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#memento. #v; velvet underground #v; commissions #flashing lights for ts #flashing for ts

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thinking about when you hold a man but his shoulders are too broad for you to encircle properly so you just sort of end up cradling his head....

#memento.

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Encyclopedia of Occultism, 1920

#memento.

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Amazing hand painted art by Marald van Haasteren

#memento. #dreams. #v; the weight #v; misty mountains cold #v; velvet underground

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#memento. #powers.

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#memento.

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Leonora Carrington (1917-2011) — Untitled  [sgraffito on board, 1956]

#memento. #powers. #v; the weight #v; bittersweet symphony

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#memento. #powers.

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#memento.

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Kunstwart und Kulturwart - 1919-1920 - via University of Heidelberg

#memento. #dreams. #powers. #v; the weight

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Threads in time, Natalie Ciccoricco (because)

#memento. #powers. #dreams.

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Natalie Wee, Least of all

#memento.

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“I never really thought about it in those terms. Like it was something in the DSM that I could sit down with a psychyatrist and talk about. And I think what, now looking back on it, I think what happened really had to do with – I had played Hamlet at Stratford, Ontario not that long before we started shooting the show, and the experience of that, because I was inside Hamlet for about a year or longer. We did ninety shows or something over the course of one long season. And I did get quite loopy doing it. I mean some of it was just general feelings of insufficiency and ‘I am absolutely incapable of pulling this off. I should quit.’ In fact I tried to quit after the first preview, I think, or dress rehearsal. I was crying and phoned the director saying ‘I can’t do this. You know I can’t do this. Call up Colm Feore. He still remembers the lines!’ But along the way of playing it, I got to a point where I was really paranoid. Because along the way, you absorb all of the things he has because it just overwhelms you. You can’t, it’s not a part that you can leave anywhere. And I think: ‘Everyone in this company is actually trying to kill me. All the other actors are trying to kill me.’ And then it kind of metastasised from there to the point where I was having these weird, I don’t know if I would call them hallucinations, they weren’t exactly like that, it was full blown and quite real. And I’d be on stage when this was happening. As an example with ‘How all occasions do inform against me’ I had this weird, I could see that I was in like a bar, an old tavern, with big beams and posts, and I could see Shakespeare at a long table with some food in front of him, and out of the middle of this conversation with some other people this speech came. And I’m thinking yeah that’s probably how it happened, it fell out of him, parts of it. Because at the end of it somebody said ‘Well that’s good, Bill’ and he said ‘Hm, yes it is. I must remember that.’ And then I’d be back on stage. And then that got worse because I would black out, and I don’t mean faint or anything, but just disappear and wake up in the middle of a scene and not know where I was. And that was showing. To go through all of these things in front of two thousand people is really kind of uncomfortable. But the person who saved me was Brent Carver who has recently died, but he had played Hamlet a couple of times, once at Stratford, and he was not in the company, but we would run into each other if we were switching over from matinee to evening. He would say: ‘How are you doing?’ And I’d say ‘Well, I don’t trust any of these people’ and he’d say ‘Yeah, that’s gonna go on for a while.’ and I’d say ‘Now I’m blacking out.’ ‘How long has that been going on?’ ‘About a week and a half.’ ‘That’ll probably last another week. You’ll be okay.’ And then I kind of was. So that’s a very long way to say that when it came to Geoffrey’s madness, it was just that. That stuff. It’s all very real, but it’s not in the DSM. Does that make sense? I know typically research goes into all this with psychiatry and then I thought about it, and you know that’s kind of limiting. I know what it means to be inside theatre that makes you go somewhere else.”

— Paul Gross, on the nature of Geoffrey Tennant’s madness in Slings & Arrows, interviewed by Emily Nussbaum, October 2020. (See the full cast and crew interview here).

#memento. #powers. #v; the weight

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"can you behave" yes, if I wanted to, but this is so much funnier

#memento.

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#memento. #dreams. #deosil. #v; bittersweet symphony

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❛  i can't stand up. what should i do?  ❜ // from Cullen maybe during a bad withdrawal episode? <3

"Take a moment to pause," comes fretful Roland, a washbin and rag placed next to Cullen's tousled bed. Roland is shorn without clothes, totally without bashfulness nor fervent need to cover himself, and he wets the rag from his seat beside that swirling, twirling, sweating Commander come down from the proverbial pedestal in this meager ground of humanity and aching vulnerability.

He wets away the sweat from Cullen's pallid brow, and the furrow above Roland's own hast naught removed. "Rest thyself, today and tomorrow, and worry none for thine silver sword. Dost thou believe thou canst eat something?" asks he softly, and cups his face to mind his skin and tender heart.

🐝  *  ―  𝑺𝑷𝑰𝑹𝑰𝑻𝑬𝑫 𝑨𝑾𝑨𝒀 𝑺𝑬𝑵𝑻𝑬𝑵𝑪𝑬 𝑺𝑻𝑨𝑹𝑻𝑬𝑹𝑺 .

#hurt/comfort fuck yeah!!! #notyetfixed #addiction for ts #addiction mention for ts #notepad.

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❛ how long have you been standing there? ❜ //from fin ♥️

"Hmm?" Roland hums, dewy-eyed and soft-shelled. A golden glow radiates from those crumbling cracks upon Skyhold's inquisitorial table, that rickety map spread across that half-borne tree trunk of its surface, and Roland hast abandoned his nesting of finding each Tear across the continent to stare at his newly beloved; his elbow propped, his chin held within his palm, verily, to admire.

He smiles in dripping roses, pink-sheafed and pretty. He bats his long, handsome eyelashes. "For as long as thou hast kept me, sweet Being, pretty Deity of the Golden Crown. Hath I told thee how radiant thou art?" purrs Roland, and winks deeply in a playful curve.

𝟐𝟎𝟎 𝐑𝐀𝐍𝐃𝐎𝐌 𝐃𝐈𝐀𝐋𝐎𝐆𝐔𝐄 𝐏𝐑𝐎𝐌𝐏𝐓𝐒 .

#flirrrrrtinnng 💖💖💖 #notyetfixed #notepad.