James Woods in Videodrome (1983).

one thing about me is I love brutalism. I love concrete. I love not living in a house with cardboard walls and I love looking at a building and thinking this imposing boy would survive a nuclear war

sculptor worldwide “keepsake” bag

any song can be your otp coded if yoi're delusional enough

Kim Dorland, Night Swimming (2013)

"Unless you're a genius, like Meeks."

If someone flirted with me like this, I'd say "yes sir" and put my coat down as our picnic blanket.

Just wanted to say I loved your Knox post and I’d love to hear what you have to say abt the racism in DPS... it felt really icky but it’s hard to articulate yknow. So thank you!!!

thank you, irt the knox comment! and thank u for the inquiry: i’m absolutely not the authority on this topic and i think it warrants more research/a more qualified voice, to be honest. 

i’ll preface my response by saying that this isn’t the *only* interpretation of these scenes, and also i’m white so i am never going to understand this fully. this is just my opinion/analysis of how the film handles race. also, like i said on the knox post, this isn’t me trying to cancel the movie or cancel the characters, i just like engaging in criticism.  

that being said. i agree, it’s definitely an awful moment. 

i think my huge problem lies with the movie refusing to critically engage with its racism, or make any indication that it’s wrong. it is unfortunately unsurprising that a group of privileged white men in the 50s would be prejudiced and/or racist. i don’t think the movie has to shy away from having flawed moments/characters. however, i do believe that the film simply laughs it away, and refuses to clue viewers in that this isn’t ok. this is where i take issue: it’s one thing to have racist characters/moments that are portrayed as ignorant/hateful, it’s quite another to use ignorance/racism uncritically to help these white characters “seize the day.” 

for example, one can look at the way the congo scene is presented. the boys are in a cave that is viewed as mystic and otherworldly largely because of its connection to native americans (it’s called “the indian cave”), and they’re dancing around the cave while reciting “the congo,” a largely controversial poem by vachel lindsay (the section “attitudes towards race” is really helpful in contextualizing the poem!). in this section, they’re using a caricature of “savagery” to  show the boys “seizing the day” and letting loose. 

they’re privileged white teens who are donning the presumed “savagery” of native americans (i.e. “nuwanda” and the face paint) and africans (recitation of “the congo”), and the film presents this completely unquestioned. i think it would’ve been a merit to the film to remind us that the boys’ privilege makes it possible for them to try on other identities as if they’re costumes, or means to “be free.” 

JUDE LAW Closer (2004) dir. Mike Nichols

SOMEONE LEFT THE LIGHTS ON IN THE CAR

Steffy Argelich

kind of new to the dps fandom, looking for dps fans so just reblog and ill follow you. also if any of my girlies have anderperry fics their working on i’d love to check it out!

charlie: as the top in this relationship, i think we should–

meeks: i can't believe you're pulling rank on me.

The Grass Wheel (2006)

Architects: David Gallaugher, Kevin James, & Jacob Jebailey