love is all, love is you

kristen. certified revolver (1966) stan. Please do not repost my gifs anywhere. twitter: @swaying_daisies ꕥ ꕥ ꕥ ꕥ

[tswift]

I feel a lavender haze creeping up on me

[cassianandfenrysaremyboyos]

I am consuming a media and you are going to hear about it

[lu-sn]

and the thrilling sequel: i consumed a media months ago and you are still hearing about it

[freenarnian]

and the cautionary conclusion: the media has consumed me

[filmgifs]

You can’t possibly expect me to claim that child as mine now. I don’t. I don’t. I want a divorce, Clifford. I’m leaving you. No. No, you can’t. Look, I’m so sorry about how this has all turned out, but we both know that this marriage has been very unhappy for a long time now. It hasn’t been. Not for me. Well, yes. Because you laid out all the rules. And I tried to follow them. I tried to support you in every way I could. But you gave me nothing in return. Not the slightest drop of affection or kindness. And what’s worse, you made me feel ashamed for even wanting those things. Emma Corrin as Lady Chatterley in Lady Chatterley’s Lover (2022) dir. Laure de Clermont-Tonnerre

[jakeperalta]

can’t find the right font for a gifset. 3 dead 12 injured

[roosamariart]

midnights 🌙

[djo]

Joseph Quinn at German Comic Con

[michonnegrimes]

THE BEATLES in 1966 》

     By 1966, the Beatles had progressed to the point that if they could imagine a sound, they assumed it could be realized. They didn’t regard it as a hindrance that something had never been done before or that experienced technicians foresaw problems. Their imaginations were delightfully unbounded. The Beatles were able to think conceptually. They could imagine a type of song not already in existence and then work their way toward achieving it. Many acts were limited by what they already knew and couldn’t think beyond it. The Beatles, on the other hand, could envisage music that had yet to be made but which, in their view, needed to be made, even though it was at times indistinct and needed the interpretive abilities of George Martin to bring shape to it. As Ringo put it, “We finished touring in ’66 to go into the studio, where we could hear each other and create any fantasy that came out of anyone’s brain.” – Steve Turner, Beatles ‘66      With “Paperback Writer” in 1966 they turn into a rock band. They sort of invent overdriven rock. There’s no other band that’s actually playing like that at that point. – Elvis Costello      Revolver comes along and every song is a new idea. This is the most extraordinary response to the life they’ve just lived, and it’s in these songs. When the Beatles moved from the stage into the studio they, in a sense, had the equivalent of the classic notated score. They had all this multi-tracking technology that’s just become available to them. They could put a line on, put a piano part on, and then try something else on top of that. They started to create these structures in music which couldn’t possibly have been created by just sitting and writing with a guitar. For example, I think most musicians, when they heard “Tomorrow Never Knows,” thought that the world actually wouldn’t be the same after that song. Every detail of what they did is of fascination to us because it’s so rich, it’s so layered, there’s so much going on underneath these straightforwardly beautiful melodies. – Howard Goodall, composer

[djo]

You’re not a freak. Yeah, I am.

[djo]

I want to ask you quickly, what would your Vecna curse song be? I’ve been asked this question a few times and I’ve just got to commit to it, so it’s a song called Up & Down by a band called the Vengaboys. You can research them, it’s a silly song.

[djo]

“There’s a beginning, middle and end to every character’s arc and I feel incredibly touched by the reception that Eddie’s gotten, how inviting they’ve been. There’s a lot of devotion toward the show and its characters. I think about characters that I loved when I was growing up and now to think that someone out there feels like that about a character that I played is a kind of mental thing. It’s humbling and something I never expected to feel. Thank you for having him while he was here.” - Joseph Quinn

[djo]

I wish everyone had gotten to know him. Really know him. Because they would’ve loved him. They would’ve loved him. Even in the end, he never stopped being Eddie. Despite everything. I never even saw him get mad. He could’ve run. He could’ve saved himself. But he fought and died to protect this town. This town that… hated him. He isn’t just innocent… He’s a hero.

JOSEPH QUINN as EDDIE MUNSON Stranger Things 4

[djo]

This year’s different. This year is my year. I can feel it. ‘86, baby!

JOSEPH QUINN as EDDIE MUNSON Stranger Things 4

[djo]

Perhaps the spectators might take pity on me. I was on the dance floor days after a terrible injury to the head. Perhaps I needed someone to steady me. Make sure I was all right. Perhaps you were the first person I found.

KATE SHARMA and ANTHONY BRIDGERTON: 2.08 The Viscount Who Loved Me

[michonnegrimes]

I NEVER THOUGHT I’D GET TO SEE HIM I’M SO HAPPY 😭💕

[mancandykings]

The thing is, I am a loving person. I am super sappy when it comes to romance. But I’m not the Antonio Banderas, swashbuckling, Pierce Brosnan, smooth-talking type.

[deokmis]

Emma (dir. Autumn de Wilde)

[queercodedcowboy]

getting to know my mutuals and followers: if you had to sing karaoke on the spot RIGHT NOW what would your go to song be reply in the tags