the guy is a genius

hannibal, basically

murder

lots of murder

pretty golden time-reversing

“this is my design”

hannibal and will being hella gay

*hannibal cooking people to the sound of classical music* 

*hannibal feeding people other people* 

will getting drugged

will getting kidnapped

will getting stabbed 

seriously guys pls stop hurting my son

that is not the consistency of blood

garret jacob hobbs 

abigail hobbs looking scared

hannibal and will being hella gay

“hey what new and convoluted way should we mutilate people this time?” “how about making that guy peel his face off and eat it” “bloody genius, mate” 

alana being completely convinced that hannibal/will is 100% innocent

alana being completely convinced that will/hannibal is 100% evil 

hannibal and will being hella gay

chilton being a sassy salt queen 

chilton having a really bad time

weird uncalled-for sex scenes

bedelia. just. bedelia.

“will did you take in another stray dog” “maybe” 

did I mention hannigram? BECAUSE FUCKING HANNIGRAM— 

canon lesbians 

and their son

“our own baby a verger baby”

never looking at pigs the same way again 

an eel 

hannibal drawing things 

fancy art museums, usually with mutilated dead people in them 

“you think you’re in control, but you’re not”

oh, bella’s arc is so sad, she— oh she’s gone

wait no look bella’s back

aaaaand we’ve forgotten her again

“demonic sexuality” 

i AM the grEAT RED DRAAAAaaAAaAAAAAAaAAAAaAAAAGON 

and, of course, the series finale: you can’t have a double suicide aloooone~!


edit: oh wait yeah will had a family for like two episodes what happened to them

3

“Every player feels the same pride about the fact that they’re going to be on the court, no matter whether they’re some genius or just a regular guy.”

Merry Christmas @yuri-o!!! From your Secret Santa (◠︿◠✿)

j-hope’s rap is so well-written from a native korean speaker’s point of view i mean the verses are put together really nicely – he uses rhymes that are fun(ny) and quirky yet easy and original?? and they are not heavy in a sense that it’s got more chic imagery and wordplay rather than traditional poetic elements idk i aint a rap expert but i just really like his rap & word choice with korean

Rising signs, “Your Part in the Family Drama” according to astrologer Donna Cunningham:

Aries Rising: Jock, Family Hero, Holy Terror
Taurus Rising: Slowpoke, Cookie Monster, Sensible One
Gemini Rising: Stand-up Comedian, Straight A student
Cancer Rising: Mommy’s Little Helper, Crybaby, Little Sister
Leo Rising: Golden Boy, Clown, Spoiled Kid
Virgo Rising: Nurse, Patient, Cinderella
Libra Rising: Mediator, Peacekeeper, Mama’s Darling
Scorpio Rising: Scapegoat, Silent Critic, Junior Therapist
Sagittarius Rising: Wise Guy, Good Student, Wanderer
Capricorn Rising: Little Parent, Responsible One
Aquarius Rising: Rebel, Genius, Domestic Earthquake
Pisces Rising: Lost Child, Savior, Poet

youtube

In sitcoms, even the guy who serves your coffee is a comedy genius. Every third line is a punchline, and every routine task turns into slapstick shenanigans. You can hear this reflected in the audience, who are rarely able to contain themselves in the face of such hilarity. It’s a world full of laughter and fun!

First, while we the viewers have the benefit of hearing the laugh track or live studio audience, the people actually living in the sitcom do not. They hear nothing but the endless silence of the void. You may have seen this clip in which the audience is removed from The Big Bang Theory. Without the canned guffaws, each quip is met with a dead silence oozing with bitter contempt:

Nobody here finds anybody else funny. Rajesh spends the clip making sexist demands at Penny, who is clearly not amused, and her justified denial results in the comeback, “Looks like somebody’s been taking bitchy pills.” Without the laughter you realize that’s not a joke – that’s just being an asshole.

Even the friends from Friends – ostensibly a show about six people who enjoy hanging out with each other – are revealed to be sad, miserable dicks without the laugh track.

6 Horrible Implications Of Living In A Sitcom Universe

I’ve noticed a contrast between people who still like Sherlock, and people who think it’s changed in a bad way. I think the ones who are disappointed have been surprised, because they assumed Sherlock would follow the all-too-common arc of shows that let the (white) (male) lead be cruel and petty and dismissive, and people find it funny because he’s the hero! He’s soft at heart! He’s a genius, that’s why he’s so mean–no one understands him! That does happen a lot. And if that’s what the show was doing, it’d be awful.

But I believe Sherlock is actually meant to be a show slowly subverting that awful trope of the genius white guy who gets away with everything. Greg Lestrade lays out the show’s character arc in the very first episode: “Sherlock Holmes is a great man. And one day, if we’re very lucky, he’ll be a good one.” BBC Sherlock is the story of how Sherlock becomes a good man.

That’s why in this iteration of Sherlock, John Watson isn’t a sidekick, not just a biographer; he’s the one who keeps Sherlock right. Who teaches him to change his focus from solving the crime to saving the life. Who repeatedly reminds him to think about the effect his words have; who teaches him kindness and respect and self-sacrifice. Slowly, Sherlock changes, from the man who took to heart Mycroft’s idea that love is a dangerous disadvantage, to the man in Season Three who holds the hands of a heartbroken client and shouts at the man who took advantage of her; who (according to John’s blog) takes a case just to get a woman out of a loveless, abusive marriage so she can be with her true love; who cries on the stag night when a client talks about lost love. Who gives his life for love of John. He’s learning to be softhearted; slowly. He’s not all there yet. This next season will change him again.

Some fans of Sherlock think the show’s lost it’s way. They’re the ones who came for the “pissy white dude” show. They loved his snarky, bitter, biting defensive act in Season One. They thought it was funny. By and large, they’re the ones who couldn’t stand Season Three, because he’s changing; we’re seeing him becoming kind, humble, patient, giving. That’s a part of his character that’s still growing, not fully developed, but slowly unfolding–mostly thanks to John.

We have yet to see what they’ll do with his character in Season Four, but they’ve promised to dig into the ghosts of his past, the things that have made him cold, and closed. They gave us a view of their end goal when they created The Abominable Bride, which textually is all about the ways in which Sherlock’s ignored, devalued and dismissed the feelings, contributions, capabilities of the extraordinary women who surround him, and John’s as well, sometimes; and subtextually is about his inability to show emotion, not to be vulnerable and tender; his claim that it’s a choice, a self-improvement and the reality that it’s a wound and a flaw that needs healing. This is a deep subversion of the hard-edged hero trope. This is turning it inside out and upside down; he becomes who he’s meant to be not by being above everyone, but by learning how much he needs them.

And that’s why I also believe that none of the romantic set-up between Sherlock and John was meant as a joke. What they’re writing is, again, a subversion of queerbaiting, no-homo bromance shows. Any moment that the audience could take as a joke (John’s jealousy of Irene and Janine, Sherlock’s jealousy of Mary and Sholto; John being confronted with his feelings at Battersea, Sherlock being faced with his on the dance floor at the wedding) isn’t funny to the characters. A good look at their faces shows it’s perfectly serious to them–and heartbreaking. And as the “jokes” get more and more serious and the relationship between John and Sherlock becomes more deep, more tender, more romantic and self-sacrificing, the casual audience becomes more and more uncomfortable because it isn’t funny any more. Some of them start to fall in love with John and Sherlock’s love; start to see it. Others leave the reviews we’ve all read about how “this isn’t like Sherlock”–“Why does it look like they’re about to kiss?”

Because they are. Gatiss and Andrew Scott are gay; Benedict’s portrayed gay characters multiple times with sensitivity and depth. Martin’s played a gay man before and kissed men onscreen. Moffat’s written two detective couples before, one explicitly a Holmes/Watson pair, who are queer and in love. They wouldn’t bait an audience. They wouldn’t make love between their leads a joke; they’d make it a mystery, a revelation, a tale within the tale. They promised terror and romance and adventure this coming season. “The story of two men and their frankly ridiculous adventures” is what the audience came for, but the bigger story Sherlock promised at the wedding is approaching its climax now.

Guys…during the List scene? Tree Adams is a genius I swear.

The scene starts off with a motive of the notes A, E, C, B. This little motive? This is the C/exa theme! And it continues throughout the piece with new material before eventually ending up where? Take a wild guess?

It ends with the Bellarke theme from last season.

I can’t make this stuff up. RIP us.