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bell hooks mentioned going through a time in her life where she was severely depressed and suicidal and how the only way she got through it was through changing her environment: She surrounded her home with buddhas of all colors, Audre Lorde’s A Litany for Survival facing her as she wakes up, and filling the space she saw everyday with reinforcing objects and meaningful books. She asks herself each day, “What are you going to do today to resist domination?” I also really liked it when she said that in order to move from pain to power, it is crucial to engage in “an active rewriting of our lives.”

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˗ˏˋ JENNA ORTEGA Answers the Web’s Most Searched Questions — WIRED (November 16, 2022)

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Carrie Heffernan appreciaton post

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Kajol in Honthon Pe Bas Yeh Dillagi (1994)

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Kajol as Sapna YEH DILLAGI (1994)

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KAJOL + hair flips

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Pretty Woman (1990), dir. Garry Marshall

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Try stuff. Put plants in your room even if you aren’t the best at caring for them. Attempt that dessert recipe even if it turns out ugly. Listen to that music you’ve been meaning to try for a while. The world is full of infinite sources of goodness and the best thing to do it to try and find as many as possible.

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“Sis is back ❤️” — (x)

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...what Margot wants.

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Kama Sutra: A Tale of Love (1996), dir. Mira Nair

“In India, censors barred theaters from showing the historical drama about two women who love the same handsome king. Nair, India's best-known female director in the West, appealed to her country's supreme court, which reluctantly gave the green light. But part of the deal she struck was that three times each week theaters would admit only women. "In India, movies are attended for the most part by men. But I wanted to find some way for women to see my film and feel safe and comfortable," Nair said over tea in San Francisco.

In the United States, where "Kama Sutra" opens Friday, the ratings board of the Motion Picture Association of America received Nair's film with misgivings similar to those of the Indian censors. "They wanted us to cut out the full frontal nudity, and to eliminate a scene where the two women make love to each other. So we were forced to distribute the film as unrated or get one of those NC-17 designations that really make you come across as trying to be purposely sensational.”

—Peter Stack, “Sensual `Kama Sutra' Arouses Censors' Ire / India's Mira Nair explores history, sexual politics in adaptation of classic tract”, SFGate, March 1997.

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Mississippi Masala (1991)