theconcealedweapon:

quezify:

the benefits of catch and release.

classicpalladium:

I CANNOT stop thinking about the “Hannibal is not exactly mortal” line from Hugh Dancy. Really supports my theory of the character Hannibal’s genre-awareness. We follow Will’s story, but Hannibal seems to know he’s being watched. It’s probably the most obvious in season 3, when he starts breaking the fourth wall, but even before! The thing I love about Hannibal are the just so slightly bent laws of realism: how is Chilton still alive, how does Hannibal Lecter manage his time etc etc. I think Hannibal knows he’s in a story about him and acts accordingly, playing his part. We see the other characters doing mundane/human things (like feeding their dogs), but Hannibal keeps an air of superiority about him: I only let you see what I want you to see because I know you’re watching me. He’s not exactly mortal. He can be wounded, yes, but it doesn’t seem to matter to him: his fight with Jack leaves him wounded, but only for a day or so. Alana and Will are actually shown in the hospital, needing time to recover. Versus Hannibal getting shot in the stomach and helping to take a man down immediately after. Not exactly mortal!!!

puddingcatbeans:

to be perfectly honest. i don’t care if it is cheesy or cliched or idealistic. i like stories where the core of it is about kindness, the warmth we can offer others and the gentleness we receive in return. maybe the moral of the story IS love triumphs. it better fucking be

bagofbonesmp3:

the green knight: the uncanny horror of masculinity

shesnake:

honestly if your immediate reaction to elliot page naming and discussing his past partners in his new memoir is that he’s “dragging them into his mess”, “telling women’s business” and/or automatically assuming he didn’t get their consent to disclose the info, you’re probably just a transphobe looking for reasons to demonise him

orpheuslament:

Love Song for Two Vampires, Dante Émile