will robey

We hear nothing of their conversation, before they’re interrupted by a blundering minor character who recognises Therese. By the end, once we’ve retraced the history of their relationship up to this encounter, you more or less want this guy killed: the moment he intrudes on is so intimate, pivotal and moving that getting in the way is a capital offence.
so i wrote out the lyrics to don't threaten me with a good time

uzumagay submitted: i’m sorry if it’s bad i tried to listen as carefully as i could lmao 

alright alright

alright alright

alright alright it’s a hell of a feeling though (it’s a hell of a feeling though) x2

 

who are these people?

i just woke up in my underwear

no liquor left on the shelf

i should probably introduce myself

you should have seen what i wore

i had a cane and a party hat

i was the king of this hologram where there’s no such thing as getting out of hand

memories tend to just pop up

drunk pre-meds and some rubber gloves

five thousand people with designer drugs

don’t think i’ll ever get enough (don’t think i’ll ever get enough)

 

champagne, cocaine, gasoline

and most things in between

i road the city in a shopping cart

i’m packing camels in the smoke alarm

 

this night is heating up

freestyle and turn it up

say, if you go on you might pass out in a trip high

oh yeah, don’t threaten me with a good time

 

it’s a hell of a feeling though

it’s a hell of a feeling though

alright alright it’s a hell of a feeling though (it’s a hell of a feeling though)

 

what are these footprints?

they don’t look very human-like

now i wish that i could find my clothes

bedsheets and a morning robe

i wanna wake up

can’t even tell if this is a dream

how did we end up in my neighbor’s pool

upside down with a perfect view?

bought a bar at the speed of sound

fancy feet dancing through this town

lost my mind in a wedding gown

don’t think i’ll ever get it now (don’t think i’ll ever get it now)

 

champagne, cocaine, gasoline

and most things in between

i road the city in a shopping cart

i’m packing camels in the smoke alarm

 

this night is heating up

freestyle and turn it up

say, if you go on you might pass out in a trip high

oh yeah, don’t threaten me with a good time

 

i’m a scholar and a gentleman

and i usually don’t fall when i try to stand

i lost a bet to a guy in a chiffon skirt

but i make these high heels work

i told you time and time again

i’m not as think as you drunk i am

and we all fell down when the sun came up

i think we’ve had enough

 

alright alright it’s a hell of a feeling though (it’s a hell of a feeling though) x2

 

champagne, cocaine, gasoline

and most things in between

i road the city in a shopping cart

im packing camels in the smoke alarm

this night is heating up

freestyle and turn it up

say, if you go on you might pass out in a trip high

oh yeah, don’t threaten me with a good time

oH THANk u SO MUCH!! omg!!

Tom Hiddleston on why his Night Manager character could be the next 007

Photographer: Mitch Jenkins/The Ink Factory

 Tim Robey, film critic 

The BBC’s devilishly enjoyable adaptation of John le Carré’s The Night Manager premiered last Sunday and immediately announced itself as event television. Take the credits sequence – all morphing Martini glasses and crashing chandeliers, it was a mere Shirley Bassey solo away from stealing James Bond’s tux and making off with his audience.

Tom Hiddleston, in the title role of soldier-turned-hotelier-turned-spy Jonathan Pine, certainly scrubbed up impeccably, giving us a smoother (and younger) hero than the one who slinked through the pages of Le Carré’s 1993 novel.

It wasn’t just a matter of cutting a dash, though. The 35-year-old Englishman, a Shakespeare veteran best known to global film fans for his role as Loki in the Marvel comics franchise, hasn’t skimped on his homework either. He never does. Every close-up shows him thinking his way carefully into this part, turning the whole enterprise into a cunning chess game.

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