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Joined March 2014
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cel retweeted
nakatingin si princess sa camera cutie potato
GEHLEE IS A WOMAN
#WomenAreNotTrophies
#PBBCollab3pointO
cel retweeted
"If we keep punishing people for accidentally arriving somewhere somebody else has already been, eventually we’re going to frighten the creativity out of everyone." purr agree
Robbie Williams defends Olivia Rodrigo after she was accused of copying his song “Candy” with “take me home (4 christmas)”:
“Artists deserve to be protected. But there’s a difference between protecting your work and treating every vaguely familiar sequence of notes as a winning lottery ticket. It sounds to me as though she may have accidentally stumbled across a musical echo of mine in one of her new songs. And do you know what? I couldn’t care less. I don’t know whether there’s technically a publishing issue, a copyright issue, or no issue whatsoever. And I don’t want to know. I’m not going after her. Because I think at some point, some f**king sanity has to prevail […] We all stand on the shoulders of people who came before us. Sometimes consciously. Sometimes without even knowing it. That’s how music works. If we keep punishing people for accidentally arriving somewhere somebody else has already been, eventually we’re going to frighten the creativity out of everyone.”
cel retweeted
man who gave the odyssey a five star rave review slanders film about centuries of queer repression and survival under fascism for “insisting on its own monumentality”
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
