roger thornhill

anonymous asked:

I HAVE! A LOT ACTUALLY! Harvey helping Mike picking up a suit for the wedding at Renes. And like he eould look at Mike trying one and just knows... like not realizing he loves him, but accepting, embracing it. He would just get lost in his thoughts for a moment and Mike would go like "Harvey? What do you think?" and... i'll leave to you to continue. Happy ending pleaseee

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It’s a long drive over to Rene’s.

Actually it’s not, not even close, but Harvey lost his sense of temporal recognition sometime during the brief drive from his condo to Mike and Rachel’s place; once Mike slides into the backseat beside him with a giddy little bounce, biting down on a perfectly innocent smile, the next fifteen minutes somehow both stretch out to three hours and condense to approximately zero seconds. Then Mike grins at Harvey and opens the car door again, and Harvey thinks he pauses for a second or two before he gets out (which would be confusing if true), but at this point it’s impossible to know for sure (so it doesn’t mean anything).

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Tracking Hitchcock References in PLL

For Whom the Bell Tolls
Vertigo: the scenes of Spencer and Ian in the bell tower

Psycho: the whole of Lost Woods, the taxidermy, Hanna in the shower, closing shots of Mona as Norman Bates

It Happened That Night
First appearance of Rear Window Brew

This is a Dark Ride
Strangers on a Train

A Dangerous Game
North by Northwest: Lighter, Plane, Thornhill Lodge = Roger Thornhill

Season 4 Arc
Birds: Birds in Ravenswood, Tippi the Bird = Tippi Hedren

How the A Stole Christmas
Rear Window: Toby in a wheelchair watching the girls in the DiLaurentis house

Run Ali Run
Dial M For Murder: the scene of A choking Ali

Anything I’m missing? Could “full circle” indicate a return to Vertigo with a twin?

Cary Grant, North by Northwest [1959] directed by Alfred Hitchcock 

Despite being the epitome of ‘tall dark and handsome’, even Grant himself admitted that he wasn’t immune to making questionable sartorial choices in his naive youth. Writing a personal style guide for The Week in the 1960s, he claimed, “As a younger man, I tried wearing a flared, too-high collar that, although modish amongst those I regarded as the sophisticates of that day, looked ridiculous on my 17 ½- inch neck.” He went on to explain it was a valuable learning curve; “luckily, after the embarrassment of viewing myself from almost every angle on screen, that mistake was soon rectified.” This determination to constantly better himself, and the natural instinct which allowed him to do so successfully, is clear in his jaw-dropping career (with over fifty movies under his belt) and in his evolving style.

While he may have been a suited-and-booted young thing, it wouldn’t be unfair to suggest that with this evolution, he was fortunate enough to leave behind the preppy formality not unusual in a fresh-faced Ivy League graduate (beaten up sports coats, grating tweeds and thread-bare button-downs and all), instead embracing a more distinguished and sophisticated appearance. In one of his most famous roles as Roger Thornhill in North By Northwest (1959), even his character is described by an adversary as “a well tailored one”, a poorly hidden tone of jealousy audible. It’s in this film that he wears one of his most iconic Savile Row suits, a fourteen ounce, mid-grey worsted wool number that still makes bespoke addicts salivate.