In Annie, We Believe. In Annie, We Trust. Dear Annie, I Love You So Much 🤍

Maknae line going drinking pt2

*after all the ruckus Jimin calls hoseok for help*

Hoseok: Faints when arrives because of alcoholic fumes and very low tolerance.

*calls other Hyungs for help"

Yoongi: Doesn't pick up the phone.

Namjoon: Which dim witted idiot gave Tae alcohol?!

Jin: Screams at them like an ahjussi but finally brings Namjoon and Yoongi to help them back home.

*after reaching home without managers knowing*

maknae line: Still pretty drunk and tipsy.

Yoongi: Gives death glare -_- "If any of you little shits do this thing again, I'll burn you alive."

maknae line: Instantly sober.

Taehyung: Yoongi Hyung, let's hold hands?

Yes. Just as I fall down this rabbit hole further, yes.

i honestly think so much of ethel cain, like that girl understands me and i feel so deeply for her

Evolution of Vkook slaying armys.

They’re our cute dumb and dumber pair that has been entertaining us since forever.So let’s see how they’ve gotten through, through the years.

2013

They were charming little boys.

And cute as ever.

2014

Oh, my.

But they were still super adorable.

2015

WOAH! Blowing away everyone in 2015

Aw. This actually makes my heart hurt.

2016

Ah, one of the many breathtaking moments in 2016.

But they're still little kids.

2017

Nevermind the previous statement I never said that

Okay, this is fucking irresistibly cute.

I guess that the end of this set. I'll do more sets in the future. <3

Ah, Salem, how I miss you <3

First we’ll take over the school, the State and then the world!

Sabrina the Teenage Witch – 2.19: When Teens Collide

Happy Birthday Namjoon 💕

Happy Birthday to the best leader, killer rapper, cutest fluffball and wonderful person.

Happy Birthday Kim Namjoon 💕

I love you ❤️

Jin's dad jokes.

*in yoonjin's room*

Jin: What do I see when I look into the mirror?

Yoongi: Oh no not again.

Jin: My beautiful reflec-Jin. *windshield laughter*

Yoongi: Fucking kill me already.

Tony Leung and his slutty little mustache in the short film, In The Mood For Love 2001 by the master, Wong Kar Wai.

HAPPY BIRTHDAY JEON JUNGKOOK.

This human is one of the most precious things on this planet.

and hardworking,derpy,dangerous, and beautiful human. Happy birthday.

⋅ʚ Aftersun: Are we happier in our memories than in reality?⋅ʚ

➴ January 23, 2025. ₊˚ෆ

While this is a transposition that has nothing to do with Seneca's entire statute, I firmly believe that Charlotte Wells's film is so multifaceted that it allows for opposing and complementary readings of its characters in equal measure.

────────────────────── ୨ৎ ─────────────────── The situations are pleasant, simplistic yet heartbreakingly human, with Calum's (Paul Mescal) tender witticisms and his father jokes concealing conflicts that slowly escalate into their reality. The film shows us, without much fuss or show, that time does not heal everything, that we are happiest in our memories because they sometimes fade for our sake. What are we but the pictures of our happy moments, or the silly dances in places where no one knew us? Aftersun is a subtle visual and narrative treatment of pain, but it does not completely erase it. Like time, the film navigates in our memories, in what we may have overlooked unintentionally or by force. We are Sophie in the past and in the present, sometimes also Calum, trying his best not to ruin the moment at the cost of our own peace.

It would be foolish to pretend that this coming-of-age film, full of emotional mirrors for the viewer, is a film of tissues and snot for the simple pleasure of appealing to our empathy.

Aftersun works on a micro level with vital elements such as nostalgia and loss in all its forms. Action, or the lack of it in the face of different situations, is also what makes Wells' work so special, for aren't we the ones who deform past events to the point of unconsciously changing them? the ones who miss not having noticed things we couldn't intervene in? The powerlessness of an isolated space like the present of the past, Sophie's position as a child not allowed to help her father, and Calum's willingness to keep everything to himself in order to make her happy.

The intimacy of the film goes beyond the superficial analysis of its subject, because visually it feels alive, with a pastel, almost dreamlike texture, and a camera that allows the characters to exist in silence, to be more than their careful dialogue. The lighting plays an important role in the expression of the characters' minds, like the clue that is removed by the first experience, which, from a spectator's point of view (like Sophie's), makes all the sense in the world. His narrative does not replace the aesthetic, but accompanies it, without in any way overlapping it.

One hour and forty-two minutes condense weeks of experience, years of pain and the innocence of two characters who are nothing more than ghosts to us and to themselves, and all that time is not enough to heal the emptiness Aftersun leaves in its viewers or to dry the escapist tears of those who say they never cry at the cinema. It's a film to live and relive, because your own memories will be there, and it will look more beautiful with every viewing, even if it hurts.

-ˋˏ philocalistherzˎˊ

my personal design of ethel!!! she is a country bumpkin and we love her @mothercain