Bud Fraker photographs Audrey Hepburn at the Paramount Portrait Studio, 1953. Photos taken by Bob Willoughby.
I’m an adult, but not like a real adult
Dreamworks needs that money. Dreaworks needs that money so fucking much. This movie isnt doing as well as it fucking should be and DONT WATCH IT ONLINE.
GO SEE IT IN THEATRES.
GO SEE IT AT MATINE PRICE IF YOURE POOR. YOU CAN SCROUNGE TOGETHER FIVE DOLLARS.
this is too important to dreamworks for you to pirate it!!!!!!
I will reblog this every time I see it. This needs to be spread.
An “egalitarian” is someone who, realizing that a scale is imbalanced because there are six pounds on one side and twelve on the other, seeks to correct the imbalance by adding six pounds to both sides.
well that was the best damn explanation I’ve seen.
when straight people get tired of seeing straight people on TV all the time and white people get tired of seeing white people on TV all the time, that might be a sign that it’s time to change things up a bit
❝ It was badly done, indeed! You, whom she had known from an infant, whom she had seen grow up from a period when her notice was an honour, to have you now, in thoughtless spirits, and the pride of the moment, laugh at her, humble her–and before her niece, too–and before others, many of whom (certainly some,) would be entirely guided by your treatment of her.–This is not pleasant to you, Emma–and it is very far from pleasant to me; but I must, I will,–I will tell you truths while I can. ❞
You and I both know there’s got to be some greater storyline for you than ‘girl gets heart broken, was sad forever’. I think a nice one would be ‘girl gets heart broken, was sad for a while but in her heartbreak she found freedom, friends, and the ability to look back and laugh at all she’d learned. She now lives her life on her own terms and still has fantastic hair.’
and be the brightest of them all
I can’t accept that. I can’t accept that there was only one black woman in the entire film, who delivered one line and who we never saw again. I can’t accept that the bad guys were Asian and that although in China, Lucy’s roommate says, “I mean, who speaks Chinese? I don’t speak Chinese!” I can’t accept that in Hercules, which I also saw this weekend, there were no people of color except for Dwayne Johnson himself and his mixed-race wife, whose skin was almost alabaster. I can’t accept that she got maybe two lines and was then murdered. I can’t accept that the “primitive tribe” in Hercules consisted of dark-haired men painted heavily, blackish green, to give their skin (head-to-toe) a darker appearance, so the audience could easily differentiate between good and bad guys by the white vs. dark skin. I can’t accept that during the previews, Exodus: Gods and Kings, a story about Moses leading the Israelite slaves out of Egypt, where not a single person of color is represented, casts Sigourney Weaver and Joel Edgerton to play Egyptians. I can’t accept that in the preview for Kingsman: The Secret Service, which takes place in London, features a cast of white boys and not a single person of Indian descent, which make up the largest non-white ethnic group in London. I can’t accept that in stories about the end of the world and the apocalypse, that somehow only white people survive. I can’t accept that while my daily life is filled with black and brown women, they are completely absent, erased, when I look at a TV or movie screen.
The Garden of Adonis - Amoretta and Time (and details) by John Dickson Batten (1860-1932)
oil on canvas, 1887