Do you know when there are things you’re not sure you should do or say because you’re not sure of what the consequences will be or if you’ll like them
But you feel weirder just not doing or saying it because you feel like you don’t take chances and you’re ruining your life
But it’s more like you’re afraid of not liking the results even if the results are the ones you thought you wanted, but then you’d be responsible for creating the result in the first place and you’d feel like a flake to not want it
Idk but the takeaway is that there’s something I kind of want to do but kind of not
it is very important that people know their sister signs, because the compatibility between two tends to get disregarded when in actuality you are the yin to their yang— their other half! it is likely that you may have had a friend/friends or a crush/crushes that were your sister sign (or the sister sign of your moon sign).
aries ➥ libra taurus ➥ scorpio gemini ➥ sagittarius cancer ➥ capricorn leo ➥ aquarius virgo ➥ pisces
Aries: stop jackin off
Taurus: hoe and not ashamed of it
Cancer: crybaby ass
Leo: BIG Bitch and u fuckin kno it. u love it dont u.
Virgo: ethereal and always SO busy
Scorpio: u are sleepy and powerful.
Sagittarius: probably like drinkin some healthy shit. u look good as hell too.
Aquarius: clean ur fingernails
Pisces: stop bein so stingy an love urself
stop the world i wanna get off with you // arctic monkeys
well, i know that getting you alone isn’t easy to do and i don’t wanna lie and i don’t wanna tell you the truth and i know we got places to go, we got people to see think we both ought put ‘em on hold and i know you agree
“Potter has done too much for me for me to ever want to shit all over it. I’m never going to say: ‘Don’t ask me questions about that’. I remember reading an interview with Robert Smith from The Cure. Somebody said to him: ‘Why do you still wear all that makeup, don’t you feel a bit past it?’ And he said: ‘There are still 14-year-olds coming to see The Cure for the first time, dressed like that. I’d never want to make them feel silly.’ It’s a similar thing with Potter. People are still discovering those books and films. It would be awful for them to find out the people involved had turned their backs on it. Though sometimes, people do come up and say ‘I loved you in The Woman in Black,’ which is really sweet. That’s them knowing that it matters to me that I’ve done other stuff.”—Daniel Radcliffe for London Magazine (x)
I don't think you give enough credit to NBC. They put it on Friday because it got terrible ratings on Thursday and they don't want to waste a valuable timeslot. The Following gets more promotion but it's also a fundamentally different show. I found Sepinwall & Fienberg insightful when they compared Hannibal to Louie and Rectify, essentially art-film tv. Those also get terrible ratings on cable networks. Matthew Barney or Peter Greenaway + promotion != Michael Bay, financially speaking.
You talk like moving the show’s air time to the Friday night death slot was a gift. It’s not. It’s a stopgap measure at best, and an example of NBC playing it safe with a property that poses little financial risk at worst. So, no: NBC does not deserve credit for making that decision.
“Francis Dolarhyde has something that Hannibal Lecter doesn’t, which is an inkling of humanity left, he’s trying to stop. Will sees Francis Dolarhyde as a version of Hannibal Lecter that he can actually save from himself.”—
Just so everyone knows—since I’m seeing it speculated about—this is straight from the book, not something Bryan Fuller made up. Will wanted to save Dolarhyde. He was willing to risk dying to do that, once he believed Molly had gone.
Graham filled his glass again and sat at the table by the window, staring at the empty chair across from him, he stared until the space in the opposite chair assumed a man-shape filled with dark and swarming motes, a presence like a shadow on suspended dust. He tried to make the image coalesce, to see a face. It would not move, had no countenance but, faceless, faced him with palpable attention.
"I know it’s tough," Graham said. He was intensely drunk. "You’ve got to try to stop, just hold off until we find you. If you’ve got to do something, fuck, come after me. I don’t give a shit. It’ll be better after that. They’ve got some things now to help you make it stop. To help you stop wanting to so bad. Help me. Help me a little. Molly’s gone, old Freddy’s dead. It’s you and me now, sport.” He leaned across the table, his hand extended to touch, and the presence was gone.
—Red Dragon, pp. 193-94
Filtering this desire to save Dolarhyde from himself through the knowledge that Hannibal is unsavable is not a matter of Bryan Fuller trying to do some kind of Hannigram fanservice: it’s a natural extrapolation of part of why this might be important to Will given his and Hannibal’s past in this iteration of the story, and, not incidentally, might also be why Dolarhyde would be important to Hannibal. As they are the two main characters in a non-ensemble cast, this is the way everything in the story has to be told. Period.
People who think the relationship between Hannibal and Will, as it appears in the show, is an example of Bryan Fuller pandering to fans are forgetting that Bryan Fuller was one to decide that this is the story he would be telling, long before fans had any voice or involvement. If you don’t think every aspect of S1 was about Hannibal and Will in some way, you need to go back and rewatch it. And while you’re at it, take a look at Bryan’s and Hugh’s and Mads’s answers to questions last year at this time.
For both of them, two people who have been wandering their whole lives through a world in which they have not really experienced any viable form of connection with another human being—because they’re two extremely unusual people—and then they meet. And it is! It’s a meet-cute, over a little tasty morsel, you know, a little breakfast. And their appreciation for each other only deepens from that point.
It brings up an interesting question about what is love. And love between two characters that doesn’t necessarily have to be sexual can still be love, and can still be valid and still be powerful, and I do think there is a form of love that Hannibal has for Will Graham.
Lecter is a man of opportunity, he sees opportunities everywhere. When he sees Will, he recognizes himself to a degree. Lecter has a lot of empathy but he uses it as a tool, Will has a lot of empathy but has no idea what to do with it. That’s a nice opportunity; [he] will help this young man open his eyes to his real potential. That’s what Hannibal is hoping for. But he also sees an opportunity for a friend, which he’s probably not had too many of. Even though I’m the puppeteer, Hannibal really, really loves Will.
Season 2 had to get hyperfocused on Hannibal and Will at some point because that’s the way stories are told: the confrontation always comes down to the two main players on the board, with everyone else swept aside at that point. Others might be present and affecting the outcome, but for that period of climax, the story belongs to the mains, and it is theirs alone. The first half of the season showed us that Will had nothing to fight with but himself, the second half showed us him doing that—and whether they love each other or not, they are adversaries and have been so at least since the climax of S1 in the Hobbs’s kitchen, if not from the moment they first met.
Of course the show can’t and won’t stay hyperfocused on them forever—obviously—and so the story will broaden back up again and then narrow back down again, periodically, as fits the narrative.
And when it focuses in, it’s not a matter of fanservice. It’s the way the story has been constructed from day one.
friend from school brings up impending BOFA trailer on FB, links to angry and scathing review of DOS for old time’s sake
suddenly consumed by boiling rage fanned by PMS because the hobbit was one of the most beautiful and uplifting things i’ve ever read and the film adaptation(s) is/are so mind-bogglingly shitty and completely beside the real heart of the story