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[whateverinmymind]

alexia's post-match analysis:

"there are things to improve, but regardless of the result, there are always things to improve. when we beat belgium 7-0, i think we found things to improve. today when we lost there are also things to improve. and in the end, i think we are a results-oriented team that is always looking for improvement, and obviously today we have to analyse, self-criticise and continue. and, in the end, because of the way the fifa dates are going, we started much earlier. it is a preparation for the olympic games. that's the way it is. we've been working hard these two weeks to be in good shape for the olympics."

"we have to have personality and we work for it every day. personality for us is to control the rhythm of the game, to take the game to where we want it to go. it's true that it's much more difficult when we're a man down, but the team is capable of doing that. we had some clear chances, i would say, but as i said, the result is obvious that this is football and we all want to win. but for the moment we are in, obviously the important thing is the olympic games. and when we train and when we compete, we do it with that in mind. also, of course, congratulations and credit to the czech republic for winning, of course."

source: @teledeporte on twitter

[whateverinmymind]

[whateverinmymind]

Dorothée Blanck evoking Velázquez’s The Rokeby Venus in a scene from L’Opéra-Mouffe (Agnès Varda, 1958)

"Her body is never entirely still, but she wriggles, moves it naturally, stretching, unselfconscious with her back to the camera, so her body is seen in its lived dimensions even as she is framed in the pictorial setting. The moving of flesh and skin is part of the reclining nude imagined here. She never settles into a fixed ideal so that she is seen as living, as lovelier because she moves and feels. Varda opens the painting to this different apprehension of female nakedness. She references Velázquez and salutes the visual beauty and melancholy of his image, yet also tenderly unfreezes the pose. This mobility is part of the relation to tradition Varda establishes, which is reverent and irreverent all at once. Her work is enriched by the precursor images to which she refers but Varda claims freedom of association and repurposing, a liberty expressed in the very literal movement in and shaking up of the timeless still pose." — Emma Wilson, The Reclining Nude

[whateverinmymind]

In every life there is a turning point. A moment so tremendous, so sharp and clear that one feels as if one’s been hit in the chest, all the breath knocked out, and one knows, absolutely knows without the merest hint of a shadow of a doubt that one’s life will never be the same. For Michaela Stirling, that moment came the first time she laid eyes on Francesca Bridgerton.

[whateverinmymind]

[whateverinmymind]

BRIDGERTON | Season 3, Episode 8, “Into the Light”

[whateverinmymind]

Just the Saffi bits from Picard S2 Gag Reel 😻 This took me too long to make 😹 I have no regrets.

[whateverinmymind]

[whateverinmymind]

Doctor Pren would probably have a heart attack. Forget about him, my brother's head would explode.

Star Trek: Deep Space Nine│4x05 - Rejoined

[whateverinmymind]

🏳️‍🌈🏳️‍🌈🏳️‍🌈 HAPPY PRIDE 🏳️‍🌈🏳️‍🌈🏳️‍🌈

[whateverinmymind]

[whateverinmymind]

[whateverinmymind]

4.03 – 53 Pickup

[whateverinmymind]

These pictures will forever convince me that Edith Piaf and Marlene Dietrich were romantically involved at some point in their lives.

[whateverinmymind]

Marlene Dietrich presenting the Foreign Language Film Award at the 23rd Academy Awards (1951)

[whateverinmymind]

women in history | the sewing circles

the sewing circle was a private group of gay and bisexual women and men in hollywood. the group existed during the so-called “golden age of hollywood ” in the 1920s to 1950s. the circle included film idols such as greta garbo, marlene eietrich, joan crawford, and barbara stanwyck, as well as the poet and screenwriter mercedes de acosta. the circle kept its existence a secret, as the hollywood code of conduct as it did not allow homosexuality to appear in the cinema at the time, nor did it allow people whose homosexuality was publicly known to work in the industry. especially in the case of the big stars, this was prohibited with the corresponding contractual clauses.

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Marlene Dietrich by Cecil Beaton, 1932

“Marlene Dietrich is like a little girl dressed up as a woman. It’s a pity her child-like quality doesn’t get over on the screen. As a person she is very seductive, gay—and like a giggling girl. But if they keep putting her in the same type of role she’s in danger of becoming a monotonous movie vampire."

-Cecil Beaton, Screenland, Aug. 1932