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#andrew shelley
draftmonologue · 1 year
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1. Susan Sontag—As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980, 2. Phoebe Waller Bridge—Fleabag, 3. Richard Siken—Wishbone, 4. Anonymous, 5. Atonement dir. Joe Wright 6. Hot Priest Monologue—Phoebe Waller Bridge 7. Gillian Flynn—Dark Places 8. Meditation in an Emergency— Cameron Awkward-Rich , 9. Billie Eilish— idontwannabeyouanymore, 10. Stephen Adly Guirgis— The Last Days of Judas Iscariot, 11. Lioness Dewinter—Sìren Loa 12. Bernie Wrightson’s Illustration of Frankenstein’s Monster. 13. Bonnie Winterbottom—How To Get Away With Murder, 14. Sade Andria Zabala—Paper Napkin Stories, 15. Sor Juana Inés de la Cruz — Love Opened a Mortal Wound, 16. Unknown 17. Miley Cyrus — Never Be Me, 18 Kim Addonizio— Wild Nights; New Poems; Pareidolia, 19. Crazy/Beautiful dir. John Stockwell, 20. I.B. Vyache, Conversations Over Sanguinaccio Dolce.
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fuckyeahgoodomens · 10 months
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10 July 2023 Press Day and 2 episode screening for Cast and Crew :)
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sixofbabycrows · 7 months
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since i haven’t seen anyone talk about this on here yet HELLO?????
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(x)
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shutupcrime · 1 year
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Guillermo del Toro directing Frankenstein is a gift to humanity on its own, but the possibility of Andrew Garfield finally bringing the queer yearning and fruitiness that has been missing from every adaptation of Frankenstein is the cherry on top of the cake
EDIT:
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weirdlookindog · 4 months
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Dracula: Prince Of Darkness (1966)
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livejournallegacy · 10 months
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Tony Hawk's American Wasteland (2005) 12. Ever Fallen in Love - Thursday "Every so often it's good to get back in touch with one of the reasons that you play music, and obviously we play music because we love music. And [Buzzcocks is] one of the bands that we really love."
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if there isn’t an insane amount of homoerotic tension between oscar issac’s dr Frankenstein and andrew garfields monster then what was even the point
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brokehorrorfan · 1 year
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Bottleneck Gallery will release The Shining giclee prints by Andrew Rowland tomorrow, April 11, at 12pm EST. The 36x24 standard version is limited to 100 for $50, the black-and-white variant is limited to 40 for $60, and the 24x16 art print edition is limited to 50 for $40.
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machetelanding · 1 year
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theosdildo · 7 months
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wrestlingchampions · 5 months
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2023 in Impact Tag Team Champions
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decaflondonfog · 2 years
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savage natures
andreil / 6.6k / rated M
[getting back together, ghosts, mary hatford pov, angst, hopeful ending]
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It starts with the now-familiar smell of blood long-seeped into the fake plastic-leather of the car seats, with the stench of burning woven wool, flesh and gasoline. It starts like any good ghost story should: I am dead, and Nathaniel has come back at last.
read here on ao3
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dianessunflower · 9 months
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So Long, Farewell in Ted Lasso 3x12
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weirdlookindog · 10 months
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Dracula: Prince of Darkness (1966) - British Quad
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dustedmagazine · 10 months
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Bush Tetras — They Live in My Head (Wharf Cat)
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Photo by Godlis
youtube
Cynthia Sley remains a charismatic front woman, Pat Place’s guitar still jags and spits. The rhythm section of bassist RB Korbet (King Missile) and drummer/ producer Steve Shelley (Sonic Youth) provide muscular foundation, but this not the Bush Tetras of the early 1980s. They look back, yes, but they don’t stand still. Fans hoping another “Too Many Creeps” or “Cowboys in Africa” may be disappointed but taken on its merits They Live in My Head is a worthy addition to the band’s discography.
If at times, the songs approach mainstream rock, Place, a singular and underrated musician, provides the edge. Her distinctive style, influenced by Andy Gill, and incorporating space and phrasing of reggae players, developed as she mastered her instrument with The Contortions and the original Bush Tetras. Here, she twists new shapes from classic rock tropes whilst providing links to her familiar sound. Sley’s lyrics explore the disruptions of the pandemic, engaging with social and political upheaval, memory and the loss of indominable drummer Dee Pop who passed in 2021 during the initial writing of the album.
The sludgy big beat of “Bird on a Wire” only takes off when Place, alternating between block chords and scratchy discordant runs, is to the fore. “Tout Est Meilleur” thumps along like a classic metallic boogie, think Angus Young doing the Nutbush, energetic enough and enlivened further by Sley’s strong delivery which sells the song’s French lyrics. Place interrupts her straight ahead riffing on the punkish “I Am Not a Member” with the opening chords of “To Hell With Poverty” to good effect. After a rough patch through the middle section of the album, “Ghosts of People” is a highlight that begins as slow acoustic ballad, Sley’s voice is wreathed in regret with Shelley and Korbet providing the dynamic shifts and Place building an ascending crescendo of controlled distortion. They save the best for last. “The End” rides on Shelley’s martial beat and Korbet’s rolling bass line with Sley sounding as powerful as Grace Slick in her ascendancy and Place squalling sheets of sound with Rowland S. Howard level intensity. They Live in My Head doesn’t always work. Their take on classic guitar rock sometimes lapses into a mid-tempo morass but Bush Tetras have been a constant state of evolving for nearly four decades. Sley and Place are still compelling presences, and it’s good to have them back.
Andrew Forell
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