#sarah enys

[lobotheduck]

"I want to live! Take me to sea with you!"

[thychesters]

prompts👀

okay so u have choices for formats:

luffy + stars; robin + shining; vivi + hope

"who told you about that?"; "i have never heard anything that STUPID before."; "watch out."

the strawhats + belief; vivi&nami + dreams; luffy&zoro + choices

if u get ideas that don't go along with the people/prompt i paired together don't feel beholden to these, i'm just excited to see what you create :)))

With the dark sea pooling beneath a darker, cloudless sky, the stars spill out across the waves, glittering at their peaks as they crest and shimmering in their wake. The moon, big and bright, casts a brilliant, dazzling light—too bright for this time of night, and Robin watches its reflection curve and glint in a million smaller ones, and, for a moment, she considers pitching herself over the railing to spill into the expanse of the ink-dark ocean only to be poured into the sky as both meet at the horizon.

The corner of her lip quirks in amusement, and she slowly turns her gaze from where the sky stitches itself into the sea at the patter of sandals against the deck. They’re followed by the stretch and creak of rubber, and Robin watches fingers close over the lip of the crow’s nest before the captain comes sprawling over the edge in an inelegant heap of limbs and a grin that split across his face the second they made eye contact.

Monkey D. Luffy remains a curiosity to her—for a multitude of reasons, not the least of which being why he plucked her from the sands and refused her her wish, or how the Will of D. pertains to him. Straw Hat Luffy is an oddity, to say the least, but Robin has yet to find a mystery she doesn’t enjoy puzzling out.

“Hey Robin!” he says, voice too loud for how calm the night is, sprawled on his back and taking up the majority of the crow’s nest she hasn’t tucked herself into. He keeps his hand pressed to the top of his heat, strap digging into his chin and straw bending against the worn wood. “There you are.”

“Here I am, Captain,” she says, because she can’t quite find it in her to call him by his name, to breach that one wall that still keeps a division between them, even if she did demand a place in his crew. She draws her blanket tighter around her shoulders. “You’re up late—or early, I suppose. I didn’t think you were going to relieve me from watch for another hour.”

Even that had been a point of contention—a tension in the air as Robin found her seat beside the navigator and her offer of taking first watch had been met with hesitation and an even more hesitant suggestion that perhaps she wouldn’t mind a partner the first time around, just to show her the ropes. That debate had been cut short by Luffy, sloppily spearing roasted potatoes with his fork and declaring that Robin was crew, and that had been that. Far be it for her to question the captain’s orders, she surmised, though she hadn’t offered him much then beyond a nod.

His lips twist into a comical frown as he rights himself with a shrug. “Couldn’t sleep. Got bored, and Usopp snores kinda loud.” His eyes widen, shining in the moonlight, and the sight takes her aback when he twists to face her. “Have you seen anything cool? You’re supposed to wake me up if you do.”

She huffs a laugh. “My apologies, but there’s nothing of much note beyond the stars and moon, Captain.”

“Oh,” he murmurs, deflating some. He clicks his tongue before he reclines against the side of the crow’s nest, feet kicked up and crossed on the edge as he folds his hands behind his head. “That’s still cool though. The moon looks so big!”

When it becomes clear he has no plans on leaving anytime soon, Robin finds herself pulled to fill in the silence, as companionable as it is.

“Did you know the reflection of the moon on the water is called a moonwake?” she offers, and his gaze slides from a cluster of stars high—so, so very high—above them to her. Luffy makes a soft sound in the back of his throat, but she can’t quite tell if he finds the fact interesting or is simply acknowledging her. 

His gaze is bright and the breeze picks up, blowing his bangs into his eyes, and for a moment he looks like the child he is as opposed to the power that brought Baroque Works to its knees, toppling a mighty War Lord in the process. Luffy blinks back at her and she can feel a familiar tension coiling in her gut—the calm before the storm and unease she has never been able to fully shake for the last two decades.

Saul’s words echo in her ears, but so do harsh whispers, as do Crocodile’s gruff reminders of furthering their own agendas. Their allegiance was built on an exchange of services: shelter and fulfilled orders, but there was no loyalty and only a thin veil of trust that neither wasted any time in shattering in the catacombs of the Grave of Kings. 

As such, there is still a part of her—a part she is afraid will never be stifled, no matter Saul’s request, that awaits for the moment the other shoe drops. Luffy had wasted no time in welcoming her to the crew, showing her around the Going Merry in a rushed tour, but the others—the cook notwithstanding—had not shared the same sentiment. As far as she knows—she hopes—they do not know her beyond Miss All Sunday, beyond a brief meeting and warning upon their ship outside of Whiskey Peak, beyond her partnership with Crocodile.

(And the Marines—and that officer—)

Luffy blinks back at her and yawns.

She rubs at the bandaged scar blossoming in the middle of her chest, where her breath still catches and the ship’s adorable doctor puffs up and asks if she needs any more care, as if his tiny legs don’t tremble at the inquiry.

“Does it hurt?” he asks, brow knit. He looks like he’s about to go fetch said doctor.

“No,” she says, because it’s an ache, but not quite a pain. Betrayal is a different sort of sting—one that’s numbing more so than anything after twenty years. She casts a glance at his vest, where the top button is barely hanging on by the remnants of a thread. There are other stains and patches—evidence of care, even if it was messy. “Does yours?”

“Nah. ’s not so bad.” He sniffs, returning to his quiet stargazing, one foot bobbing. “Man, being stuck in that sand pit woulda been so bad.”

“Being swallowed up by the sand would have been worse?” she asks, brow knit. Having been impaled herself—to which Luffy had said they matched, a joke that had fallen flat and drawn ire from the rest of his crew—she can’t quite say she favors the cold, dark, loneliness of the sand.

“Yeah, probably,” he says, and it’s then that she realizes it’s the closest to a thanks she’ll ever get—not that she would expect nor ask for it, and she can only stare at him as he watches the stars and picks at his nose.

“How interesting.”

He’s peculiar, she decides, fascinating in a way that’s more comforting than anything else. How fitting, she thinks too, that there’s so little they know about one another, and how much he’ll never ask her for. 

In the short time they’ve known each other, where she gets to be Robin, the Straw Hats’ stow away who declared herself their new crew mate because their captain wouldn’t let her die, he has never asked anything of her past. Even now, sitting two feet from him with a chasm between them, Robin is unsure of whether it is ignorance or indifference.

Once more the silence is amiable, and she rests her chin on her palm, propping her elbow up on her bent knee. Together they watch the stars, the night accented by the Jolly Roger flapping in the breeze and the sounds and scents of the sea. She closes her eyes against the salty air brushing against her cheeks, and for that moment Nico Robin is not in hiding, is not glancing over her shoulder or pinned beneath the watchful gaze of one of the Seven War Lords of the Sea. 

For a moment Nico Robin is standing out in the middle of the open sea, the sails full and glimmers of hope and freedom winking out from the millions of tiny stars gathering at the horizon and the gentle lull of the waves, a brilliant light bursting against the backs of her eyelids.

For a moment, Nico Robin is a Straw Hat, and she allows a small smile at the thought.

“I wonder how Vivi’s doing,” Luffy says, apropos of nothing, and she opens her eyes to find him watching the moon above. “You know her, don’t you?”

“I do know the princess,” she says, finding herself wanting to cling to the thought before it dissipates. Just for a moment, in the middle of the night, in the middle of the sea, she will let herself entertain a feeling, silly idea. Her role in this crew is still too fresh—still too new, and she will grant them time and their careful assessments.

He nods, seemingly making his mind up over something. “I think you two would be good friends.”

“Do you?” she muses. “I’m afraid we’ve only known one another as Miss Wednesday and Miss All Sunday, and neither leave much room for forging friendships.”

He sucks in a breath, eyes wide and jaw dropping. “Do you still have that hat?”

Her brow furrows at the sudden topic change. “What?”

“That white hat you had.” He rolls his head, dropping one hand to gesture to the brim of his own. His dark eyes are wide enough she finds she can’t look anywhere else, and points at his head. “Do you still have it?”

“I do,” she says, fingers curling into her cheek. At the moment it sits in the girls’ cabin with the rest of her meagre possessions she was able to tuck away into the bilge after the cook had finished reviewing his stock prior to leaving Alabasta. (Upon loaning a few articles—much like the sweater she’s found herself in—the navigator had insisted upon a shopping expedition the next time they made port, so Robin is inclined to believe at least three of the six have warmed to her some.) “It’s actually my favorite one.”

Luffy laughs, all teeth and a sound that’s so bright that for a split second it’s hard to associate him with the man who forced her to her feet and out of the sand, telling her it was up to her to figure out what happened next. (And doesn’t that sound familiar, though when it comes from Luffy it carries a different weight—lacks a threat.)

“That’s awesome! You should wear it more! It’s a really cool hat.”

Robin’s smile grows, her teeth digging into her lower lip. “Perhaps I should. We might match.”

His laugh dies into a snicker. He folds his hands over his stomach.

“You can go to bed if you want, Robin. I’ll take over the rest of watch.”

If there is anything she has learned about Monkey D. Luffy over the course of knowing him—really knowing him, beyond the opposing sides they stood on not even a week prior—is that if he’s made up his mind, there’s little use in arguing with him. So rather than relent, or rather than tell him no, she said she would go on watch, so she’s taking her watch, she watches him in silence. In her study—like in most moment—he looks unfazed, eyes occasionally darting from one cluster of stars to the next, and in a few hours’ time they will all slowly wink out of existence as the sun breaks over the horizon, and it will be like they were never there at all.

“Captain,” she says, and then, when he looks her way with a confused glint to his eye, “Luffy. If you don’t mind, I think I’d like to stay up a little longer.”

Luffy hums and sits up. When he adjusts the brim of his straw hat there are a multitude of interactions she sees but he likely doesn’t. Thank you for pulling me out of the sand, he does not say. Thank you for not letting me die, she does not say either, though she can’t say for certain she’s thankful for that just yet. I’ve lost my will to live and you have to take responsibility for that she’d told him, and Luffy had nodded and said that made sense, and then immediately turned to ask the cook if dinner was ready soon and has not mentioned it again.

His expression shifts from perplexed to amused. “Robin,” he says, and she notices he says her name quite a bit, though it’s nice to hear it without revulsion—without the underlying tones that come with the promise of profit. He beams, his face drawn into a wide grin, one that’s more enthralling than the stars above that he could hardly tear his gaze from only a few minutes prior. “You can do whatever you want!”

Robin laughs, and he laughs with her, loud and bright, and big enough to swallow up the moon.

[penvcnens]

tag drop 2

[leonardcohenofficial]

tagged by @herbaklava @timrothencrantz and @wutheringdyke to post my top nine new-to-me watches of the year—thank you all! in no particular order (l-r, top row to bottom row):

skinamarink (kyle edward ball, 2023) great freedom (sebastian meise, 2021) earth mama (savanah leaf, 2023) nineteen eighty-four (michael radford, 1984) enys men (mark jenkin, 2022) marina abramović & ulay: no predicted end (kasper bech dyg, 2022) paris 5:59: théo & hugo (olivier ducastel and jacques martineau, 2016) nationtime (william greaves, 1972) giants and toys (yasuzo masumura, 1958)

while i hit my continual goal of half of the films by women and nonbinary filmmakers, i still definitely need to keep up with deliberately seeking out films by directors of color! tell me your faves if you’ve seen any of these; do we think i can hit 150 titles in 2024? 👀🎬🍿🎥

i'll tag @sightofsea / @lesbiancolumbo / @nelson-riddle-me-this / @draftdodgerag / @edwardalbee / @majorbaby / @radioprune / @glennmillerorchestra / @deadpanwalking and anyone else who'd like to do this!

my full watchlist is included under the cut, favorites of the year are bolded in red:

The Final Exit of the Disciples of Ascensia (Jonni Phillips, 2019)

Nothing Bad Can Happen (Katrin Gebbe, 2013)

Dive (Lucía Puenzo, 2022)

The Menu (Mark Mylod, 2022)

The Wonder (Sebastián Lelio, 2022)

The Whale (Darren Aronofsky, 2022)

Shapeless (Samantha Aldana, 2021)

Skinamarink (Kyle Edward Ball, 2023)

Avatar: The Way of Water (James Cameron, 2022)

Actual People (Kit Zauhar, 2021)

Honeycomb (Avalon Fast 2022)

Warrendale (Allan King, 1967)

Women Talking (Sarah Polley, 2022)

This Place Rules (Andrew Callaghan, 2022)

Nationtime (William Greaves, 1972)

Deep End (Jerzy Skolimowski, 1970)

Incident in a Ghostland (Pascal Laugier, 2018)

Keane (Lodge Kerrigan, 2004)

I Start Counting (David Greene, 1970)

Bones and All (Luca Guadagnino, 2022)

Tár (Todd Field, 2022)

The Most Dangerous Game (Ernest B. Schoedsack and Irving Pichel, 1932)

These Three (William Wyler, 1936)

Dead End (William Wyler, 1937)

The Sport Parade (Dudley Murphy, 1932)

We're All Going to the World's Fair (Jane Schoenbrun, 2021)

Ratcatcher (Lynne Ramsay, 1995)

Smile (Parker Finn, 2022)

Holiday (Isabella Eklöf, 2018)

When Women Kill (Lee Grant, 1983)

Softie (Samuel Theis, 2021)

My Old School (Jono McLeod, 2022)

Beyond The Black Rainbow (Panos Cosmatos, 2010)

The Diary of a Teenage Girl (Marielle Heller, 2015)

Infinity Pool (Brandon Cronenberg, 2023)

Murina (Antoneta Alamat Kusijanovic, 2021)

The Banshees of Inisherin (Martin McDonagh, 2022)

Doubt (John Patrick Shanley, 2007)

Enys Men (Mark Jenkin, 2022)

Bully (Larry Clark, 2001)

My King (Maïwenn, 2015)

Festen (Thomas Vinterberg, 1998)

Marina Abramovic & Ulay: No Predicted End (Kasper Bech Dyg, 2022)

Elles (Małgośka Szumowska, 2011)

Poison Ivy (Katt Shea, 1992)

ear for eye (debbie tucker green, 2021)

Spring Blossom (Suzanne Lindon, 2020)

God's Creatures (Saela Davis and Anna Rose Holmer, 2023)

I Blame Society (Gillian Wallace Horvat, 2020)

Bama Rush (Rachel Fleit, 2023)

Is This Fate? (Helga Reidemeister, 1979)

Paris 5:59: Théo & Hugo (Olivier Ducastel and Jacques Martineau, 2016)

Madeline's Madeline (Josephine Decker, 2018)

The Strays (Nathaniel Martello-White, 2023)

Here Is Always Somewhere Else (René Daalder, 2007)

The Weather Underground (Sam Green and Bill Siegel, 2002)

American Revolution 2 (Mike Gray, 1969)

Judas and the Black Messiah (Shaka King, 2021)

Underground (Emile de Antonio, Mary Lampson, and Haskell Wexler, 1976)

Saint Omer (Alice Diop, 2022)

Baby Ruby (Bess Wohl, 2022)

Welcome to Me (Shira Piven, 2014)

Clock (Alexis Jacknow, 2023)

Knock at the Cabin (M. Night Shyamalan, 2023)

Blue Jean (Georgia Oakley, 2022)

Soft & Quiet (Beth de Araújo, 2022)

Jesus' Son (Alison Maclean, 1999)

The Rehearsal (Alison Maclean, 2016)

Violent Playground (Basil Dearden, 1958)

Grizzly Man (Werner Herzog, 2005)

A Banquet (Ruth Paxton, 2021)

Jagged Mind (Kelley Kali, 2023)

The Night Porter (Liliana Cavani, 1974)

Good Boy (Viljar Bøe, 2023)

Sanctuary (Zachary Wigon, 2022)

Little Girl (Sébastien Lifshitz, 2020)

Séance on a Wet Afternoon (Bryan Forbes, 1964)

Massacre at Central High (Rene Daalder, 1976)

Summer of Soul (Amir "Questlove" Thompson, 2021)

Bad Things (Stewart Thorndike, 2023)

Still (Takashi Doscher , 2018)

Lake Mungo (Joel Anderson, 2008)

The Vanishing (George Sluizer, 1988)

The Ringleader: The Case of the Bling Ring (Erin Lee Carr, 2023)

Giants and Toys (Yasuzo Masumura, 1958)

Spoonful of Sugar (Mercedes Bryce Morgan, 2022)

Double Lover (François Ozon , 2017)

Hereditary (Ari Aster, 2018)

Bodies Bodies Bodies (Halina Reijn, 2022)

Don't Call Me Son (Anna Muylaert, 2016)

Great Freedom (Sebastian Meise, 2021)

Mother! (Darren Aronofsky, 2017)

The Mind of Mr. Soames (Alan Cooke, 1970)

The Bloody Child (Nina Menkes, 1996)

Bunker (Jenny Perlin, 2021)

Polytechnique (Denis Villeneuve, 2009)

Scouts Honor: The Secret Files of the Boy Scouts of America (Brian Knappenberger, 2023)

The Woodsman (Nicole Kassell, 2004)

Giant Little Ones (Keith Behrman, 2018)

The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)

Nineteen Eighty-Four (Michael Radford, 1984)

Saltburn (Emerald Fennell, 2023)

Renaissance: A Film by Beyoncé (Beyoncé Knowles-Carter, 2023)

May December (Todd Haynes, 2023)

Free Chol Soo Lee (Julie Ha and Eugene Yi, 2022)

Girl (Lukas Dhont, 2018)

Queen of Hearts (May el-Toukhy, 2019)

Streetwise (Martin Bell, 1984)

System Crasher (Nora Fingscheidt, 2019)

Burden (Richard Dewey and Timothy Marrinan, 2016)

As Above, So Below (Larry Clark, 1973)

The Captive (Chantal Akerman, 2000)

Run Rabbit Run (Daina Reid, 2023)

Subject  (Jennifer Tiexiera and Camilla Hall, 2022)

Earth Mama (Savanah Leaf, 2023)

Woodshock (Kate Mulleavy and Laura Mulleavy, 2017)

Swept Away (Lina Wertmüller, 1974)

Meadowland (Reed Morano, 2015)

Brainwashed: Sex-Camera-Power (Nina Menkes, 2022)

La Ciénaga (Lucrecia Martel, 2001)

Zola (Janicza Bravo, 2021)

The Starling Girl (Laurel Parmet, 2023)

Night Comes On (Jordana Spiro, 2018)

Dance, Girl, Dance (Dorothy Arzner, 1940)

[transparentgentlemenmarker]

Elle s'est mariée à l'âge de 14 ans, et à l'age de 20 ans, elle devient mère. La première femme millionnaire qui a fait fortune avec ses 10 doigts.

Elle est entrée dans le Guinness Book of Records en tant que première femme à devenir millionnaire indépendamment, sans argent hérité. Sara Breedlove est née en 1867 dans le sud des États-Unis, dans l'État de Louisiane. Ses parents, ses frères aînés et sa sœur étaient esclaves dans les champs de coton. Mais Sara est née libre. À 7 ans, elle a perdu ses parents. Après la mort de ses parents, elle a emménagé chez sa sœur et son mari. Enfant, Sara travaillait comme femme de ménage et n'avait pas le temps de scolariser. Elle a plus tard indiqué qu'elle n'avait eu que 3 mois d'éducation formelle lorsqu'elle a fréquenté. Elle n'avait que 14 ans quand elle a épousé Moses McWilliams. Elle ne l'a pas fait parce qu'elle l'aimait la vérité était que le mari de sa sœur était un homme très violent, et le mariage était le seul moyen pour Sara de s'échapper de cette famille. 4 ans plus tard Sarah et Moïse avaient une fille ensemble. Son mari décédé elle est donc devenue veuve à l'âge de vingt ans. En 1888, Sara déménage à St. Louis. Ses frères y travaillaient comme coiffeurs. Elle a commencé à travailler dans une laverie et comme cuisinière pour payer les études de sa fille dans une école publique. Sara gagnait environ 1,50 $ par jour. Comme tous les travailleurs de la blanchisserie, Sara est tombée malade à cause de produits chimiques, maladie de la peau, manque d'eau et chauffage dans la maison ont fait que Sara à perdu ses cheveux. Grâce à ses frères, elle a appris les bases des soins capillaires. Eni Malon des produits capillaires, et la rencontrera plus tard en personne, elle commence à vendre ses produits dans la rue. Travaillant toujours pour Malon à 37 ans, elle déménage à Denver avec sa fille et commence à penser à sa propre gamme de cosmétiques pour les femmes afro-américaines. Après de nombreuses expériences, elle réussit et elle commence à construire sa propre entreprise. En 1906, Sara épousa Charles J. Walker est devenu plus tard célèbre sous son nom de famille.

Charles devient son partenaire commercial, il a fait de la publicité et a aidé sa femme avec la promotion. Sara a fait du porte à porte en essayant de vendre ses produits, mais aussi pour apprendre aux femmes comment prendre soin de leurs cheveux et coiffer. La même année, elle a décidé d'agrandir son entreprise, alors elle et son mari ont voyagé en Amérique. Sa fille a obtenu son diplôme d'école, alors elle a aidé sa mère. Deux ans plus tard, Sara déménage à Pittsburgh, la famille ouvre un salon de beauté, mais aussi une école qui forme les gens sur les soins capillaires afin qu'ils puissent appliquer les produits. En 1910, Sara déménage à Indianapolis, où elle ouvre le siège de la compagnie Madame C. J. Walker. Elle construisit une usine, un laboratoire, un salon de coiffure et une école de beauté où elle forme ses agents commerciaux. En 1917 elle employait 20 000 femmes. Ses agents gagnaient de 5 à 15 dollars par jour. Sara voulait que les femmes afro-américaines soient financièrement indépendantes, alors elle a encouragé les femmes à ouvrir leur propre entreprise et leur a appris à gérer l'argent. Plus elle devenait riche, plus elle passait du temps à des œuvres de bienfaisance elle a donné des conférences, s'est battue contre l'injustice sociale. Avant de mourir, elle a fait don de plus de 100 000 dollars aux pauvres et à diverses organisations et institutions sociales. Dans son testament, elle a déclaré que les 2/3 de ses futurs bénéfices devraient être reversés à une œuvre de bienfaisance. Elle est morte à l'âge de 51 ans. Elle était considérée comme la femme afro-américaine la plus riche. Quand elle est morte, on pensait que sa fortune se situait entre 500 000 et 1 million de dollars. Au cours de sa vie, Sara n'était pas millionnaire, seulement 2 ans après sa mort, sa richesse a augmenté, mais pendant qu'elle était en vie, elle voulait faire plus de bonnes actions.

[luckhissoul]

ROLEPLAY HISTORY!

The rules are simple! Post characters you’d like to roleplay as, have roleplayed as, and might bring back. Then tag ten people to do the same (if you can’t think of ten, just write down however many you can and tag that number of people). Please repost, don’t reblog!

CURRENT MUSE(S): (canon muses)

mat cauthon ( the wheel of time )

quinn blackwood ( the vampire chronicles)

michael curry ( the mayfair witches )

adolin kholin ( stormlight archive )

jasnah kholin ( stormlight archive )

syl ( stormlight archive )

vin venture ( mistborn )

ivar the boneless ( vikings )

bellamy blake ( the 100 )

francis de valois ( reign )

cahir ( the witcher saga )

aviendha ( the wheel of time )

min farshaw ( the wheel of time )

paul atredies ( dune )

alia atredies ( dune )

carl grimes ( the walking dead )

aramis ( the three musketeers )

john silver ( black sails )

seth gecko ( from dusk til dawn : the series )

will graham ( hannibal )

rodrigo borgia ( the borgias )

lucrezia borgia ( the borgias )

michael grey ( peaky blinders )

marcel gerard ( the orignals )

anakin skywalker ( star wars )

louis xiv ( versailles )

moiraine damodred ( the wheel of time )

lan mandragoran ( the wheel of time )

and four ocs !

WANT TO WRITE: (maybe i will write them someday, maybe not)

like idk right now? probably none. i considered adding marius from the vampire chronicles but decided against it lol

HAVE WRITTEN:

peter petrelli ( heroes )

jaime lannister ( asoiaf )

theon greyjoy ( asoiaf )

sam "falcon" wilson ( mcu )

raven / mystique ( mcu )

elijah mikaelson ( the the originals )

caroline forbes ( the vampire diaries )

enzo st. john ( the vampire diaries )

elle bishop ( heroes )

arthur petrelli ( heroes )

genevieve ( the orginals )

aurora ( the originals )

matt parkman ( heroes )

kaz brekker ( six of crows )

the darkling ( shadow and bone )

fergus fraser ( outlander )

sarah manning ( orphan black )

james patrick march ( ahs )

tate langdon ( ahs )

jimmy darling ( ahs )

kit walker ( ahs )

ethan chandler ( penny dreadful )

lazlo kreizler ( the alienist )

marcus isaacson ( the alienist )

lucius vorenus ( rome )

dwight enys ( poldark )

nell crain ( the haunting of hill house )

charles xavier ( mcu )

elizabeth of york

gendry ( asoiaf )

dinah madani ( the punisher )

freya mikaelson ( the originals )

carolina villanueva ( high seas )

nicolas sala ( high seas )

WOULD WRITE AGAIN:

not sure who i would ? write again ? sometimes i'm like hey maybe but then i'm like nah i don't want to lol

Tagged by: @stcrforged tagging : @caracarnn - @xhideyourfires - @adversitybloomed - @wstfl - @honorhearted - @godresembled - @bas0rexias - @indigodreames and anyone else?

[wanlittlehusk]

2023 faves (asterixed came out this year)

music: wallsocket by underscores*, celebration rock by japandroids, romance is boring by los campesinos, juno by remi wolf, dolly mixture, le tigre self titled

films: desperate living, bloodsisters, smithereens, asteroid city/wes anderson's roald dahl shorts*, may december*, all that jazz, doom generation, enys men*

books: biography of x by catherine lacey*, missing time by ari brostoff, heroine by gail scott, fair play by tove jansson, all of sarah schulman's fiction, idlewild by james frankie thomas*, walking through clear water in a pool painted black by cookie mueller

tagged by @weirdgirlification, tagging @edwardalbee @ambientwitch @thepoisonroom @steveyockey @leonardcohenofficial @loamvessel @bloodgutshighschool

[theygetthehangofit]

Perkembangan calistung Maryam

● Berhitung

♡ Berhitung 1-10 lancar sejak umur 2,5 tahun, sekarang sampai dua puluh tapi belum lancar, sepertinya belum paham konsep berulang setelah bilangan puluh.

♡ Paham konsep tambah dan kurang dengan contoh kasus. Misal Maryam punya 5 apel, jika Maryam memberi sarah 1 apel maka maryam punya 4 apel untuk dimakan.

♡ Paham konsep menghitung uang dan kembalian, namun belum seutuhnya paham dsn sering terjadi kesalahan.

● Membaca:

♡baru sekedar paham.konsep bahwa dalam 1 kalimat terdiri dari kata dan dari setiap kata terdiri dari huruf. Sering dia bertanya, ibu kalau dalam kata IBU itu ada huruf B nya ya? Dst. Akhirnya dibuatlah kuis seperti di atas yang dihilangkan 1 kata di dalamnya. Banyak soal yanh diberikan namun kami fokus belajar dan bermain, tidak sempat mendokumentasikan yang lain. Kata yang dijadikan bahan soal adalah: IBU, AYAH, ENI, BAPA, AKI, MARYAM, SARAH, INI, ITU, UBI, dll. Sambil merangsang bunyi-bunyi huruf supaya bisa dia pahami korelasi antara bentuk dan bunyinya serta penempatan hurud yang dihilangkan bervariasi, kadang di depan, ditengah dan kadang di akhir.

[dearsims4]

Sarah Enys in 1936.

[lobotheduck]

"EXISTING IS NOT A CRIME!"

[greensparty]

Preview: 2023 Boston Underground Film Festival

From Wed. March 22 to Sun. March 26, the Boston Underground Film Festival takes over Harvard Square at The Brattle Theatre (Cambridge, MA). The fest is in its 23rd edition and it is a celebration of bizarre, weird and alt cinema!

Here at Green’s Party, I’ve been lucky enough to cover the festival since 2016 (the fest took off in 2020 and 2021, and I was unable to attend 2022). Here are some of the highlights of this year’s BUFF:

Wed. March 22:

Opening Night film is Jeffrey A. Brown’s The Unheard, which is going to be on Shudder later this month. The film finds a young deaf woman undergoing experimental treatment to regain her hearing. Recovering at her family’s beach home, she fears she is not alone - all while uncovering family secrets and experiencing psychological strife and auditory hallucinations. It was filmed in Massachusetts and it was written by Michael and Shawn Rasmussen (full disclosure: the writing duo are friends of mine). Then it’s Nightsiren from Slovakia. The trailer is pure WTFery!

Thurs. March 23:

BUFF doesn’t screen nearly as many documentaries as narrative films, but the ones they do are quite noteworthy. The doc Stand By For Failure: A Documentary about Negativeland looks at the experimental Bay area music group Negativeland. Then it’s back to narrative films with the sci-fi Spaghetti Junction, about a teen discovering a mysterious place in the woods. From France, the Canne Film Festival hit Smoking Causes Coughing is a wild bonkers super hero film about the dangers of smoking.

Fri. March 24:

First up is The Dunwich Horrors, a collection of short films about New England. Massachusetts certainly has its history with horror stories, but there’s other states like VT and ME represented here as well. This is usually one of my favorite short collections at the fest and among the shorts is Skin & Bone (full disclosure: director Eli Powers is a friend I worked with on a film previously). Then it’s another doc Mister Organ, the new one from David Farrier, director of Tickled. This one looks at the secrets behind a a man at a small antique shop in New Zealand. From U.K. Enys Men is a throwback to 70s horror on an uninhabited island off the Cornish coast.

Sat. March 25:

A matinee screening of Moon Garden, about a little girl who falls into a coma and finds herself in a strange new world. One of my favorite shorts programs at BUFF is Sound + Vision, a collection of music videos that push the envelope. Then it’s Butter My Noodle, a collection of comedy short films. Among them is High Moon, directed by my buddy Kevin J. James (director of Not For Resale). From Germany, Piaffe is about a woman who fills in for her sister as a foley artist and grows a horse’s tail. Not a typo! Then it’s the Sundance hit Divinity, which boasts star power of Stephen Dorf and Scott Bakula as well as producer Steven Soderbergh.

Sun. March 26:

First up is Survival is Insufficient, a collection of shorts including CONTENT: The Lo-Fi Man co-directed by BUFF alumni / my friend Brian Lonano (read my interview with him at BUFF 2018 here) and It Takes a Village co-written and co-starring SNL’s Sarah Sherman. Then it’s Destination, a collection of animated shorts that are not suitable for children. Then it’s the festival hit How to Blow Up a Pipeline, a crime thriller about a group of environmental activists who plan a disruption of an oil pipeline. The Angry Black Girl and Her Monster is about a brilliant teenage girl who tries to bring back her recently murdered brother from the dead. And finally the Closing Night Film is Rebel from Adil El Arbi and Bilall Fallah, the Belgium filmmakers known for Bad Boys for Life and Ms. Marvel. This film focuses on a Muslim family torn apart over the future of its youngest member in Belgium. 

For info on this year’s #BUFF23: https://bostonunderground.org/

Stay tuned to Green’s Party for my coverage of this year’s fest!

[oetravia]

Happy Father’s Day!

[upstartpoodle]

Context? Never heard of it.

[woozapooza]

I promise I’ll do better

[rather-impertinent]