#michel x marilyn

[understandingbimbos]

Bimbo Types, or Neapolitan Bimbo

(This is something I've previously gone over in my My Little Pony post but wanted to reiterate here.)

Bimbo can most easily be divided into three distinct archetypes. The Clown, The Innocent, and The Debutante. These archetypes are not absolute, they come in many variations and their traits can and will overlap.

The Clown, also known as The Free Spirit or The Wildcard, usually shows up as the comedic relief. They can be loud, showy, excessive, and obnoxious. Their sexuality is very self-assured, self-aware, and playful. The Clown's main concern (if any) is having or spreading fun, "fun" in this context being completely up to their individual style and personality. To give a very stereotypical example, a goth clown may have the most fun watching very violent horror movies or playing with spiders. Another clown could have the most fun (Incidentally) causing a ruckus or being mischievous, it's all about perspective, the possibilities are pretty much endless.

Examples of this archetype include but are not limited to: Jeannie (IDOJ), Pinkie Pie (MLP:FIM), Harley Quinn (BTAS), Synclaire James (Living Single), Jayne Mansfield (films and public persona), Elvira, Mistress of the Dark

The Innocent, also known as The Ingenue, is just as the name suggests. Not only helpless but often unaware and wholly out of her depth. Her inexperience and or meekness makes her prone to being taken advantage of. Despite this, she (usually) remains positive, kind, and happy to help. Unlike The Clown, The Innocent's sexuality is typically portrayed as natural, uncomplicated, and unintended.

Examples of this archetype include but are not limited to: Marilyn Monroe (films and public persona), Weena (The Time Machine), Lorelei Lee (in the novel), Elissa Megan Powers (Empowered)

The Debutante, who could also be called The Alpha Bitch, is probably the most popular in the modern era and who you're most likely to come across in real life or on social media. Her sexuality is mainly a means of control. She puts a lot of time, work, and effort into her appearance because beauty is both her business and capital. While she may, at times, enjoy and indulge in carnal pleasure it's far from her main concern. Being the most or unattainably desirable is how she knows she's better than others, how she's able to acquire and maintain control. The Debutante values social standing above all else, to her it's a matter of life or death, she would die without overwhelmingly positive attention.

Examples of this archetype include but are not limited to: Regina George (Mean Girls), Heather Chandler (Heathers), Courtney Shayne (Jawbreaker), Heather (Total Drama Island), Cleopatra Smith (Clone High), Jeannie II (IDOJ), Emma Frost (X-Men), Panty Anarchy (PSG), Ginger (Gilligan's Island), Holly Golightly (Breakfast at Tiffany's), Kim Kardashian, Rarity (MLP:FIM)

These archetypes are combined, remixed, and subverted so often it's hard to find pure examples (I tried my best, and even then this is just reducing them to their base archetypes and do not accurately describe every single one of these characters), but this is a good thing. It leads to nuance and diversity, and many of the most popular bimbo characters are mixed or subversions. Chrissy Snow (Three's Company) is a Clown and an Innocent. Elle Woods (Legally Blonde) arguably includes elements of all three. Romy and Michele's High School Reunion follows two clownish Innocents who realize they were bullied by debutantes. As far as I know, all bimbos exist somewhere along these lines (or perhaps on an axis) but we shouldn't view this as limiting, when you think about it the combinations are really seemingly endless, and I didn't even cover sub-archetypes! Many Debutantes are mean but they don't have to be. Innocents don't have to be completely pliable, you can do (or be) whatever you like, even moving from one archetype to another.

[victoryrifle]

victoryrifle's mobile navigation tags

as per the title, this is a pinned post for mobile navigation of my works. it is copied from my tags page and therefore just as poorly organized, but will get updated through time. enjoy :)

MY WORKS

ALL MY GIFS MY EDITS

MOVIES

RESIDENT EVIL UNDERWORLD THE MUMMY THE MUMMY RETURNS SCREAM SCREAM 6 SILENT HILL HALLOWEEN (1978) HALLOWEEN (2018) HALLOWEEN KILLS IT (2017) THE LAST DAYS ON MARS THE NUN BETTER WATCH OUT DOOM READY OR NOT OVERLORD RESIDENT EVIL ANIMATED MOVIES THE BOY MORGAN (2016) SUCKER PUNCH STAY ALIVE DOOMSDAY ALIEN THE PROWLER KILLER MOVIE FRANKENSTEIN'S ARMY MY BLOODY VALENTINE (2009) TRIANGLE (2009) THANKSGIVING SEE NO EVIL 2

MUSIC

MARILYN MANSON TIM SKOLD IN THIS MOMENT RAMMSTEIN ROB ZOMBIE ROTTING CHRIST JOHN 5 SKYND BATUSHKA MUSHROOMHEAD MOTIONLESS IN WHITE GHOST MØL GHOSTEMANE LACUNA COIL SLIPKNOT MYRKUR

TV SHOWS

FRINGE SCOOBY DOO, WHERE ARE YOU! RESIDENT EVIL BAND OF BROTHERS FALLOUT

VIDEO GAMES

GENERAL RESIDENT EVIL RESIDENT EVIL REMAKE RESIDENT EVIL ZERO RESIDENT EVIL VILLAGE MASS EFFECT DRAGON AGE ORIGINS HELL LET LOOSE RED DEAD REDEMPTION 2 FALLOUT 4 SILENT HILL 2 REMAKE STRAY FALLOUT 3 FALLOUT 76

PEOPLE/CELEBRITIES

MILLA JOVOVICH MICHELLE RODRIGUEZ ALI LARTER KATE BECKINSALE SIENNA GUILLORY

OTHER

ALBUM ANNIVERSARIES MOVIE ANNIVERSARIES RESIDENT EVIL PARALLELS RESIDENT EVIL x UNDERWORLD PARALLELS HALLOWEEN THEMED SETS

[lillianeshaw24]

References

Ayers, Susan, Daniel B. Wright, and Alexandra Thornton. 2018. “Development of a measure of postpartum PTSD: The city birth trauma scale.” Frontiers in Psychiatry 9. Retrieved July 24, 2023 (https://doi.org/10.3389/fpsyt.2018.00409).

Benyamini, Yael, Maya L. Molcho, Uzi Dan, Miri Gozlan, and Heidi Preis. 2017. “Women’s attitudes towards the medicalization of childbirth and their associations with planned and actual modes of birth.” Women and Birth: Journal of the Australian College of Midwives 30(5). Retrieved August 6, 2023 (https://doi.org/10.1016/j.wombi.2017.03.007).

Campero, Lourdes, Cecilia García, Carmen Díaz, Olivia Ortiz, Sofía Reynoso, and Ana Langer. 1998. “'Alone, I wouldn't have known what to do': A qualitative study on social support during labor and delivery in Mexico.” Social Science & Medicine 47(3). Retrieved August 1, 2023 (https://doi.org/10.1016/S0277-9536(98)00077-X).

Cohen Shabot, Sara. 2021. “‘You are Not Qualified—Leave it to us’: Obstetric Violence as Testimonial Injustice.” Human Studies 44(4). Retrieved July 19, 2023 (https://doi.org/10.1007/s10746-021-09596-1).

Diaz-Tello, Farah J. D. 2016. “Invisible wounds: obstetric violence in the United States.” Reproductive Health Matters24(47). Retrieved July 13, 2023 (https://doi.org/10.1016/j.rhm.2016.04.004).

Jardim, Danúbia M. B. and Celina M. Modena. 2018. “Obstetric violence in the daily routine of care and its characteristics.” Revista Latino-Americana de Enfermagem 26. Retrieved July 9, 2023 (https://doi.org/10.1590/1518-8345.2450.3069).

Logan, Rachel G., Monica R. McLemore, Zoe Julian, Kathrin Stoll, Nisha Malhotra, and Saraswathi Vedam. 2022. “Coercion and non‐consent during birth and newborn care in the United States.” Birth (Berkeley, Calif.) 49(4). Retrieved July 13, 2023 (https://doi.org/10.1111/birt.12641).

Lokugamage, A. U. and S. D. C. Pathberiya. 2017. “Human rights in childbirth, narratives and restorative justice: a review.” Reproductive Health 14(1). Retrieved August 5, 2023 (https://doi.org/10.1186/s12978-016-0264-3). 

Martinez-Vázquez, Sergio, Julián Rodríguez-Almagro, Antonio Hernández-Martínez, and Juan Miguel Martínez-Galiano. 2021. “Factors associated with postpartum post-traumatic stress disorder (Ptsd) following obstetric violence: A cross-sectional study.” Journal of Personalized Medicine 11(5). Retrieved July 24, 2023 (https://doi.org/10.3390/jpm11050338).

Plummer, Marilyn and Lynne E. Young. 2010. “Grounded Theory and Feminist Inquiry: Revitalizing Links to the Past.” Western Journal of Nursing Research 32(3). Retrieved September 28, 2023 (https://doi.org/10.1177/0193945909351298). 

Sadler, Michelle, Mário J. Santos, Dolores Ruiz-Berdún, Gonzalo L. Rojas, Elena Skoko, Patricia Gillen, and Jette A. Clausen. 2016. “Moving beyond disrespect and abuse: addressing the structural dimensions of obstetric violence.” Reproductive Health Matters 24(47). Retrieved August 5, 2023 (https://doi.org/10.1016/j.rhm.2016.04.002). 

[ulkaralakbarova]

Ypsilanti, Michigan, 1945. Engineer Preston Tucker dreams of designing the car of future, but his innovative envision will be repeatedly sabotaged by his own unrealistic expectations and the Detroit automobile industry tycoons. Credits: TheMovieDb. Film Cast: Preston Tucker: Jeff Bridges Vera: Joan Allen Abe: Martin Landau Eddie: Frederic Forrest Jimmy: Mako Howard Hughes: Dean Stockwell Junior: Christian Slater Marilyn Lee: Nina Siemaszko Frank: Marshall Bell Kerner: Peter Donat Alex: Elias Koteas Kirby: Jay O. Sanders Noble: Corin Nemec Stan: Don Novello Johnny: Anders Johnson Bennington: Dean Goodman Ferguson’s Agent: John X. Heart Millie: Patti Austin Stan’s Assistant: Sandy Bull Judge: Joe Miksak Floyd Cerf: Scott Beach Oscar Beasley: Roland Scrivner Narrator (voice): Bob Safford Doc: Larry Menkin Fritz: Ron Close Dutch: Joe Flood Gas Station Owner: Leonard Gardner Garage Owner: Bill Bonham Ferguson’s Secretary #1: Abigail van Alyn Ferguson’s Secretary #2: Taylor Gilbert Woman on Steps: David Booth Newscaster (voice): Al Hart Security Guard: Cab Covay Man in Audience: James Cranna Board Member: Bill Reddick Mayor: Ed Loerke Head Engineer: Jay Jacobus Bennington’s Secretary: Anne Lawder Singing Girl #1: Jeanette Lana Sartain Singing Girl #2: Mary Buffett Singing Girl #3: Annie Stocking Recording Engineer: Michael McShane Tucker’s Secretary #1: Hope Alexander-Willis Tucker’s Secretary #2: Taylor Young Police Sergeant: Jim Giovanni Reporter at Trial: Joe Lerer Ingram: Morgan Upton SEC Agent: Ken Grantham Blue: Mark Anger Jury Foreman: Al Nalbandian Senator Homer Ferguson (uncredited): Lloyd Bridges Girl at Mellon Publicity Event (uncredited): Sofia Coppola Film Crew: Executive Producer: George Lucas Director: Francis Ford Coppola Producer: Fred Roos Additional Music: Carmine Coppola Director of Photography: Vittorio Storaro Production Design: Dean Tavoularis Editor: Priscilla Nedd-Friendly Casting: Janet Hirshenson Sound Re-Recording Mixer: Richard Beggs Producer: Fred Fuchs Casting: Jane Jenkins Music Editor: Mark Adler Supervising Sound Editor: Gloria S. Borders Sound Re-Recording Mixer: Tom Johnson Set Decoration: Armin Ganz Costume Designer: Milena Canonero Unit Production Manager: Ian Bryce Foley Artist: Dennie Thorpe Sound Effects Editor: Tim Holland Leadman: Doug von Koss Second Unit Director: Buddy Joe Hooker Assistant Costume Designer: Judianna Makovsky Assistant Makeup Artist: Karen Bradley Set Designer: Jim Pohl Camera Operator: Jamie Anderson Foley Editor: Sandina Bailo-Lape Stunts: Jimmy Nickerson Screenplay: Arnold Schulman Sound Re-Recording Mixer: Randy Thom ADR Editor: Louise Rubacky Original Music Composer: Joe Jackson Researcher: Anahid Nazarian Assistant Sound Designer: Mildred Iatrou Location Casting: Aleta Chappelle Stunts: Gary McLarty Screenplay: David Seidler First Assistant Director: H. Gordon Boos Stunts: Dick Ziker Makeup Artist: Richard Dean ADR Editor: Tom Bellfort Art Direction: Alex Tavoularis Assistant Hairstylist: Terry Baliel Technical Advisor: Enrico Umetelli Property Master: Douglas E. Madison Script Supervisor: Wilma Garscadden-Gahret Still Photographer: Ralph Nelson Jr. Stunts: Steve M. Davison Sound Effects Editor: Robert Shoup Stunts: Tim A. Davison Assistant Sound Editor: Martha Pike Hairstylist: Lyndell Quiyou Costume Supervisor: Winnie D. Brown Assistant Sound Editor: Michele Perrone Foley Editor: Diana Pellegrini First Assistant Camera: Billy Clevenger Assistant Property Master: Douglas T. Madison Construction Coordinator: John J. Rutchland Jr. Unit Publicist: Susan Landau Finch Second Assistant Director: L. Dean Jones Jr. Production Sound Mixer: Michael Evje Assistant Sound Editor: Clare C. Freeman Assistant Sound Editor: Paige Sartorius Location Manager: Rory Enke Second Assistant Director: Daniel R. Suhart Gaffer: Pat Fitzsimmons Dialogue Editor: Melissa Dietz Associate Producer: Teri Fettis-D’Ovidio Boom Operator: D. G. Fisher Special Effects Supervisor: David Pier Production Accountant: Joe Murphy Negative Cutter: Donah Bassett Second Assistant C...

[waterarks]

accumulated book list; (unowned) 𓇢𓆸

- [ ] the body where I was born by Guadalupe Nettel

- [ ] a personal matter by Kenzaburo Oe

- [ ] shame in the blood by Tetsuo Miura

- [ ] nw by Zadie Smith

- [ ] tender by Ariana Harwicz

- [ ] shantarm by Gregory David Roberts

- [ ] second place by Rachel Cus

- [ ] bluets by Maggie Nelson

- [ ] devotions by Mary Oliver

- [ ] black swans by Eve Babitz

- [ ] perfume by Patrick Suskind

- [ ] a certain hunger by Chelsea G. Summers

- [ l ] time is a mother by Ocean Vuong

- [ ] assembly by Natasha Brown

- [ ] butter by Asako Yuzuki

- [ ] carmilla by Sheridan Le Fanu

- [ ] boulder by Eva Baltasar

- [ ] permafrost by Eva Baltasar

- [ ] discipline and punishment by Michel Foucault

- [ ] black reconstruction by W.E.B Dubiou

- [ ] a poets notebook by Paul Valery

- [ ] die my love by Ariana Harwicz

- [ ] swimming in the dark by Tomasz Jedrowski

- [ ] timecode of a face by Ruth Ozeki

- [ ] into the wild by Jon Krakauer

- [ ] the wind up bird chronicle by Murakami

- [ ] theory of the lyric by Jonathan Culler

- [ ] orality and literacy by Walter J. Ong

- [ ] the soundscape by Murray Schafer

- [ ] listening and voice by Don Idhe

- [ ] the poetics of french verse by Clive Scott

- [ ] the poetics of space by Gaston Bacherlard

- [ ] housekeeping by Marilyn Robinson

- [ ] the white book by Han Kang

- [ ] americanah by Chimamanda Ngozi Adichie

- [ ] poor deer by Claire Oshetsky

- [ ] pushout by Monique W. Morris

- [ ] agua viva by Clarice Lispector

- [ ] foggy mountain breakdown by Sharyn Mccrumb

- [ list two ] ☼

bought = b | loaned = l , read = x | reading = …

[jedivoodoochile]

Marilyn Monroe x Michelle Pfeiffer’s Catwoman (“Batman Returns”) by Flore Maquin.

[da5vi]

Barbie e Scooby-Doo: quando o timing é essencial

Mesmo sendo um estrondoso sucesso, quando o Aqua lançou Barbie Girl lá no final da década de noventa, a Mattel achou tudo muito ofensivo. O resultado foi uma ação judicial que acabou favorecendo o grupo, mas que durou alguns bons anos (curiosidade: hoje a empresa “está de boa” com a música e inclusive a utilizou em comerciais). A justificativa era que a ambiguidade da letra poderia manchar a reputação da Barbie como brinquedo infantil, embora a paródia apenas fizesse uns trocadilhos com o modo que as crianças brincam com bonecas.

Eram tempos mais regrados onde não havia a separação de produtos por faixa etária, se a Barbie era um brinquedo, logo, tudo que viria a sair com ela tinha de ser voltado ao público infantil.

Talvez soe um pouco maluco hoje, mas o fim da infância era algo mais sepulcral e nostálgico (no sentido mais triste da palavra) naquele tempo. Entrar na adolescência e/ou fase adulta significava abandonar os brinquedos, os desenhos animados e os álbuns de Xuxa e Trem da Alegria, abrindo espaço para um mundo de boybands ou bandas de rock, namoros, faculdade, primeiro emprego e Malhação.

Em outras palavras, chegava um tempo em que ostentar sua Barbie era mal visto e/ou inaceitável.

Foi no meio desse paradigma que James Gunn, até então roteirista da Troma (uma produtora americana famosíssima por filmes de caráter duvidoso (que amo)) recebe a tarefa de reescrever o live action de Scooby Doo, que aguardava há tempos avanços no campo tecnológico para existir (um robô seria caro demais e talvez não tivesse movimentos fluídos e CGI nos anos 90 ainda não era tão realista). A ideia era trabalhar em cima do público que cresceu vendo o desenho em reprises do Cartoon Network e Gunn, fã do desenho, idealizou uma história que não só homenageava e era fiel à suas origens como também brincava com alguns comentários e/ou interpretações que o público, agora jovem adulto, tinham dos personagens e seus tropos.

Sob a direção de Raja Gosnell, o live action de Scooby Doo foi então rodado com um casting recheado de estrelas juvenis: Matthew Lillard havia gravado Pânico e SLC Punk, Freddie Prinze Jr roubou corações em Ela é Demais e, junto de Sarah Michelle Gellar (ninguém menos que a Buffy), estrelou Eu Sei o que Vocês Fizeram no Verão Passado, e Linda Cardellini era recém saída de Freaks and Geeks, uma das maiores series undergrounds da televisão.

Nem sei se existe um equivalente ao evento que deve ter sido unir esse elenco tão conhecido entre uma faixa etária daquele período e igualmente tão certeiro — é inegável a semelhança física dos atores com seus respectivos personagens, especialmente quando eles estão vestidos no visual mais clássico e próximo da série animada original (ver a cena com Pamela Anderson) —, mas penso que seria como juntar Marilyn Monroe, Audrey Hepburn, Marlon Brando e James Dean num projeto (em menores proporções, é claro).

Além disso, o filme era super aberto aos talentos musicais da época, dando espaço para o pop punk existir não só na trilha sonora, mas também no visual — não é à toa que Sugar Ray faz uma participação naquela festa da piscina.

No entanto, um teste com um grupo de mães foi tão mal recebido que a Warner, temendo um boicote, decidiu re-editar o filme, exigindo inclusive a regravação de algumas cenas (algo que, diga-se de passagem, não agradou muito o elenco principal).

Foi assim que perdemos o maior tesouro dos cofres da Warner Bros (assumindo que eles guardam os negativos desse filme em algum lugar), restando apenas a curiosidade em relação ao que poderia ter sido um produto do Scooby Doo para o público crescido.

Felizmente, os tempos mudaram.

A popularização de hábitos tidos como “nerd” dentro do que entendemos como cultura pop, no entanto, acabou normalizando comportamentos como adultos comprarem bonecos (ou melhor: figuras de ação) — para a alegria do capitalismo e puro horror da geração X, os millennials que tiveram suas infâncias marcadas negativamente por propagandas abusivas trabalham duro para realizar os grandes sonhos de seu eu do passado, criando uma nova cultura ao redor desse material.

Já existem até Barbies no mercado feitas especialmente para colecionadores, com mais articulações e expressões mais sérias para ficar mais bonitinho de expor!

Em duas semanas, a cultura pop estará vivendo o ápice cinematográfico desse shift: o primeiro live action da Barbie chegará aos cinemas, e com a sua classificação indicativa para maiores de doze anos. Ao invés de tochas, no entanto, a Warner (e a Mattel) vem recebendo muitos aplausos por dar liberdade criativa a Greta Gerwig e não mexer no roteiro e/ou na produção como fez com Scooby em 2002.

Tenho certeza que se tivesse sido feito hoje, o filme do Scooby Doo também teria sido abraçado com louvor pelo público jovem-adulto da mesma forma que Barbie está sendo, e é uma pena que as restrições do tempo nos tenham roubado a chance de viver essa experiência e abraço coletivo que estamos dando na Barbie com o cachorro mais famoso dos desenhos.

Ao mesmo tempo, fico feliz de poder viver em um momento onde é legal falar de um “filme de boneca” sem ser julgado, crucificado ou infantilizado por isso, e de vê-lo sendo tratado por sua equipe de produção com o respeito e rigor que merece. Que este seja o início de um novo momento em Hollywood!

[vimogra-art]

Christopher Makos Andy Warhol in Drag Imagen alterada Colección privada...

Christopher Makos Imagen alterada (Andy Warhol in Drag) 1982 Fotografia 100 x 70 cm Colección privada. Christopher Makos Altered Image (Andy Warhol in Drag) 1982 Photograph 100 x 70 cm  Private Collection. Exposición ‘Superpop con Warhol” en Valencia con más de 100 obras de Andy Warhol Next Exhibition, junto con el Ateneo Mercantil de Valencia, trae a Valencia la exclusiva exposición de “Superpop con Warhol”, compuesta por un total de 112 obras originales del referente internacional del Pop Art. La exposición está del 29 de septiembre de 2022 al 29 de enero de 2023 en el Salón Noble del Ateneo Mercantil de Valencia. Entradas en la web https://andywarholvalencia.es/ La exposición del referente internacional del Pop Art consta de 112 obras e incluye piezas míticas como la famosa sopa Campbell, Mao y, por supuesto, Marilyn Monroe. Se trata de una oportunidad única para presenciar obras que rara vez son expuestas como su serie Ladies & Gentleman donde retrató a la comunidad Drag Queen y transexual de Nueva York de los 70. “Super pop con Warhol” es una exposición comisariada por Edoardo Falcioni y es organizada y producida por Next Exhibition. Cuenta con la colaboración del Ateneo Mercantil de Valencia, Entradas.com y la Cámara de Comercio Italiana. Valencia, lunes 19 de diciembre de 2022. Desde su inauguración el pasado 29 de septiembre, 10.000 personas han disfrutado ya de «Superpop con Warhol» en Valencia. A través de sus 112 obras originales, la exposición aborda la trayectoria de uno de los artistas con mayor proyección del siglo XX. Andy Warhol Super Pop 29.09.22-29.01.23 Ateneo Mercantil de Valencia Plaza del Ayuntamiento, 18, 46002, Valencia UPERPOP CON WARHOL Produced by Exhibition Roberto Indiano - Edoardo Faldoni - Juan Jesús Montiel Rozas - Vincenzo Colvello - Daniella Demathei - Rodrigo di Sciascio - Lucia Dobarro - Estudio Sarou - Ana Trancoso. Christopher Makos (Lowell, Massachusetts, 1948) es un fotógrafo y artista estadounidense. Aunque nacido en Massachusetts, se crio en California y después, por casualidad (en su etapa jipi, montó en un coche de un desconocido y viajó con él hasta su destino) se instaló en la ciudad de Nueva York en la década de 1960.  Fue a Europa, a París, para estudiar arquitectura, pero el contacto con Man Ray le llevó a la fotografía. De vuelta en Estados Unidos, se instaló en Nueva York, en el West Village. Colaboró estrechamente con Andy Warhol, a quien enseñó a utilizar su primera cámara fotográfica. También puso en contacto a Warhol con la obra de Jean-Michel Basquiat y Keith Haring. Warhol calificó a Makos de «el fotógrafo más moderno de los Estados Unidos». La estrecha amistad que unió a Makos con Warhol y los largos viajes que hicieron juntos quedan reflejados en el libro de Makos Warhol: A Photographic Memoir (New American Library). Pese a esta estrecha relación, Makos nunca perteneció al colectivo artístico de Warhol conocido como La Fábrica. Las obras de Makos están presentes en colecciones permanentes de más de cien museos, han sido objeto de múltiples exposiciones en galerías y museos de los Estados Unidos, Europa y Japón y han aparecido en numerosas publicaciones de todo el mundo, como Interview, Rolling Stone, House & Garden, Connoisseur, New York Magazine, Esquire, Genre o People. Algunos coleccionistas como Malcolm Forbes, Pedro Almodóvar o Gianni Versace poseen obras suyas. Fuente: Wikipedia bajo licencia CC BY-SA 3.0 Música: Anxiety - NEFFEX No Copyright YouTube Audio Library

[noorhelm-ships]

So I saw that you ship Charles and Manon, so can I ask what your opinion on Charles is, cause I know that quite a lot of people dislike him

Honestly it’s been a while since I saw Skam France and dont remember all the details of the SL. I don’t HATE him in the way other people do but he probably is one of my least favorite Williams. Nothing against him necessarily but I dont connect to Skam France as much as I do the other series and I also felt C/M were more like a copy of Noorhelm compared to some other pairings. I also think Charles looks a lot older than he should be (though Michel is very attractive)... I also wasn’t fond of how they handled their storyline after their season at all. I do love all of the noorhelm pairings though, personally hate to love relationships are my favorites to watch so I just enjoy all the SL’s even if I dont always agree with the william’s choices and behaviors. 

I love Michel and Marilyn though, those two are cuties. 

[suegasm]

"je t'aime pas."

[marlyxmcfly]

I missed them <3

[axelstrash]

i can look past the girl squad situation or whatever but Manon accepting Charles back is horrible. what is this going to teach young girls who are in a toxic relationship... he is literally a rape apologist. i cant wrap my head around that. they made him so horrible for them to go back together. im so disappointed honestly... i never thought i would ever say that about skam france

[jetaime-et-tu-maimes]

Vendredi, 14h19

[nooramanon]

michel.biel ❤️

[halsteadsass]

Marilyn Lima and Michel Biel - Interview for Season Two

[theworldisourcliche]

Marichel by Tom Wagner