Pshh, as if. We all know it’s from American Dragon.
You guys are tripping. This is Dragon Ball Z
…I’m going to murder the three of you…
it’s from sailor moon, obvs
isnt it odd how the human mind expands inwardly forever
i can build characters and worlds and universes and define new laws of nature
construct stories and timelines and fit it all together inside my own head
and yet i can’t draw a fUCKING LAMP
Floral Tattoos Three: Remarkable Drawings
Basically my theory is that people magically turn 50% hotter when they look beaten up and dirty
we need to have a talk
Dean is literally Gods example of this fucking theory. Jesus Christ. Dat purgatory look.
every year after you turn 17 you get further away from being the age of the dancing queen and that’s my least favorite thing about growing up
ah but when you turn 34 you’re two dancing queens and thus having twice the time of your life. and at 51 you become the dancing triumvirate and three golden crowns are forged in your honor
lots to look forward to
Will seemed really frustrated that Hannibal doesn’t suck at cooking something that is not people
Here is the master post with all of the current ones together in one spot! Thank you guys for the support!
Sorry for the low resolution on the first two…I forgot I did that, so people won’t repost it.
UPDATE: Ah…nevermind orz.
In Britain, make-up might have been hard to find, but it was worn with pride and became a symbol of the will to win. ‘Put your best face forward,’ encouraged a 1942 Yadley advertisement in Churchillian tones. ‘War, Woman and Lipstick' ran a celebrated Tangee campaign. Bright red was the favourite wartime colour for lips and nails and lipstick names were often patriotic: Louis Phillippe's Patriotic Red; Fighting Red by Tussy and Grenadier - The new Military red created by Tattoo, effective with air force blue and khaki.
During wartime, a subtle change had taken place in the marketing and the perception of make-up. It was no longer about making a woman seem ‘dainty’, but making her look and feel strong. Rosie the Riveter became a wartime icon in the USA, representing the six million women working in factories for the war effort. [Rockwell] portrayed Rosie as a vast figure in work dungarees, her short sleeves revealing arms the size of prize-winning hams. Behind her hangs the stars and stripes, squashed carelessly under her feet is a copy of Adolf Hitler’s Mein Kampf, and on her mighty lap rests a lunch box and a huge riveting machine like an enormous gun. [Her] henna red curls, lipsticked mouth and painted finger nails stress her femininity, emphasising the fact that make-up too was a weapon of war [Madeleine Marsh, Compact and Cosmetics: Beauty from the Victorian Times to the Present Day]