Fairer to look upon than the sun...
pin-uppity:

kvothetheraving:

if i can just


Can I have that on a t-shirt please?

pin-uppity:

kvothetheraving:

if i can just

image

Can I have that on a t-shirt please?

1,328,369 plays

the-moose-has-the-tardis:

randomfandomreblog:

theshadowsinthesun:

prince-delphinium:

kaylakay19:

radstunts:

I JUST PEED MYSELF

THE AUDIO IS EXACTL HOW I READ THAT OMFG

I just died a bit

only a bit

I forgot to plug my earphones in and I played this. Needless to say I have scared many people in the library.

I DONT KNOW WHAT I EXPECTED BUT THIS WAS NOT EXPECTED

Sophie Turner confirms in an interview with The Wrap that she starts filming Wednesday in Belfast, where all her shooting with occur this year. She revealed that Sansa will be playing on her sexuality to manipulate Littlefinger in season 5

(via capleesi)

what?

(via wolfsdoom)

lostlnthemoment:

🌌
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.

Bryan Fuller, explaining just how he’s going to twist that knife even deeper this season [x] (via existingcharactersdiehorribly)

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. 

—Hugh Dancy, SDCC 2013

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.

—Bryan Fuller, SDCC 2013

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.

—Mads Mikkelsen, ETOnline, March 21, 2013 (before the first season even aired)

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.

(via bonearenaofmyskull)

cryinross:

While being interviewed, Brendon Urie was asked if he’s still in close contact with Ryan Ross and if there was a song dedicated to him on the new album. (x)

"yeah no I haven’t talked to them in a while"

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"no, there’s no song dedicated to any of our old band members"

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"that’s a funny rumour though I guess that’s interesting.."

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mothertrucking-flapjacks:

I’M CRYING