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my pre-Michael viewing read

medina’s characters develop through how they perceive each other—meaning everyone is beautifully mysterious, inconsistent, and real. i’m able to make connections the characters can’t from their positions, and there’s so much they see amongst themselves that i still don’t know.

ok so dorian is like if wilde’s idealism met douglas’ egoism

“professional sissy” is the name of my memoir

oscar, you devil… had me in the first half, ngl.
whether it’s intentional or not, i’m back on board with this toxic bl

exploring the homosocial triangle, the homosocial/homosexual continuum, and the ways homosexual intimacy is repressed and displaced through a heterosexual protagonist couple and semi-censored violence.

This is what I mean when I say audience interpretation of a film (reception/decoding) is equally important to that of its creators’ intentions (production/encoding)!!

DAYUMMMMMM

A reasonable conclusion, but the facts are a lil off…

YOU TELL ‘EM, CLAUDIA

and now we encounter a similar problem to octavia butler’s fledgling.
didn’t wanna think about it then, and i still don’t now.

lestat has not done a single box breathing exercise in his immortal life and it shows

i’d kill for a good butch4butch book

so white people need super sight to recognize black people as humans. good to know, anne.