#tracy porter

[alrauna]

TRACY PORTER (@the_porter_collective)

#Tracy Porter #photography #home decor #home inspiration #flowers #botany #flower

[imintheleaves]

#Tracy Porter #books #bath

[sorrysomethingwentwrong]

Hippity-Hoppity !

Happy Easter Dear Followers !

Courtesy: Tracy Porter

#art #surreal #design #fun #funny #funny pictures #bunny #happy easter #easter 2024 #easter bunny #whimsical #joyfull #tracy porter #goodness #hippity #hoppity #jumping #mood #current mood

[eileenmaries-blog]

#art #interior design #Tracy Porter #theportercollective

[random-brushstrokes]

Tracy Porter Rudd - Illustration for the poem "Pearls" in The Ring of Love and Other Poems by Brookes More (1923)

#women painters #Tracy Porter Rudd #american art #vintage illustration #1920s

[sempiternal-meridians]

#Artisit | Designer Tracy Porter

[imperfectfragilediary]

Porter Magazine September 2019

Lucy Boynton by Nicolas Kantor

Styled by Tracy Taylor

#Porter Magazine #Lucy Boynton #Nicolas Kantor #Tracy Taylor

[27emailsicantsend]

And when Ricky does this with Gina’s picture in s4, then what:

For reference:

#rina #hsmtmts #high school musical the musical the series #gina porter #ricky bowen #ricky x gina #Zac Efron #hairspray #link and tracy

[llhmua]

The Edit by Net-a-Porter March 21th, 2013 They Will Be Dunn Photographer: Ben Toms Model: Jourdan Dunn Styling: Tracy Taylor Hair: Raphael Salley Make-Up: Hiromi Ueda Nails: Chisato Yamamoto

#net-a-porter #2013 #Ben Toms #Jourdan Dunn #Tracy Taylor #Raphael Salley #Hiromi Ueda #Chisato Yamamoto

[inemi]

Tracy Porter

[seasoflife]

Tracy Porter

seasoflife

[alrauna]

TRACY PORTER (@the_porter_collective)

#Tracy Porter #photography #cabinet of curiosities #mushroom #jar #home decor #butterfly #flowers #botany #flower

[earthanthem]

(via Pinterest)

Tracy Porter @ the_porter_collective / Instagram

[alessandro-accebbi]

Ph. @the_porter_collective (Tracy Porter)

[sailoreuterpe]

Non-Romantic Song Recommendations

familial/platonic- the lyrics are relatively generic; family or friends

child love- perspective of a child to a guardian

grandchild love- perspective of a grandchild to a grandparent

parental love- perspective of a guardian to a child

sibling love- perspective of a sibling to a sibling

lyrics can tweak platonic- the lyrics are explicitly romantic in nature but can become generic with tweaking

romantic video- the official music video is explicitly romantic in nature; lyric music videos are usually less romantic

(This is my favorite familial/platonic song) Tracy Chapman (familial/platonic): The Promise - https://www.youtube.com/watch?v=p-nqzwIvnZ0

Andrew Gold: Thank You for Being a Friend (familial/platonic)

Andy Grammer: Don't Give Up on Me (lyrics can tweak platonic)

A Great Big World: I Will Always Be There (familial/platonic)

Al Kasha, Joel Hirschhorn, Michael Lloyd: Love Survives (familial/platonic)

Alison Krauss: Baby Mine (parental love)

Alison Krauss: When You Say Nothing at All (familial/platonic)

Anthony Gonzalez: Proud Corazon (child love)

Avicii: Hey Brother (sibling love)

Ben E. King: Stand By Me (familial/platonic)

Bette Midler: Wind Beneath my Wings (child love, familial/platonic)

Bill Withers: Lean on Me (familial/platonic)

Billy Joel: Just the Way You Are (lyrics can tweak platonic)

Billy Joel: Lullabye (Goodnight, My Angel) (parental love)

Boyz 2 Men: Mama (child love)

Brendan Shine: A Mother's Love's a Blessing (child love)

Celtic Woman: Danny Boy (sibling love)

Christina Perri: A Thousand Years (romantic video, lyrics can tweak platonic)

Crosby, Stills, and Nash: Teach Your Children (child love, parental love)

Cyndi Lauper: True Colors (familial/platonic)

Dan Fogelberg: Leader of the Band (child love)

Diamond Rio: One More Day (familial/platonic)

Diana Ross: If We Hold On Together (familial/platonic)

Dionne Warwick: That's What Friends are For (familial/platonic)

Donna Lewis: At the Beginning (romantic video, lyrics can tweak platonic)

Gabriella Flores, Gael Garcia Bernal: Remember Me (child love, parental love)

Imagine Dragons: I Bet My Life (child love)

Jim Croce: I'll Have to Say I Love You in a Song (lyrics can tweak platonic)

Jim Croce: Time in a Bottle (parental love)

Josh Groban: You Raise Me Up (familial/platonic)

Katy Perry: Unconditionally (romantic video, familial/platonic)

Kenny Loggins: Return to Pooh Corner (parental love)

Lionel Richie: Angel (familial/platonic)

Luther Vandross: Dance with My Father (child love)

Marvin Gaye, Tammi Terrell: Ain’t No Mountain High Enough (lyrics can tweak platonic)

Mary Chapin Carpenter: Grow Old Along with Me (lyrics can tweak platonic)

Melissa Wasserman: Twenty Two (sibling love)

Miranda Lambert: Over You (familial/platonic)

Miranda Lambert: The House That Built Me (child love)

OK Go: I Won't Let You Down (familial/platonic)

Phil Collins: You'll Be in My Heart (parental love)

Phillip Phillips: Gone Gone Gone (familial/platonic)

Phillip Phillips: Home (familial/platonic)

Porter Robinson: Shelter (child love)

Queen: You’re My Best Friend (familial/platonic)

Rachel Platten: Better Place (familial/platonic)

Rachel Platten: Stand by You (familial/platonic)

Randy Newman: You've Got a Friend in Me (familial/platonic)

Regina Spektor: The Call (familial/platonic)

Rod Stewart: Forever Young (parental love)

Sarah Mclachlan: I Will Remember You (romantic video, lyrics can tweak platonic)

Savage Garden: I Knew I Loved You (romantic video, lyrics can tweak platonic)

Shania Twain: Forever and Always (romantic video, lyrics can tweak platonic)

Sick Puppies: All the Same (romantic video, lyrics can tweak platonic)

Sting: Fields of Gold (lyrics can tweak platonic)

Swedish House Mafia: Don't You Worry Child (child love, parental love)

Taylor Swift: marjorie (grandchild love)

Taylor Swift: Safe and Sound (familial/platonic)

Vienna Teng: Lullaby for a Stormy Night (parental love)

Will Smith: Just the Two of Us (parental love)

#Notes by Nikki #music #recommendations #lists #long post #aromantic #asexual #aroace #acearo #aro positivity #asexual positivity #family #friends #platonic love #familial love #child love #parental love #guardian love

[moonyinpisces]

LWA: So, GOOD OMENS is a comedy!

I'm tempted to say that that's the sum total of the ask, but...folks, it's a comedy. It's a comedy with occasional moments of drama to manage the viewer's affect, raise the narrative stakes, and accentuate the humor, just as tragedy normally has occasional moments of comedy to relax the audience and accentuate the horror (the Porter from MACBETH staggers in, waves, staggers back out again). Not only does it behave like a comedy, all of its characters act and, within the narrative, are interpreted according to comic conventions. One of the reasons I've bounced so hard off GO fanfic is that so many writers transfer the characters to dramatic (or even tragic) narratives without changing anything about how they interact with their fictional world, and as a result Aziraphale & Crowley mutate into the gods from AMERICAN GODS, who, even when "nice," are still all selfish SOBs.[1]. (That's what happens whenever you try to play a comic character "straight" without radically revising it: most comic characters would turn into villains if you put them into non-comic plots.) The reason I can talk about the child murder subplot from s1 as just a matter of Crowley having to learn that, no, sweetie, just because you've hired a hitman doesn't let you off the hook for the death (also, you know your friend trusts you, maybe quit taking advantage of that, hmmm?), and not as an urgent call to Aziraphale to DTMFA, is because that subplot still operates according to the rules of gallows humor.

The many legit complaints about S2's structure and pacing aside--this was a miniseries that could have been a movie--the reason that Gaiman could undo S1 so easily was because /as a comedy/, S1 works just fine. Most of the conflicts--Crowley attempting to get Aziraphale to kill a kid for him and what that reveals about his unwillingness to take responsibility for, well, anything; Aziraphale vacillating in his loyalties to Crowley and Heaven and what that reveals about his struggle to develop an independent moral framework--are worked out through minimal dialogue, symbolic action, and a fair amount of mood whiplash. Madame Tracy stops them from killing a kid? OK, that's sorted. Yo, Crowley, if you don't do something, something you think is legitimately bad will happen! OK, Crowley has suddenly discovered that taking responsibility exists. Yes, we tried murdering you a couple of minutes ago, but let's give you a pep talk! OK, fixed that subplot. Oh, I am going to give Crowley a meaningful look after my pep talk about the superiority of being "human incarnate"! OK, clearly Aziraphale has got that part of his problem mostly sorted. Hey, we're having a gentle conversation on the park bench! OK, Aziraphale doesn't actually accept Crowley's invitation (to the place or the side) in words, but there's symbolic lighting! And he sits next to him on the bus! And he clearly went to the apartment! So /that's/ fixed too. Right? Now we're risking our lives to save each other! OK, we've finally gotten past the damsel-in-distress game, and score another point for Crowley taking responsibility for his actions and Aziraphale choosing Crowley over Heaven. Then, in good comic fashion, everyone pairs up at the end, and Aziraphale and Crowley dine at the Ritz to romantic music.[2] Comic reconciliation, everyone! All of this is completely appropriate for the medium; trying to put the original dialogue for Aziraphale's and Crowley's moral epiphanies at the airfield on the screen, for example, would be both awkward and too much of a tension killer for the moment. But it does mean that all Gaiman and Finnemore had to do in S2 was to say that everything "resolved" through action and, at best, minimal dialogue had not been resolved at all, because virtually nothing was ever /named/.

I have no predictions for S3, because who knows, but...these are comic characters. Most of the angstier demands for the conditions under which Crowley will accept Aziraphale back or, quite frankly, vice-versa, don't seem to fit their established characterization or the comic narrative structure in which they exist.[3] It's highly unlikely that said established characterization will change very much, because, again, they are comic characters, and comic characters by virtue of their function tend to be both resilient (a character from a serious TV drama could never plausibly survive a sitcom unscathed) and limited in their ability to develop. Will Crowley learn about moral responsibility? Sure. Will he ever learn that actions have consequences? Almost certainly not, because that's one of the key drivers of the series' humor. Will Aziraphale fully shake off his allegiance to Heaven? Sure. Will he ever stop getting into trouble because he is INT 20, WIS 0? Amost certainly not, because ditto. Has anyone looked back at PRIDE & PREJUDICE recently? Within 3 very short chapters, Lizzie Bennet's fury at Darcy after the botched proposal is almost entirely DOA, thanks to her honest reading of the eye-opening letter he writes her; a couple of chapters later, she still has no regrets about turning him down (because his behavior truly wasn't "gentleman-like"), but she has otherwise admitted his sterling character and come to grips with the fact that his criticism of her family was, alas, on the nose. That's much more aligned with GO's narrative economy and characterization than C&A being enraged at each other for six episodes straight.

[1] I should note that I'm excluding cases where the author is, in fact, experimenting with different story-telling modes to see what happens. Ironically, Dark!AUs for both protagonists are arguably by far the most honest accounts of what happens when you strip the comedy out.

[2] I read the novel for professional rather than recreational reasons, and didn't see anything posted on Tumblr or AO3 until months after the TV series came out, so I'm afraid that my reaction to the end of the novel was not "ah, a cosmic romance, unlike the ill-sorted and screwed-up human couples," but "however you read this, Aziraphale and Crowley are just as ill-sorted and screwed-up as the human couples; it's just that that's what love /looks like/ in this universe."

[3] I guess I have to explain that I don't relate to or identify with the characters, and when it comes to analysis it doesn't matter if I like or dislike them. The TV characters are not people, but the collaborative product of the script, the actors, the production crew, and indeed the audience's interpretations, and they are inseparable from their narrative function. (E.g., the child murder subplot in S1 interests me because, besides telling us something about both the protagonists' failings, it is also part of the series' bigger arguments about free will and moral deliberation.)

#can someone please help me out here #i didn’t want to delete because clearly a lot of work was put into this #but my god what is going on