parce qu'on s'est crié des mots qui ont sali tous nos plus beaux dessins, on a hurlé des chaudières d'encre noire sur le bonheur
j'expose ma tête, mes yeux, mon cœur et mes mains
si tu reviens
something quiet, gentle, and romantic for today. I’ve been assured it’s suggestive enough for @goodomensafterdark ‘s smut war, so enjoy this soft interlude with suggestive tummy ❤️
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Vincent van Gogh (Dutch, 1853-1890)
Tuin te Arles
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Will sitting on Hannibal's desk
Hannibal 1.02 Amuse-bouche | 1.05 Coquilles | 1.08 Fromage | 2.09 Shiizakana
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are you saying these small plates amuse butches?
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Vincent van Gogh (Dutch, 1853-1890)
Avenue bij Arles
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love how even will was like “hold up, there’s no way that’s true”
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i'll write a proper long post about this thats more detailed eventually, but another deliberate way hannibal manipulated will in s1 is by blurring the lines between their therapy sessions conversations about will's emotions and killers' emotions/motivations.
for example:
will is frantic and traumatized by his hallucination of killing the girl that georgia madchen killed in 1x10. hannibal responds to that, then relates will's experience to the killers experience. uses the word delusion as a bridge. this prompts will to dig further into the killer's head. while he's responding, will is closing his eyes and staring off into the distance, as if he is seeing what the killer is seeing. then, using the word lonely as a bridge, he brings the subject back to will.
hannibal does this constantly.
even in episode two, the second time they had ever been alone in hannibal's office together, hannibal does this.
will is frantic and traumatized from his hallucination of hobbs in the grave of one of the mushroom garden people. hannibal just barely talks him down from it, then instantly changes the subject to the killer. forcing will back into the killer's head. then changes the topic to will again. blurring the lines between them, again, and again, and again.
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