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I think the more bloodless [a crime scene] is, the more effective it is at being totally psychological. Because if you see the blood, then there’s an easy association of the violence. The violence that happens when there isn’t blood is actually much more subversive and unsettling.

Bryan Fuller - “Hannibal” And The Consequences Of Violence

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People who have passion for horror stories, their appreciation/my appreciation is looking at it as opera. The stakes are huge — they’re literally life and death. And instead of consumption killing off the young lovers, you have Hannibal Lecter or Freddy Krueger or Michael Myers or Jason Voorhees. There’s a heightened quality to seeing a story where survival is at its core. Horror films have always been quite operatic for me.

Bryan Fuller - “Hannibal” And The Consequences Of Violence

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Yeah Yeah Yeahs - Sacrilege

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Typically, instead of taking some of the gold and silver ornaments or the riches they've got, Ragnar takes the monk, Athelstan as his slave and servant. It's a clever move, because Athelstan speaks a little Norse, Ragnar learns some Anglo-Saxon from him, they talk together and he gets a lot of information from Athelstan about England, other countries to the West, and he can therefore plan his next raids. He's genuinely interested, he's very curious about Athelstan, so it's slightly cynical, but it's nevertheless a real relationship that they develop.

Vikings writer and executive producer Michael Hirst [x]

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Vikings 1x03 - Dispossessed

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Vikings 1x03 - Dispossessed

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Fuck Comittees by Tibor Kalman, June 1998

(I believe in lunatics) It’s about the struggle between individuals with jagged passion in their work and today’s faceless corporate committees, which claim to understand the needs of the mass audience, and are removing the idiosyncrasies, polishing the jags, creating a thought-free, passion-free, cultural mush that will not be hated nor loved by anyone. By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices. Creative people are now working for the bottom line. Magazine editors have lost their editorial independence, and work for committees of publishers (who work for committees of advertisers). TV scripts are vetted by producers, advertisers, lawyers, research specialists, layers and layers of paid executives who determine whether  the scripts are dumb enough to amuse what they call the ‘lowest common denominator’. Film studios out films in front of focus groups to determine whether an ending will please target audiences. All cars look the same. Architectural decisions are made by accountants. Ads are stupid. Theater is dead. Corporations have become the sole arbiters of cultural ideas and taste in America. Our culture is corporate culture.Culture used to be the opposite of commerce, not a fast track to ‘content’- derived riches. Not so long ago captains of industry (no angels in the way they acquired wealth) thought that part of their responsibility was to use their millions to support culture. Carnegie built libraries, Rockefeller built art museums, Ford created his global foundation. What do we now get from our billionaires? Gates? Or Eisner? Or Redstone? Sales pitches. Junk mail. Meanwhile, creative people have their work reduced to ‘content’ or ‘intellectual property’. Magazines and films become ‘delivery systems’ for product messages. But to be fair, the above is only 99 percent true. I offer a modest solution: Find the cracks in the wall. There are a very few lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. They will understand that wealth is means, not an end. Under other circumstances they may have turned out to be like you, creative lunatics. Believe me, they’re there and when you find them, treat them well and use their money to change the world. Tibor Kalman New York June 1998

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"Why don't you come over?"

Some politicians are considering a negative ad campaign about the horrors of British life with the goal of convincing potential Romanian and Bulgarian immigrants to stay at home.

One Romanian newspaper has created its own parody campaign, extolling Romania in comparison to the hellhole that is Britain.

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