thinking about

HIM

this mockup fits me ungodly well i’m so upset that i have to stop wearing it to work on it

danbert but where they hunker down in the countryside to lay low . dan takes it upon himself to blend in (he just knows he can work the overalls)

bonus:

seasonal🍂details

#i love flannel

Same flannel. Two very different vibes.

@ transmascs pls show me ur fav outfits that minimize your dysphoria the most I’d love some inspo

slfl michael and luke save me

I remember seeing a post about Barbara wanting to see yang dressing more butch, like flannel and stuff and it got me curious between canon yang and mm yang who would be the bigger flannel lesbian, I'm talking a whole rack of flannel shirts and jackets and pants

Oh I remember that post! That's a good question lol

So originally I don't think MM Yang would have a whole lot of flannels, since that's more Ruby's thing. HOWEVER, I feel like after dating Blake for a while, she starts wearing them more, because it becomes a more comfort over functionality thing. Like picture the bad leather bitch goes domestic but it's still insanely butch lol

.·:*¨¨*:·.♡.·:*¨¨*:·.

We miss summer time and underground shows.

leaving to go camping for a week with the shirt i wanted to wear half sewn and my travel size hand crank machine half working. fuckin tragic

Me, halfway through like four different petticoats, three sets of bloomers and like five and a half pillowcases, operating on absolutely zero brain cells: I need another petticoat

Saw some lesbian trees at Walmart today:

Haterating and hollerating in the 1950s:

SUDDEN FEAR (1952): Inventive but unsatisfying thriller about a middle-aged playwright and heiress (Joan Crawford) who discovers that her new husband (Jack Palance) and his ex-girlfriend (Gloria Grahame) are plotting to do away with her, and decides to concoct her own elaborate trap for the would-be killers, which doesn't go as planned. Palance is well-cast, walking an interesting line between charm and sociopathy, and the film gives Crawford one of her better '50s roles, but the script fails to pay off its own clever plot twists while allowing Crawford too many opportunities for her customary histrionics — particularly in a pair of over-the-top dream/fantasy sequences and in a crucial scene where the heroine has to express, without dialogue, that she's having second thoughts about her own plan. The finale, while undeniably tense and featuring striking nighttime cinematography by Charles B. Lang Jr., also feels like it belongs in a completely different movie.

THE GIRL NEXT DOOR (1953): Bright, attractively staged Fox musical (with two animated interludes) about the burgeoning romance between a successful stage star (June Haver) and her handsome new next-door neighbor (Dan Dailey), a comic strip artist and widower with a young son (Billy Gray) who's none too happy at this new competition for his father's attention. Haver and Dailey are great, and their easy repartee is very appealing. It's also interesting to see Dennis Day outside of his more familiar role as Jack Benny's idiot stooge. However, Billy Gray's character never quite rings true; there's no real reason for Joey to dislike the charming, good-humored Jeannie other than childish jealousy, so the story depends on his eventually getting over it rather than on Jeannie winning him over, which might have been more fun.

A SUMMER PLACE (1959): Overwrought Delmer Daves adaptation of a Sloan Wilson novel about two one-time lovers (Richard Egan and Dorothy McGuire), now unhappily married to others (Constance Ford and Arthur Kennedy), who decide to divorce their respective spouses so they can finally get married, only to face endless angst because their college-age kids (Sandra Dee and Troy Donahue) are also in love, in A Society That Just Doesn't Understand™. The story might have been considered daringly blunt by the standards of 1958–59, but to modern eyes, it succeeds mostly in putting the "turgid" in "dramaturgy." The script and direction are so unrelentingly heavy-handed that the actors seem like they're mining coal, with only Constance Ford (whose character is an unmitigated bitch) allowed to be anything other than laboriously tormented.

i am winning at gender today