another horse drawing since its horse year and it’s starting to get a bit warmer here hehe :3

so as long as tumblr keeps this, here’s the tumblr version of etiquette that was maintained when twitter’s quote-retweets affected artist visibility/notes:

• for art that someone has added reblog commentary to (or removed the caption from), reblog from the source
• otherwise, avoid adding reblog comments to art (as this will affect the artist’s notes/visibility)—utilize tags and replies to provide commentary (which artists will absolutely appreciate)

reblog comments are comments added to the body of a post, not the tags and not replies.

ideal blunt rotation

if you want to give feedback on this update:

^ this is what the e-mail says when you send in a support ticket. i wouldn’t stop sending in manual feedback, but it’s a good idea to do what this says and reblog the changes blog’s reblog of the announcement post with your commentary.

do not add commentary onto somebody else’s reblog comment. the update has already been rolled out, and they might not see that ‘separate’ reblog chain. another example of how awful this is and how it’ll force us to change how we interact.

we fucked up

*This poll was submitted to us and we simply posted it so people could vote and discuss their opinions on the matter. If you’d like for us to ask the internet a question for you, feel free to drop the poll of your choice in our inbox and we’ll post them anonymously (for more info, please check our pinned post).

Since some of you don’t seem to understand how this ‘new notes’ thing works, I’ll break it down:

I’m the OP. I’m making this post. If you like, comment, reblog (without comment) on this post, then I’m the one who will see all those notes in my activity page.

However…

If you reblog (with comment), I will get a notification that you did that, but any likes/comments/reblogs (without comment) you get on that reblog will only be shown to you. As OP I won’t see them.

If someone adds a reblog (with comment) to your reblog…as OP I won’t see that. I won’t see any of those notes in my activity page.

Basically, if someone with a large following makes a comment, then they will get all the notes and OP will see nothing. If OP has said something silly because they’re, y'know, 21 and it happens, and then someone reblogs it onto the dash of someone with a large following who then dunks on them for fun? OP doesn’t see it, doesn’t get notes for it, but they’re gonna get the harrassment for it in their inbox.

If I, someone with a 5 digit follower count, reblog something to correct misinformation on Ancient Egypt, then OP will never see it unless it was on the original post, but I will continue to get notes on that post even though it’s not my post. If I reblog fanart, or just art in general, with a comment like 'Oh this is so lovely!’ then OP will not see any of the notes from people reblogging it from me. They’ll only see my reblog. So it’s possible for an art post by someone else to have 200 notes for them, but 9000 for someone who reblogs it with a comment, and the OP artist will have no idea it’s been seen by that many people.

It’s killing blow to the community we’ve built here, by someone higher up who doesn’t understand that being able to see all the comments and reblogs is what makes this site the place I keep coming back to.

That’s what sucks.

I encourage people to go to tumblr’s support page, select contact support, and then in the dropdown menu select 'Feedback’ and leave polite and constructive feedback (for those of you who enjoy 'emails worded politely but are a strong 'are you an idiot?’, try that way of wording it). They’re more likely to listen to you if you’re not an asshole about it. I’ve already gone and done this, and I hope others will too.

First jelly roll rug!! 42" x 28" , I must have ripped it apart 4 times and wasted a 1500m spool putting it back together. when they say you have to have a level sewing surface for this so it doesn’t curl and turn into a bowl they MEAN it. It’s still not totally flat but enough that it distributes out if stomped on LMAO

This is an awesome batting buster for those that keep the long awkward scraps after squaring up quilts (it’s me. I’m those) but I’m not making another one until Im able to commandeer the dining room table for assembly 😌

everyone is a monster to someone. since you are so convinced that i am yours, i will be it. - captain flint, black sails

so true

Official Wednesday post

It’s Tuesday

Happy “Not Only Is It Not Friday, It’s Not Even Thursday, Official Wednesday, It’s Tuesday” Monday, everyone

tumblr app very healthy. tumblr app good for posts. posts very good posting on tumblr app :)

my post about the efficiency of the tumblr app is too sexy for people to handle i see

Tom Holland does Rihanna’s “Umbrella” on Lip Sync Battle

I’m literally zendaya reacting like he didn’t have to go that hard and yet..

if this comes up on my dash and i don’t reblog it - just assume im dead

tumblr app very healthy. tumblr app good for posts. posts very good posting on tumblr app :)

This is so funny. People never change

EVERYONES PICKING ON ME BECAUSE I DONT HAVE THE NEW SHOES MOM I’M NOT POPULAR MOM AND ITS ALL YOUR FAULT!!

#this could be a literal text message lol#i don’t think he’s manipulating her lol just being a salty teenager

LITERALLY LMFAO “HIS dad works for MY dad but he looks BETTER than me” is an outraged cry from spoiled teens all throughout time all throughout the world

The full performance of “I Lied to You” from “SINNERS” at the Oscars 2026

‘Gentleman Jack’ Brings a Quiet Revolution to Ballet

Annabelle Lopez Ochoa’s new ballet, based on the life of one of the first modern lesbians, is changing how dancers view their traditional roles.

by Laura Cappelle - The New York Times, March 2, 2026

One morning last August, the female dancers of Northern Ballet tried something most of them had never done before: partnering each other.

In one of the company’s studios in Leeds, England, there were giggles and some near falls. Carefully but eagerly, the dancers tried to steady their partners on pointe — in ballet, usually the task of men. By lunchtime Federico Bonelli, the director of Northern Ballet, was demonstrating the correct way to hold out an arm for support — palm up, not too close to the body, at bellybutton level — to women in line for coffee.

“It’s the opposite,” said the dancer Nida Aydinoglu, 20, miming how she usually gives her hand to a male partner, palm down.

“It’s just a new technique,” Bonelli replied with a smile.

Six months later, Aydinoglu and her female colleagues are now flying through closely entangled lifts and turns — and will soon showcase them in a landmark new work that premieres on March 7 at Leeds Grand Theater: “Gentleman Jack,” Annabelle Lopez Ochoa’s adaptation of the 2019 television series about Anne Lister, a 19th-century English landowner known as one of the first modern lesbians.

For most of ballet history, heterosexual romance has been the default. Telling Lister’s story is a quiet revolution. Openly queer characters are a rarity in the art form’s repertoire, and allusions to romance between women are always fleeting: a scene in Bronislava Nijinska’s 1924 ballet “Les Biches”; a pas de deux in Roland Petit’s “Proust” half a century later; a kiss in Wayne McGregor’s “Woolf Works,” a 2015 production inspired by Virginia Woolf.

Rachael Gillespie, foreground left, and Gemma Coutts in a rehearsal for “Gentleman Jack.” Sophie Stafford for The New York Times

By contrast, Lopez Ochoa offers an intimate, in-depth look at Lister’s relationships with two of her long-term lovers: Mariana Lawton, who has chosen to be married to a man over staying with her, and Ann Walker, a local heiress whom she “marries” in a secret, symbolic ceremony. Both women are described at length in Lister’s diaries, which were partly encrypted to hide her sexuality.

“To actually have a ballet centered on a queer woman — that’s a really radical shift,” said Clare Croft, a dance historian and theorist at the University of Michigan, and the dramaturg for “Gentleman Jack.”

The idea came to Bonelli, he said, after he was appointed to lead Northern Ballet in 2022. The company of 36 dancers has long specialized in storytelling, and boasts a repertoire of original ballets inspired by literary works and historical figures, like David Nixon’s “Wuthering Heights” and Cathy Marston’s “Victoria,” based on Queen Victoria.

Yet Bonelli wanted to diversify the stories ballet often tackles, and “Gentleman Jack” “felt right in so in so many ways,” he said in February. In Yorkshire, the English region that is home to Northern Ballet, Lister is also a local celebrity: Her estate, Shibden Hall, is about a 20-minute drive from Leeds and open to the public for visits.

When Bonelli pitched the idea to Lopez Ochoa, an in-demand Belgian Colombian choreographer who has created a number of biographical ballets, her answer was a resounding yes. Her interest in gender fluidity had already led her to develop a script with the writer Luke Jennings for a ballet adaptation of “The Danish Girl,” the 2015 film inspired by the life of the pioneering transgender woman Lili Elbe.

But no ballet company wanted to produce it, Lopez Ochoa said, adding: “They told us, ‘We think our patrons wouldn’t want that.’”

Left, Annabelle Lopez Ochoa, the ballet’s choreographer. Sophie Stafford for The New York Times

She could relate to Lister’s struggle with gender norms. Lopez Ochoa “wanted to be a boy” growing up in Belgium, she said, and struggled with ballet’s expectations of dainty femininity throughout her training as a dancer. “I wanted to be taken seriously,” she said, “to have a voice.”

In “Gentleman Jack,” the women performing Lister’s role have had to undo some of their classical training, too. For most of the ballet, they are in flat shoes rather than the more unstable pointe shoes, to allow them to be more grounded. They also wield canes and have gotten sore arms from lifting their partners, albeit not overhead. “The more you allow yourself to take space, the better it is,” Lopez Ochoa told them in rehearsal.

To help the dancers, Croft, the dramaturg, showed them video compilations of the commanding walk developed by Suranne Jones, the British actor who played Lister on television. “She looks like she’s always on a mission,” said Gemma Coutts, a 24-year-old dancer who is set to dance Lister on opening night. Instead of stretching her feet elegantly, Coutts had to think “heel-toe”: “I’m not just wafting off the stage,” she said. “I’m going from A to B.”

For Coutts, who said she usually gets “nervous and shy in front of a lot of people,” playing the unapologetic Lister has been confidence boosting. “Gemma has come out of her shell,” said her colleague Julie Nunès, who plays Ann Walker.

The women of Northern Ballet have also embraced portraying same-sex romance. “I think they are less prude than I am,” Lopez Ochoa said with a laugh. Coutts said that she was a little anxious at first about kissing a woman, but the feeling went away fast. “Female or male now, I realized that I’m just acting,” she said, pointing out that gay men in ballet companies “have to pretend like they’re in love with women all the time.”

For “Gentleman Jack,” Lopez Ochoa, who is straight, put together a creative team that included several members who identify as queer. Croft, who grew up taking ballet classes and later edited a book on queer dance, was especially elated. “Ballet is my first dance love, but the codes of chivalry are so deep in it,” she said. “When it shows up in relation to queerness, it tends to focus more on the men.”

Gillespie, center, as Ann Walker, whom Anne Lister “marries” in a secret, symbolic ceremony. Sophie Stafford for The New York Times

Initiatives like #QueerTheBallet, a collective started by Adriana Pierce to bring queer women and nonbinary artists together during the coronavirus pandemic, have improved visibility in recent years. Pierce, a former New York City Ballet dancer who is now a choreographer, said she has gone “from being the only person I knew to meeting people every day in the New York dance scene who are young and queer.”

Still, challenging ballet’s gender binary through choreography takes the kind of research and time that mainstream ballet rarely provides. “I don’t see a lot of larger companies investing in specifically queer voices and stories, or even anything that’s different,” Pierce said. Queer retellings of ballet stories have come instead from independent artists, like Kade Pyle, who has produced queer versions of classics including “Giselle” and “The Sleeping Beauty” through her company, Ballez.

By contrast, an established company like Northern Ballet, which tours widely around Britain, can bring a story like Lister’s to “a massive audience,” said Croft, who described the “civic function” of the art form: “People take pride in their ballet companies.” One worry for Bonelli was that the male dancers of Northern Ballet would have little to do in a production like “Gentleman Jack,” with only two soloist roles for them. But Lister “lived in a man’s world,” Lopez Ochoa said, and throughout the ballet, she squares off against businessmen to defend her financial interests, as she did in real life.

The men haven’t complained. “People are interested that the company is willing to take this direction,” the dancer George Liang said. “And having a strong woman challenge me onstage is so much fun.” Aydinoglu, who performs the role of Lister, commented with a laugh: “I’ve really enjoyed bossing the men around, I’m not gonna lie.”

“The more you allow yourself to take space, the better it is,” Lopez Ochoa told dancers in rehearsal. Sophie Stafford for The New York Times

Northern Ballet hosted an open rehearsal in January to gather feedback from women from Calderdale Friends of Dorothy, a social support group for lesbians, and a handful of younger queer women. They took their role to heart: In the discussion afterward, a sensual pas de deux between Lister and Walker came under criticism because Lopez Ochoa had opted to have two men — embodying genderless “words,” a reference to Lister’s diaries — carry the women aloft in the scene.

“One of them said, ‘You cannot put men into an intimate moment between two women,’” Lopez Ochoa recalled. “I let it simmer. Then I thought, I have to fix it.” Now, the women are alone onstage.

The group of queer women who sat in on the rehearsal were “blown away,” said Rachel Lappin, the Anne Lister program coordinator for Calderdale Council, who organized the outing. “One member commented that it was the best day out she’d had in decades.”

Support for “Gentleman Jack” has also translated into “incredibly successful” fund-raising for Northern Ballet, Bonelli said. Last year, the project, which is co-produced by the Finnish National Ballet, won the Fedora - Van Cleef & Arpels Dance Prize, a prestigious European award that supports the development of innovative stage productions. A crowdfunding campaign that runs alongside the prize “not only met but surpassed its target,” Edilia Gänz, the director of Fedora, said in an email.

Ahead of the premiere, the dancers of Northern Ballet say the effects of embodying Lister’s bold individuality are already felt. “As a woman, you often try to blend in, even in real life,” Aydinoglu said. “It’s been really, really different to just be my own person. At the end of the day, you don’t need to please everyone.”

And for queer women in dance, “Gentleman Jack” is a special milestone. When asked about it, Croft paused, visibly moved.

“It’s probably telling that I’m trying to catch myself from tearing up,” she said. “It’s rare you get to do something that you never imagined would happen.”

Sara Waisglass as Maxine “Max” Baker on Ginny & Georgia season 1 episode 3

kitty car 🐱

soundonsoundonsoundon!!!!!!!

Sometimes I look back on Umbrella Academy like a man looks at his wife’s black and white picture in his wallet. We had it all. That show really had everything. If I had a checklist for a fandom, it ticked every box: the dysfunctional family, superpowers, the gays…

I just remember sitting there as the montage of Five and Lila kept going:

anyway I miss you klaus hargreeves, I guess I should go look at my garden.

Streetpass was such a goated feature why did they never do it again. Literally making small human connections with ppl you wouldnt even know existed by going to the store. Humanizing the everyday ppl around you and reminding you youre alone because ppl exist and play and love and have fun. come back

writing is so fun until you run out of pre-planned plot and you stand at the precipice and slowly realise that you never really had a plot in the first place

Interiør med kunstnerens hustru, der står ved en kommode og læser - Carl Holsøe (Danish, 1863-1935)

rate my chestnut man

felt compelled

snoopy of the day

“SUPERMAN”
2025, dir. James Gunn

we’ve done it again folks

i posted this old as balls gifset ten years ago today

Happy anniversary old as balls gifset

@meme-conservation

We are pleased to note the continued survival of this meme to the point that it, too, is Old As Balls

oh siddhartha gautama, called Buddha, we’re really in it now

Strawberry Shortcake: The Four Seasons Cake ♥ 2007