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    "It's one of those amazing things in life that can make you feel shit one moment and then like it's Christmas morning the next. It has the ability to make heroes and villains out of ordinary men. People love this game. My father loved this game. You all used to love this game. I'm sure of it. I knew this little boy, working class, from Richmond, and he loved football so much. He used to sneak into the matches because his family just couldn't afford the tickets. One afternoon he finally got caught. The security guard smacked him round the face and knocked him on the ground but that little boy stood up, smiled, kicked the security guard in the bollocks and ran away. Never to return until twenty-five years later when he walked in and bought the entire club. And on his first day as owner, he went and found that same security guard and gave him a pay rise without any explanation. Just because we own these teams doesn't mean they belong to us and I don't want to be part of something that could possibly destroy a beautiful game because I would hate for all those little kids and grown ups out there to ever lose access to that beautiful, passionate part of themselves."

    TED LASSO (3x10)

  • rawest fucking hozier lyrics in no particular order:

    • i’d suffer hell if you’d tell me what you’d do to me tonight
    • heat of her breath in my mouth; im alive
    • i’d be the choiceless hope in grief that drove him underground
    • idealism sits in prison, chivalry fell on his sword
    • and when the earth is trembling on some new beginning with the same sweet shock of when adam first came
    • every version of me dead and buried in the yard outside
    • the stench of the sea and the absence of green are the death of all things that are seen and unseen
    • if I was born as a blackthorn tree i’d wanna be felled by you, held by you, fuel the pyre of your enemies
    • some like to imagine the dark caress of someone else, I guess any thrill will do
    • before the wave hits, marveling at god; before he feels alone one final time and marries the sea
    • betray the moon as acolyte on first and fierce affirming sight
    • i have never known peace like the damp grass that yields to me, I have never known hunger like these insects that feast on me
    • screaming the name of a foreigner’s god; the purest expression of grief
    • sweet and right and merciful, i’m all but washed in the tide of her breathing
    • but you don’t know the hell you put me through; to have someone kiss the skin that crawls from you
    • so i try to talk refined for fear that you find out how i’m imagining you
    • my head was war, my skin was soaked, I called your name ‘til the fever broke
    • be still, my indelible friend, you are unbreaking
    • remember me, love, when i’m reborn as a shrike to your sharp and glorious thorn
  • juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
    juliedelpy:
““Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in...
  • “Then this picture which I always thought this painting was sort of like making the movie, you know the pointillist style, which is very very close to it. You don’t have any idea what you’ve made until you step back from it. I used it in this context to see… he’s looking at that little girl which again is, you know, a mother and a child. The closer he looks at the child the less he sees, of course with the style of painting being really…but the more he looks at it there’s nothing there and I think he fears that the more you look at him the less you see there isn’t anything there. That’s him.

    – John Hughes Commentary: The Museum Scene,
    FERRIS BUELLER’S DAY OFF (1986), dir. John Hughes.

  • jobu tupaki is such an effective way of depicting that specific depression of being in your 20s and knowing you can do anything but also knowing that knowing that means any decision you make cuts you off from an infinite number of possible realities… like every step forward also feels like a step in the wrong direction because it technically is when you’re juggling every potential consequence at once and it narrows your life down to just a matter of surviving and trying to focus on the few things that don’t make you feel like a failure and you start to see the loss of will to really live as the inevitable result to your own unstoppable loss of potential. and of course being a gay child of immigrants makes it even easier for joy to feel like there’s no future she can pursue where everything turns out okay enough to have made the effort worth it. and then contrasting that with evelyn’s reality that she is the version of herself where every decision has been the wrong one that has led her away from doing anything remarkable with her life but it’s still a life where trying is worth something, as long as she can still find people to love and things to fight for… yeah

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    I can’t explain the feeling of how I watched you all move on


    @theundergroundwoman // Brockhampton, LAMB // Boy Genius, me and my dog // Eileen Myles, Bone // Sue Zhao // Bleachers, Like a River Runs // @adampvrrish // Unknown Source // Ocean Vuong, Thanksgiving 2006 // @artintheasylum // Vi Khi Nao, Fish in Exile // James Patterson, The Angel Experiment // @lemonles // Mitski, Francis Forever // Adult Mom, When You Are Happy // @beetlejuices // Chelsea Fagan, How we let People Go

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