Played 609 times

earth-impressions:

The Only Living Boy In New York // Simon & Garfunkel

Half of the time we’re gone but we don’t know where,
And we don’t know where.

(Reblogged from earth-impressions)
(Reblogged from toddjames)
(Reblogged from damagedthought)
Played 8,987 times

ti-psy:

When I was seventeen,

My mother said to me,

"Don’t stop imagining.

The day that you do is the day that you die.”

(Reblogged from tomwaitsforme)
(Reblogged from menstyle1)
(Reblogged from damagedthought)
You can make me jealous — and you can hurt most awfully — ’cause my loving you is a chink in the armour of telling the world to go to hell and you can thrust a sword into it at any time.
Ernest Hemmingway (via sadsongsforcatlovers)
(Reblogged from putonyourbathingsuits)
(Reblogged from weirdohoney)
Mad Men is a show that defies easy categorization, because it qualifies for so many: suspense, melodrama, farce, comedy, tragedy. At its core it is existential horror, like Waiting for Godot or reality. There’s nothing as easy as a supernatural component or thematic metaphor to tie it up with a bow. Like real life, Mad Men is littered with false doors and loose threads. There’s no hero’s quest for vengeance, no big crime to be unraveled, no zombies to kill. There are no manipulative plot twists or their cousin, deus ex machina, no easy ways out, and maybe no way out at all. This might frustrate a viewer looking for traditional clues and obvious arcs, but it’s satisfying on a much deeper level. The show’s big mysteries might be subtler, but they are richer, more universal questions. Who are we? What are we doing here? Why do we fall in love or out of it? Why do we grow old and die?
Molly Lambert (via fyeahmm)

(Source: grantland.com)

(Reblogged from fyeahmm)
Played 163,375 times

tylershannon:

Maps (Acoustic Version) - Yeah Yeah Yeahs

they don’t love you like i love you

(Source: calm--reposed)

(Reblogged from dogmaster5000)
(Reblogged from tomwaitsforme)
People don’t like her because it’s the making of her, right now. When she, sometime soon in the future, becomes this person that she’s been kind of building up to, for the past three seasons, now four, then people will really begin to root for her. I think even the audience doesn’t realize she’s such a dark horse. If she acted badass and tried to kill everyone there, she would be dead by now! She’s so intelligent, and I can’t stress that enough. Courtesy is a lady’s armor. She’s using her courtesy to deceive people, and she’s using her former self as a facade, and it works so much to her advantage, because people still think she’s this naive, vulnerable, little girl, and she’s really not. She knows exactly what she’s doing. She knows what game she’s playing! And no one else does. And she’s learned from the best — Cersei, Margaery, Tyrion, Littlefinger, even Joffrey. She’s learned so much from these people, and they don’t even realize it. They’re unwittingly feeding her to become this great kind of manipulator. King’s Landing can either make or break a person, and in Sansa’s case, it’s making her.
Sophie Turner, in response to Sansa hate (x)

(Source: beyonslays)

(Reblogged from waltjrsbreakfast)
(Reblogged from curtist)

I’m not sure if I have a bigger crush on Tom Brady or Anna Kendrick 

(Reblogged from patspropaganda)