AU where Dr Keh and Ovenist are already married by chapter 5 and now are dragging Cicero along on their date:
Cicero has a habit of walking at midnight bc stress + jet lag. And then one day she finds Dr. Keh and the Ovenist arguing. When they see Cicero they immediately ask her to choose between these two new movies they've been talking about.
Cicero hasn't watched them, so the Ovenist and Dr. Keh insist on taking her to the movies to watch. When Cicero tries to decline they say they'll pay and all but drag her there (Cicero isn't protesting much tho because she needs a distraction). Because they MUST have an answer to 'is X better than Y or vice versa.'
The movie theater employees just give the tickets without question. When Cicero asks why she learns that Dr. Keh and the Ovenist have been showing up at literally every time the movie is in theaters.
After the movies are over Dr Keh and the Ovenist ask which is better. Cicero says Dr. Keh's movie is better and then regrets it as Dr. Keh makes a point to rub it in the Ovenist's face.
Poor Cicero having to endure this two idiots antics.
Bila luka ini membuat jarakku dengan-Mu menjadi dekat, maka bantu aku untuk kuat. Terima kasih ya Rabb, Engkau masih berkenan mengizinkanku untuk pulang kepada-Mu. Sebab bila tidak, siapa lagi yang akan menerimaku dengan paling baik, paling menenangkan, paling membahagiakan selain Engkau? Siapa yang akan menguatkanku?
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Yumna Al-Arashi, Axis of Evil (Yemen, Afghanistan, Iran, Iraq), 2020
in Leica Fotografie International (LFI) magazine:
"This photograph was made for my first European solo show in Berlin, in the gallery Anahita Contemporary. It's a self-portrait alongside Anahita Sadighi, Moshtari Hilal and Susu AbdulMajid. We are respectively from Yemen, Iran, Afghanistan and Iraq. Despite our different roots I noticed that we all share a similar background, having grown up in Western nations that often vilify the places our families are from.
I also noticed the strong profiles of each of our faces. So I decided to create this portrait with the title Axis of Evil – a play on the term so frequently used to describe our home countries when we were growing up. It also embraces the beauty of our distinctive noses, which are often treated as ugly, something to be changed. I wanted to embrace these qualities of ours in this image, creating something powerful, defiant."
In a world where art and other creative pursuits should be an inspiring, honest and a direct reflection of our society, it is truly disheartening to realize that most mainstream artists come from some place of privilege. Whether it be racial, financial, social, or geographic, artists succeed not just from their skill alone, but from having the privilege to make enough sacrifices to pursue art as a full-time job. Even when you do find the right representation, it may feel as though you must sacrifice your independence and your voice as a trade for financial security. This can make you feel like you're alone, or just another piece in a system designed to exploit you for capitalistic gain.
Now, now, sweet artist. I know you may feel quite depressed after reading all this. It's hard not to. Part of these frustrations are why I'm here writing this in the first place : because I believe that these systems must change and our approaches to financial stability as artists must be more transparent.
I believe positive change comes from the transparency to know what it is that needs to change. For too long, our culture has resisted a more public conversation about personal finances. In many ways, this has enabled us to become a society that's content to embrace the outdated trope of the starving artist.
Let's change that.
« How do I make a living as an artist ? », answered by visual artist Yumna Al-Arashi, in the Zine On making a living as an artist by The Creative Independent. You can read it for free on their website !
toh chhod kyun nahi dete? chhodna hal nahi hai. toh kya hai hal? saath reh kar apna yaar karna. doosre ko apni mohabbat mein giraftaar kar lena, taake woh khud ko aapke hawale kar de.
[Image ID: ten gifs of Wahaj Ali and Yumna Zaidi as Murtasim and Meerab from Tere Bin episode 20. The original Urdu dialogues are in white and yellow, and the subtitles are in blue and green respectively.:
GIF 1: Murtasim covering his injury with his good hand. Meerab reaches out to touch him, laying her hand over his.
GIF 2: Murtasim moving his good hand so he's almost grasping Meerab's.
GIF 3: Meerab looking up from the injury at Murtasim in surprise.
GIF 4: Meerab placing her hand tighter in Murtasim's as she asks him a question. He runs a thumb over her knuckles, dropping his gaze from hers to stare down at their hands together, then nodding slightly. The text reads, "Ek baat poochoon?" and the subtitle reads, "Can I ask you something?"
GIF 5: Meerab looking up at Murtasim as she asks, "Mujhe bachaya kyun tha?" The subtitle reads, "Why did you save me?"
GIF 6: A shot of just their hands. Murtasim is holding Meerab's hand in his injured one, the other running over her bangle, past her wrist before tucking under their joined hands to hold her one hand with both his tightly.
GIF 7: Murtasim watching Meerab with a pained crease between his brows as he says, "Tumhein na bachaata toh khud bhi zinda na reh pata." The subtitle reads, "If I hadn't saved you, I wouldn't have been able to live, either.
GIF 8: Murtasim's hand sliding up and into Meerab's hair, pushing it back from her face as he cradles it. Both of Meerab's hands are balanced around his sling.
GIF 9: A close-up of Meerab, Murtasim's thumb stroking down the side of her face as he cradles her head with one hand.
GIF 10: Murtasim watching Meerab with sincerity, pleading her to understand what he's saying.