Ilytreasurelily - Hey Staples Centre Wtf Is Up

it disturbs me that a significant number of people think that the issue with sexual violence, gendered violence, and misogyny is sexual desire rather than dehumanization, so they are relentlessly suspicious of others' (and their own) desires while simultaneously never at all interrogating others' (and their own) dehumanizing beliefs about other people, both within and outside of sexual contexts

FLIP THAT MV ♡ BUTTERFLIES

rcb victory blocked by war they're really never going to win

You can use any travel method you like, walking, public transport, so on. You can get an uber but their map has failed so you'll have to give directions. You can travel to other countries and count those libraries but you have to be able to completely navigate from your home without assistance. So you can catch a plane but must be able to travel to and from the airport. No limit on how long it takes. If you know which block it's on or which tram line but aren't sure precisely, but you feel sure you'd find it once you got there, count that as a yes (if you're not sure maybe google it now and see if your plan would work). You cannot rely on asking for directions though, this must be all your knowledge

🍎 || garrettbv

[simple id: four gifs showing a 2000's tv in the shape of a red apple, with the front being able to open and close to cover the screen. /end id]

the bi awakening of a plus boy

Lisa for Elle

I found an interview with Ryan Coogler and Ludwig Goransson talking about the music of Sinners, and there's a very touching part about how the mid-credits scene came to be. So, spoilers below:

The final scene in the film, technically a post-credits scene, was actually the first one shot chronologically. Coogler wanted to show a more recent link to the story’s century-old events, and he really wanted his uncle’s favorite blues musician, Buddy Guy, to be involved. But he quickly learned that Guy, now in his late 80s, hadn’t been to a theater since the “fish movie,” a.k.a. “Jaws,” and he despaired of his chances. Still, he arranged to go see Guy play in Chicago. “I get to the show,” says Coogler, “and his whole family is in the backstage room — his grandkids. And they’re like, ‘Oh, cool, we’re going to bring you to see our grandpa.’ And me and Zinzi go in there and sit down, and he’s like, ‘Yo, man.’” “I’m not a movie guy,” the bluesman said, in Coogler’s retelling of this momentous meeting, “but my kids love your movies and they tell me that I gotta meet with you. So I’m here — whatever you need. You want me to sing? I’ll sing. You want me to act? I’m on for the work. But I got you.” “I pitched him what the movie was,” Coogler continues, “and he told me his life story about being a sharecropper as a kid and going up to Chicago and trying to learn how to play. I broke down crying, because everything I had just written in the script, this dude lived.” “Outside of the supernatural stuff,” Coogler clarifies.

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