friends with Anne Blythe, which is contrary to Susette’s memory that Anne hated Dick. (In the end, it turns out that Susette was right… this isn’t Dick she’s talking to. It’s Jerry Thornton, Dick’s cousin.)

For the official record every Blythe mentioned in ‘the Road to Yesterday’ is as follows: Doctor Blythe, Mrs. Doctor Blythe, Rilla Ford, Jem Blythe [Jr.], Di Meredith [Jerry and Nan’s], and Anne Blythe.

It’s mostly a bunch of school yard talk, but the big takeaway for this purpose is that the Blythe/Meredith cousins all hung out together as school children.

Here’s some direct examples:

*****

*****

*****

The cheap boiled-down version of this exchange, for those who haven’t ‘the Road to Yesterday’ is basically: Susette is having strange feelings during this interaction with ‘Dick’, she’s attracted to him, declaring to herself that she won’t fall in love with him, and is clearly irritated with the near constant Anne Blythe (especially)/Blythe references. Though she herself was very fond of Jem Blythe Jr. herself, during their childhood, ‘Dick’ mentioning Anne Blythe so fondly is increasingly Not Cute to Susette. Meanwhile, ‘Dick’ is enjoying this kind of teasing, and is lowkey successful at getting a rise out of Susette, not matter how determined she is to look unaffected.  

But here’s the kicker... when ‘Dick’ finally leaves off mentioning Anne Blythe, guess what topic he moves on to? 🥁

The Royal Canadian Air Force.

And just who do we all know that was in the Royal Canadian Air Force?  

Shirley.

Only Shirley.  

First, it tracks that ‘Dick,’ soon enlisting (we’re on the brink of WWII timeline-wise), and thinking himself funny, would choose to move on from Anne Blythe to instead a subtler rib… what he, as a once good pal of Anne’s, would know was Anne’s dad’s war faction. It’s also in the realm of possibilities that thinking on Anne so much drew up this correlation. I also ALSO think it’s worth mentioning that the only other time that the Canadian Air Force is mentioned in TBAQ is a very passing drop for Rilla, thinking of her son Gilbert Ford enlisting with the CAF. That’s it. Just those two times.

Additionally important to note is the overall subtext tone in TBAQ, which is Maud’s very greatest collection of double-vision, double-speak and intertextual reference works. There’s a beautiful scholarly essay on this, in relation to TBAQ particularly HERE.

This doesn’t only apply to cultural references in TBAQ. It also adds layers to Maud’s own existing Anne series. It really could be considered a companion piece, with X-Ray vision, e.g. how we got a ton of ‘missing’ insight into Anne and her children’s lives and minds, during the Rainbow Valley era, in Part 1 of TBAQ.

Part 2 of TBAQ (where we find ‘the Road to Yesterday’) asks us to apply what we already know to the new text we’re given.

So, understanding this … if we’re going off what we already know from ‘Rilla of Ingleside’…

What’s the reason we have the Canadian Air Force mentioned in the same story that we learn of the existence of Anne Blythe? The connection?

It’s Shirley. 🥹

A weaker argument that I’ll only mention in mild passing, because it is very weak in terms of convincing evidence, is that the text unambiguously tells is that Anne Blythe has taught ‘Dick’ from Susan’s famous recipes. Susan is another Shirley tie. It’s there to be stated. BUT. I do admit that I think Susan would’ve taught every willing Blythe grandchild with the same zeal, maybe some partiality given to the Little Brown Boy’s kid(s).

BUT, for me?

I’m properly convinced here.

Shirley was a dad, ya’ll.

[chaewcake]

LONG BIOS

ㅤఌㅤ𝑖𝗍   𝗐𖹭𝗎𝗅𝖽   𝖻𝖾   𝗌꯭𝗍𝗋꯭𝖺𝗇꯭𝗀꯭𝖾   𝗂𝖿   𝚤   𝖽𝗂𝖽𝗇'𝗍   𝖿𝖺𝗅𝗅   𝗂𝗇   𝗅𖹭𝗏𝖾   𝗐꯭𝗂𝗍꯭𝗁   𝗒𖹭𝗎  

ⴘ𝗈𝗎   ⽔  𝖺𝗋𝖾  𝖺  𝗉𝗂𝖾𝖼𝖾  𝗈𝖿  𝗆𝖾,  𝗂  𝗐𝖺𝗇𝗍  𝗍𝗈  𝗅𝗂𝗏𝖾  𝗂𝗇  𝘆𝗼𝘂𝗿  𝗮𝗿𝗺𝘀  𝖿𝗈𝗋𝖾𝗏𝖾𝗋  

ꕮ   𝗐𝗁𝖾𝗇  𝗂  𝗋𝖾𝖺𝖽  𝗅𝗈𝗏𝖾  𝗉𝗈𝖾𝗆𝗌,  𝗒𝗈𝗎𝗋  𝖿𝖺𝖼𝖾  𝖺𝗅𝗐𝖺𝗒𝗌  𝖼𝗈𝗆𝖾𝗌  𝗍𝗈  𝗆𝗒  𝗍𝗁𝗈𝗎𝗀𝗁𝗍𝗌  

ꮽ   .  and   at   that   moment   i   knew   it   was   you,   the   love   of   my   life   

🦢◞  𝒊𝗍'𝗌  𝖺𝖻𖹭𝗎𝗍  𝗌𝗁𝗂𝗇𝗂𝗇𝗀  𝖺  𝗅𝗂𝗀𝗁𝗍  𝗐𝗂𝗍𝗁𝗈𝗎𝗍  𝗵꯭𝗮𝘃꯭𝗶𝗻꯭𝗴  𝗍𝗈  𝗍𝗎𝗋𝗇  𝗈𝖿𝖿  𝘀꯭𝗼꯭𝗺꯭𝗲꯭𝗼꯭𝗻꯭𝗲 𝖾𝗅𝗌𝖾'𝗌  𝗅𝗂𝗀𝗁𝗍. 

͟𝒊  𝖿𝗂𝗇𝖺𝗅𝗅𝗒  𝗋𝖾𝖺𝗅𝗂𝗓𝖾𝖽  𝗍𝗁𝖺𝗍  𝗂  𝗐𝖺𝗌𝗇'𝗍  𝐚𝐬𝐤𝐢𝐧𝐠  𝖿𝗈𝗋  𝗆𝗎𝖼𝗁,  𝗂  𝐰𝐚𝐬 𝗃𝗎𝗌𝗍  𝖺𝗌𝗄𝗂𝗇𝗀  𝗍𝗁𝖾  𝗐𝗋𝗈𝗇𝗀  𝗉𝖾𝗋𝗌𝗈𝗇.

✰۫  𑊐   𝒍𝗈𝗏𝗂𝗇𝗀  𝗒𝗈𝗎  𝗐𝖺𝗌  𝗍𝗁𝖾  𝗆𝗈𝗌𝗍  𝒃꯭𝒆𝒂꯭𝒖𝒕꯭𝒊𝒇꯭𝒖𝒍  𝗍𝗁𝗂𝗇𝗀  𝗍𝗁𝖺𝗍  𝖾𝗏𝖾𝗋  𝗁𝖺𝗉𝗉𝖾𝗇𝖾𝖽  𝗍𝗈  𝗆𝖾 

[whimscicle]

All that's left is the ghost of you

[nikoisme]

They're going to have a vaguely gay reunion trust

[mafleur]

i. romance de época.

﹫𝐚𝐦𝐞𝐥𝐢𝐞，詩人. ─── “ espero que aproveitem essas ideias de #fixados. todos os carrd.co usados estão disponíveis para uso. ”

inter-estelar.carrd.co ﹙ 𝖺. ﹚

𝟣. 𝗅𝗈𝖼𝖺𝗅𝗂𝗓𝖺𝖽𝗈 𝖾𝗇𝗍𝗋𝖾 𝖾𝗌𝗍𝗋𝖾𝗅𝖺𝗌

𝟤. 𝗊𝗎𝖾 𝖺𝖼𝗈𝗇𝗍𝖾𝖼𝖾 𝖾𝗇𝗍𝗋𝖾 𝖾𝗅𝖺𝗌

비밀ㅤ(   #𝖺𝗋𝗊𝗎𝗂𝗏𝗈ㅤ𝟢𝟣ㅤ𝖽𝖾ㅤ𝟤𝟢𝟣.    )

𝗈 𝗉𝗈𝖾𝗍𝖺 𝗊𝗎𝖾 𝖽𝖾𝗌𝗍𝗂𝗅𝖺𝗏𝖺 𝖺 𝗏𝗂𝖽𝖺 𝖾𝗆 𝗌𝖾𝗎 ♥︎, 𝗉𝖺𝗋𝖺 𝖾𝗑𝗍𝗋𝖺𝗂𝗋 𝗌𝗎𝖺 essencia-secreta.carrd.co, 𝖾𝗆𝖻𝖺𝗅𝗌𝖺𝗆𝖺𝖽𝖺, 𝖾𝗇𝗏𝖾𝗇𝖾𝗇𝖺𝖽𝖺.

✿¹.ㅤ𝗆𝖺𝗃𝖾𝗌𝗍𝗈𝗌𝗈ㅤourtono.carrd.co,

✿².ㅤ𝖿𝗈𝗅𝗁𝖺──𝗌𝖾𝖼𝖺,ㅤ𝗉𝗈𝖾𝗌𝗂𝖺ㅤ𝗅𝗂́𝗋𝗂𝖼𝖺, ㅤ

✿³.ㅤ𝖼𝖺𝖿𝖾́ㅤ𝗊𝗎𝖾𝗇𝗍𝖾ㅤ𝖾ㅤ𝗍𝗈𝗋𝗍𝖺ㅤ𝖽𝗈𝖼𝖾

ii. our hearts.

﹫𝐚𝐦𝐞𝐥𝐢𝐞，詩人. ─── “ I hope you enjoy these #pinned ideas. all carrd.co used are available for use. ”

잉크ㅤ(ㅤ하나───♡.ㅤ𝗅𝖾𝗍𝗍𝖾𝗋ㅤ)ㅤ카드.

𝒊.ㅤ𝙱𝙻𝚄𝙴ㅤ𝙸𝙽𝙺,ㅤ𝚂𝙲𝙴𝙽𝙸𝙲ㅤ𝙷𝙴𝙰𝚁𝚃.

𝒊𝒊.ㅤ𝗆𝖾,ㅤpoeticizing.carrd.coㅤ𝗎𝗌.

ㅤㅤㅤㅤ

𝗆𝖾𝖾𝗍 𝗆𝖾 𝗎𝗇𝖽𝖾𝗋 𝗍𝗁𝖾 𝓜𝐨𝐨𝐧𝐥𝐢𝐠����𝐭 𝗈𝗋 𝖻𝖾𝗍𝗐𝖾𝖾𝗇 𝗍𝗁𝖾 ❛❛

champ-de-fleurs.carrd.co ❞ 𝖻𝗈𝗈𝗄𝗌; 심장을 위해.

 

ㅤ   𝒊. ㅤ𝓮𝓹𝓲𝓬 ㅤ𝖿𝗋𝖺𝗆𝖾𝗌 ㅤ𝗈𝗇 ㅤ𝗍𝗁𝖾ㅤ 𝗐𝖺𝗅𝗅𝗌.

ㅤ𝗍𝗁𝖾ㅤ 𝐚𝐫𝐭 ㅤ𝖾𝗑𝗁𝗂𝖻𝗂𝗍𝗂𝗈𝗇 ㅤ𝗂𝗇ㅤ galiery.carrd.co

♡,ㅤ 𝗉𝖺𝗂𝗇𝗍𝗂𝗇𝗀𝗌.ㅤㅤ|ㅤㅤ오,ㅤ 𝗉𝗂𝖼𝗍𝗎𝗋𝖾𝗌.

[i3ujeon]

𝑢𝑛𝑎 𝟭𝟭.𝟭𝟭 ׅ 𝖺𝗅𝗆𝖺 𝗏𝖺𝗀𝖺𝗇𝖽𝗈 𝗉𝗈𝗋 𝖾𝗅 𝖼𝖺𝗈𝗌 𝖽𝖾𝗅 𝗏𝖺𝖼𝗂́𝗈.

⠀⠀⠀⠀⠀⠀ 𝟗𝟕⠀’⠀⠀ 정국 ⠀⠀୧⠀📦

🕰⠀⠀⠀⠀갈색 ⠀⠀⠀𖼥ৎ⠀⠀⠀𝐉.⠀⠀⠀파란색 ⠀⠀⠀⠀⠀⠀⠀𝗒𝗈𝗎'𝗋𝖾⠀⠀⠀𝗌𝗍𝗂𝗅𝗅⠀⠀⠀··⠀⠀⠀𝗯𝗹𝘂𝗲

❝⠀⠀𝗈𝗎𝗋⠀⠀𝗅𝗈︦𝗏𝖾. . .

[eliquire33]

Wife bday portrait I still haven’t finished 😰

[palecryptid]

played aa1-3 and aai1-2 over the past two months so here’s some small sketch dumps 🫶

[ceaselesswatchersspecialboy]

I will die on the hill that to understand Anidala you have to accept that Padme saw the red flags clear as day and went for it anyway. Why? Because Anakin was honest with her. Because Anakin, for all his idolising and putting her on a pedestal, still saw and treated her as a human being, even argued against her at times without fear or without hiding behind clever words. Because Anakin made her feel the youth that was taken from her at a young age. She was captured by the boyish charm and the awkwardness and the blunt honesty, and so when he came to her with a billion red flags, she went for it anyway. He was a breath of fresh air to her.

To understand Anidala you must understand they are 100% freak4freak. They are both children who grew up too fast and are now in a secret relationship giggling like teenagers in their twenties. This is vital to them. Padme is not a flawless character or an idea of perfection, on the contrary she is a very human character who was put in charge of her people at fourteen, something that had a lasting impact on her, and so she is choosing her childhood joy and a fairytale romance over the red flags her husband is waving. She is the OG ‘I can fix him’ mentality. No one is doing it like her.

‘The red flags are mass murder’ and the point still stands.

[spoiledmilks]

Okay maybe im not normal

[salty-an-disco]

I have fallen into the swap au trap

Narrator got the fledgling gods mixed up. Putting Change in the role of the hero (making her 'The Adventurer'), and Stagnation in the role of princess ('The Royal'). And because none of the echoes have reason to believe anything is amiss, they still proceed with the script as usual, guiding the Adventurer into slaying the Royal to stop the end of the world.

some scattered thoughts copy-pasted from discord under the cut:

– Shifty still has Hero with her because he's the representation of choice here, and she's the one making choices in this AU, but that's the only voice she ever has besides Narrator. Quiet still get to be a stuffed clown car in person form, cuz she still can't really change herself

– the main gimmick is that Adventurer will slowly change as she makes choices and/or react to Quiet/Narry

for example, as soon as she decides to take the knife or not, she'll either become 'sharper' or 'softer' (smth Hero notices, and maybe even Echo describes)

and as this keeps happening, Echo may eventually realize who she actually is and freak out. Saying she's a monster, that she tricked him into putting her in the hero's shoes, etc etc etc

and it's usually in that moment that the Adventurer will fully transition into whatever identity will be predominant in Chapter 2

for example, I have this idea of Royal, seeing the Adventurer acting weird because of the Echo, and acting outta fear to stab her in the back and run away, and that's how we get Witch

– Hero being with Shifty here means he's more like her than like Quiet, so he also changes slightly to accommodate to her new personality

tho when Narry freaks out, he gets very confused and a bit caught up on the "Wait…… so– we're not a hero?" thing to help much

tries to make up for it in most chapter 2's by promising to make sure Narry doesn't pull anything like this again

[chaewcake]

life   있   is   a   𝐫𝐞𝐩𝐞𝐚𝐭𝐞𝐝   choice.  

𝒪ne   day   we   have   to   choose   what   kind   of   person   we   are   going   to   be.  

✩   𝗐𝖾   𝖺𝗋𝖾   𝗯𝗼𝗼𝗸𝘀   𝗐𝖺𝗂𝗍𝗂𝗇𝗀   𝖿𝗈𝗋   𝗌𝗈𝗆𝖾𝗈𝗇𝖾   𝗍𝗈   𝗈𝗉𝖾𝗇   𝗎𝗌   𝖺𝗇𝖽   𝗌𝖾𝖾   𝗎𝗌   𝗂𝗇𝗌𝗂𝖽𝖾 운여.

✧  𝒮 .  𝗌𝗈𝗆𝖾𝗍𝗂𝗆𝖾𝗌   𝗍𝗁𝖾   𝗐𝗋𝗈𝗇𝗀   𝗍𝗋𝖺𝗂𝗇   𝗍𝖺𝗄𝖾𝗌   𝗒𝗈𝗎   𝗂𝗇   𝗍𝗁𝖾   𝗋𝗂𝗀𝗁𝗍   𝖽𝗂𝗋𝖾𝖼𝗍𝗂𝗈𝗇.

─   𝒴ou   don't   need   to   𝐜𝐨𝐧𝐯𝐢𝐧𝐜𝐞   others   of   who   you   are   윋응

♥︎   no   one   can   𝐬𝐚𝐯𝐞   𝐦𝐞   more   than   i   can.

𝟤𝟤 : 𝟥𝟣 ఇ     𝒊   decided   to   love   the   destiny   that   chose   me.

© chaewcake do not repost

[dizzyandsick]

BORDERS

ㅤ𓈒 ͜  ͜  ⭒ ͜  ͜  𓈒

⩊⩊⩊⩊

━━╋━━━╋━━━╋━━ 

[‿][̲̅‿][̲̅‿]

◞◟·̩͙ ͜  ˳꣑୧ ͜  ◞◟·̩͙◟

ᴗᴗᴗᴗᴗᴗ

⎯⎯

◡◡◡◡

୨୧┈୨୧

︵‿୨ TEXT ୧‿︵

⌒⌒⌒⌒

࿙࿚ ︶ ᧔ ✧ ᧓ ︶ ࿙࿚

⁔ ㅤㅤ ︵⏜︵ㅤ ㅤ⁔

୨୧ ︶ ︶ TEXT ︶ ︶ ୨୧

︶.⏝ ꒰͡ ࣪ text ࣪⠀͡꒱ ⏝.︶

..𝆤࿙๋࿙࿚𖹭࿙࿚๋࿚𝆤..

　·ི̩͙ ◞ ͜ ◞ ۫ . ᧔ꪫ · ◟ ͜ ◟·̩͙ ྀ

◞◟ི ͜ 𝜗℘ ͜ ◞ྀ◟

▹ 𝆤࿙๋࿙࿚⊱𖹭⊰࿙࿚๋࿚𝆤

.𝆤࿙𝆤 𖹭 𝆤࿚𝆤.

𝆤࿙⃛࿚⃛࿙⃛࿚⃛࿙⃛۶ৎ࿚⃛࿙⃛࿚⃛࿙⃛࿚⃛𝆤

࿙⃛࿚⃛࿙⃛࿚⃛࿙⃛࿚⃛࿙⃛۶𖹭ৎ࿚⃛࿙⃛࿚⃛࿙⃛࿚⃛࿙⃛࿚⃛

.𝆤࿙⃛࿙⃛࿚⃛࿙⃛.𖹭.࿚⃛࿙⃛࿚⃛࿚⃛𝆤.

֪٘ ︶ ͝ ٘⏝𖹭⏝ ͝ ٘︶٘ ֪

︵ ⏜ ︵ ୨ ୧ ︵ ⏜ ︵

.࿙𝆤𝆤࿚'𝆤࿙𝆤𖹭𝆤࿚𝆤'࿙𝆤𝆤࿚.

࿙⃛͜࿚⃛࿙⃛͜࿚⃛࿙⃛͜࿚⃛࿙⃛͜࿚⃛ ୨୧ ࿙⃛͜࿚⃛࿙⃛͜࿚⃛࿙⃛͜࿚⃛࿙⃛͜࿚⃛

𓎟𓎟𓎟𓎟

𝆤࿚࿙𝆤𝆤࿚۶ৎ𝆤࿙𝆤𖹭𝆤࿚𝆤۶ৎ࿙𝆤𝆤࿚࿙𝆤

༻︶𓏶︶༺

༻︵𓏶︵༺

[anniilaugh]

2 years worth of wild moss/seaweed overgrowth in salty sea air. Sanji malfunctions.

@uniquetosmbody had such a galaxy brain prompt in twitter and my samurai aesthetics loving brain inhaled the bait, hook and sinker immediately. : D Thanks for being an inspiration! <3

Reference under the cut~

/casually foams/ How dare this man de gozaru

[i3ujeon]

───◍⃘ ┈┈─── ֺ ᪄၃ ִ ──┈┈◍⃘ ────

• 𝟐𝟐:𝟐𝟐 Vidαs se encontrαm, αmores se entrelαçαm. ────    꽃

𝗈𝖿ㅤ  ꯲ㅤ  𝙻𝙾𝚅𝙴  ㅤ𖹭

• 𝖠 𝗋𝖾𝖺𝗅𝗂𝖽𝖺𝖽𝖾 𝖾́ 𝖼𝗈𝗆𝗈 𝗎𝗆 𝗉𝗈̂𝗋 𝖽𝗈 𝗌𝗈𝗅 ੭ᰍ ㅤ 𝖻𝖾𝗅𝖺 𝖾𝗆 𝗌𝗎𝖺 𝗂𝗆𝗉𝖾𝗋𝖿𝖾𝗂𝖼̧𝖺̃𝗈, 𝗆𝖺𝗌 𝗌𝖾𝗆𝗉𝗋𝖾 𝗌𝖾𝗀𝗎𝗂𝖽𝖺 𝗉𝖾𝗅𝖺 𝗇𝗈𝗂𝗍𝖾 𝗌𝗂𝗅𝖾𝗇𝖼𝗂𝗈𝗌𝖺ㅤ✩ㅤ៶ㅤ

花ㅤ-    声 ?!

• 鑫ㅤㅤ۪ㅤㅤA realidade é o palco ＿ onde nossos corações 𔘘ㅤؚؚ dançam ao ritmo   © da saudade e da paixão 𔐬

• 𝟗𝟕 ─── A꯭M꯭O꯭R

O amor traz cor à 𝐯𝐢𝐝𝐚, mesmo quando a 𝒓𝒆𝒂𝒍𝒊𝒅𝒂𝒅𝒆 é em tons de cinza.

    ℒֺ︩︪o𐐷er    ꒱ྀ     ִֶָ     ♡̸̸

[lorephobic]

“the class commentary in saltburn was shit” WHAT CLASS COMMENTARY???? NOT EVERY MOVIE WITH RICH PEOPLE HAS TO OR SHOULD HAVE CLASS COMMENTARY. EMERALD FENNELL KNOWS VERY WELL THAT SHE IS NOT THE RIGHT DIRECTOR FOR A MOVIE ABOUT CLASS COMMENTARY WHICH IS WHY SHE DID NOT WRITE A MOVIE ABOUT CLASS COMMENTARY.