I regret marrying you, Lizzie. Cause I’ve put you through so much. I’ve put you through all of this. Ruby. Everything that is to come. When you married me, you married a man and you married a curse. You have shared my fate. That is my regret. But know this, Lizzie. In this moment, in this room… I love you.
Thomas Michael Shelby OBE DSM MM MP
#PEAKYBLINDERS: You married a man and you married a curse. You have shared my fate. That is my regret. But know this Lizzie, I love you.
“i can't love you in the dark. it feels like we're oceans apart, there is so much space between us.” #TommyLizzie
It gladdens me to know that Odin prepares for a feast! Soon I shall be drinking ale from curved horns. This hero that comes into Valhalla does not lament his death. I shall not enter Odin’s hall with fear. There, I shall wait for my sons to join me. And when they do, I will bask in their tales of triumph. The Aesir will welcome me. My death comes without apology. And I welcome the Valkyries to summon me home!
Ragnar was so ready to die and was happy to die there. He feels like his whole plan has worked, and his kids were coming to avenge him and get revenge on Ecbert,” explained Fimmel who, according to Hirst, had “strong ideas” about how Ragnar’s death should play out in the series. Fimmel was also fully on board with the idea of Ragnar’s death not coming at the end of the season.
Speaking with THR, Hirst explained why he chose not to make Ragnar’s death the focus of the season four finale. “This is the saga of Ragnar and his sons. I didn’t want to suggest to the audience that the death of Ragnar meant some huge breaking point in that saga; it’s just part of the weight. So Ragnar’s sons will continue the saga. This isn’t the end of Ragnar Lothbrok.
Ragnar will live on in his fame. He will live on because he was the most famous Viking of the time. But he also, of course, will live on through his sons. I never wanted this story to end when Ragnar dies physically. We’ve shot roughly 25 more hours of TV now after Ragnar’s death, and we are a long way down the line. We are really embracing the sons, but Ragnar hasn’t gone away, because Ragnar is still the inspiration.”
Finding the meaning behind our existence is a foolish answer.
I think that religions where born when the first children died in the arms of their parents. At some point you just can’t accept everything, you have to change your views on the realities of a harsh world so you don’t loose your mind. “He is in a better world now”, “this rainbow is a sign send by God”, “I am ill because I have done something wrong”, “this thief who escaped is going to pay for what he did”.
In a place where there is no concept of science, where you are confronted to randomness and injustice, you have to replace [something that we don’t know yet] by [God], it’s shorter and enough most of the time to keep going.
Believers of all confessions are not foolish, nor stupid, I think they just have faith in a better world with better people. I respect that even if I don’t believe in any Gods.
Religions helped us build civilizations by making the first laws and sanitary rules (don’t kill, don’t eat pork, don’t steal, clean yourself)
Not personally religious, but I can understand why believing in a higher being can give a lot of people peace of mind. Edit: It’s certainly better than the depressing alternative, that everything is pointless
Just want to clarify that there is ALOT of difference between atheism or not believing in god, and nihilism.
Honestly, religion is a silly little cult that’s gone on for too long. But I like it because it’s helped me accept who I am. I believe that there is something after death but know that it can never be proven but it’s nice to think that there might be. Plus the accepting myself thing thru religion really helped me come to terms with being gay. Knowing someone would always love me was wonderful. But yeah, religion is a foolish answer to a foolish question.
If God or gods exist, then I see two options, neither of which require a religious background. Either hell doesn’t exist and everyone goes to heaven because situations that lead to where you are can’t be controlled, or hell is basically perfect rehab because people have mental illness and or make poor choices. If your point of view ends up fucked enough, you may see something as right when it’s wrong, so hell just doesn’t make sense. If one doesn’t then why worry about it and waste what time I have? If nothing matters then everything matters
Ask something that can’t be proven isn’t foolish at all. It’s in fact the purpose of questions. If we know the answer to a question and could prove it then where’s the need to ask the questions. And the more unanswerable a question is the better the question is (for example Millennium Prize Problems are better problem then let’s say “what does 1+1 equal”) So “What’s the purpose of everything” is in fact one of the best questions ever written. Of course you can just argue that all questions are foolish in general but that’s totally another thing.
I sorta agree with it. The question’s credibility depends on the particular question, but the answer is definitely stupid.
Asking about our origin is natural. There are three paths you can take to deal with this.
First, you can make hypotheses based on science.
Second, you can decide not to ignore it.
The third is that you make up an answer.
I guess most religion is based on the third option. This answer is usually similar with variations according to culture and environment. Notice how it tends to abuse concepts we can’t understand, like infinity. This answer is great psychologically, but it’s rubbish from the scientific viewpoint.
Another Quotes:
“everyone’s a whore Grace, we just sell different parts of ourselves”
Alfie : I, my friend, am the uncle, and the protector, and the promoter of that fucking thing right there, in whose shadow nothing good nor godly will ever fucking grow. That there, right, is the southern counties’ welterweight champion. He is of mixed religion, therefore he is godless. He was adopted by Satan himself before he was returned out of fear of his awkwardness. But he’s impossible to marry off due to his lethal dimensions. His mother, terrified, she’s fucking abandoned him. And there he is, stood before you like the first of some brand-new fucking species! Any man that you put before him, right, it’d be like entering a fucking threshing machine, mate. Now, will you offer your son?
He stole horses and he told fortunes, often he would tell a man that his horse would be stolen and they would marvel at his powers when it was.
Alfie: “I’ll need another ton for killing Tommy, because his brother is an animal and will try to fucking kill me.”
Tommy: “I take it for the pain. To keep warm.” – Grace: “Is that what it’s for? The warmth? … Ahh. The warmth.” – “All this time.” – “I know. Our love still remains… But you have to listen to the voices that you hear.” I love this scene because it shows Tommy’s escapism, Grace’s support but also her tendency to infiltrate him as his imaginative dark side
“You don’t get what you deserve, you get what you take”
“Me, talking to myself, about myself Something like that”
“There is peace when war is hopeless.”
“During John’s funeral when he said that War already killed them , after that everything is just extra in their life”
It’s a song that has fairly humble beginnings. Much of it came from a jam we were working on when we writing songs for our album Let Love In. […] I still find it all mysterious. I don’t want to know the details, and I’d never ask Nick. Sometimes it’s better to think “what the hell’s that all about?” It’s better that it’s unknowable and spooky. The song has its own life, now.
[Verse 1] Take a little walk to the edge of town Go across the tracks Where the viaduct looms Like a bird of doom As it shifts and cracks Where secrets lie in the border fires In the humming wires Hey man, you know You’re never coming back Past the square, past the bridge Past the mills, past the stacks On a gathering storm comes A tall handsome man In a dusty black coat With a red right hand
[Verse 2] He’ll wrap you in his arms Tell you that you’ve been a good boy He’ll rekindle all the dreams It took you a lifetime to destroy He’ll reach deep into the hole Heal your shrinking soul But there won’t be a single thing that you can do He’s a god, he’s a man He’s a ghost, he’s a guru They’re whispering his name Through this disappearing land But hidden in his coat Is a red right hand
[Verse 3] You don’t have no money? He’ll get you some You don’t have no car? He’ll get you one You don’t have no self-respect You feel like an insect Well don’t you worry buddy Cause here he comes Through the ghettos and the barrio And the Bowery and the slums A shadow is cast wherever he stands Stacks of green paper In his red right hand
[Organ Solo 1]
[Verse 4] You’ll see him in your nightmares You’ll see him in your dreams He’ll appear out of nowhere but He ain’t what he seems You’ll see him in your head On the TV screen And hey buddy, I’m warning You to turn it off He’s a ghost, he’s a god He’s a man, he’s a guru You’re one microscopic cog In his catastrophic plan Designed and directed By his red right hand
[Organ Solo 2]
Track #5 from Nick Cave And The Bad Seeds’ eighth studio album Let Love In.
The notion of a Red Right Hand goes back to John Milton’s Paradise Lost where it also plays the role of an undefined threat. There are discussions among scholars whether it concerns the hand of Satan or the punishing hand of God himself.
To back up the lyrics, the whole song has a threatening allure with the organ theme and Cave’s deep ominous voice.
In verses one and two, a tall handsome stranger ‘with a red right hand’ is used to personify an omnipresent danger. In verses three and four it is revealed what this danger actually is. It is the allure (remember that the man is tall and handsome) of material wealth which draws away your focus from more important things like self-respect. The tall handsome man sustains this danger as a ‘catastrophic plan’ in which you (that is the average person) are a ‘microscopic cog’. In this way, the man represents consumer society: something which is very everyday, but in its essence utterly scary and life-crushing.
The song was used as a theme song for the the horror movies Scream 1 & 2 and the soundtrack of 3 still contains tunes that are a reminiscence of this song. It’s also the theme song for the BBC show Peaky Blinders.
The truth is, we died together once before. Arthur, me… Danny Whizz-Bang, Freddie Thorne, Jeremiah, and John. We were cut off from the retreat, no bullets left, waiting for the Prussian cavalry to come, and to finish us off. And while we waited, Jeremiah said we should sing “In The Bleak Midwinter”. But we were spared; the enemy never came. And we all agreed that everything after that was extra. And when our time came, we would all remember.
