If anyone needs a new reason to cry over these two today, just remember that the modern-era Will of the TV adaptation took this photo of the Tower of the Angels on the day he and Lyra first met. Meaning that he’s got a photo of Lyra that he probably doesn’t even remember taking, and on some uneventful, monotonous day when he’s back home and absently flicking through his phone he’ll find it. He was in a rush to catch up with her, he remembers, so it’s not a very good photo - a little blurred, taken at an odd angle. Lyra’s not even the focus of the picture; she’s turned away from him, her face completely hidden, Pan almost cut out of the frame entirely. But it’s unmistakably her.
The first time he stumbles across it, Will can hardly bear to look at it. But he keeps the photo always, makes multiple digital and physical copies just in case. Sometimes it hurts to look at. Sometimes it brings him comfort. He takes a copy to Mary Malone and she tacks it up on her laboratory wall. On one of the less painful days he shows it to his mother and laughs as he tells her the story of how she attacked him when they first met.
And on more than one Midsummer’s Day he takes it with him to the Botanic Garden.
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the amount of ships i have with a will is getting out of hand. will and hannibal. will and lyra. will and nico. will and james. can the gays come up with new names please?
(willyra is gay no i will not elaborate on that)
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Now, they’re out of reach.
HIS DARK MATERIALS | The Botanic Garden (3.08)
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HIS DARK MATERIALS | panjava + the circle of love, living, and death for @willsilvertongue
vladimir nabokov, letters to véra || @filmnoirsbian || simone de beauvoir, diary of a philosophy student: vol. 1 || e.e. cummings, vision || clementine von radics, in a dream you saw a way to survive; “the fear” || philip pullman, the amber spyglass || andrea gibson, the madness vase; “two birds” || alejandro jodorowsky, what is love? || octavio paz, tr. by eliot weinberger, “letter of testimony” || claudia rankine, “some years there exists a wanting to escape...” || philip pullman, the amber spyglass || anaïs mitchell, hadestown; "road to hell (reprise)"
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