sorry-about-the-text

anonymous asked:

Thea why was sherlock almost having a breakdown in front of the door after the battlefield scene? I don't understand, it has probably something to do with being gay and in love but i need a more detailed explanation

lol I meant battersea earlier, this is terrible 

"this is terrible" kjhghjkl;lkj  i’m not going to eat you. it kind of is a battlefield tho!

I mean, you’re right obviously. The whole episode is about sherlock confronting romantic love/sex.  The pool scene already established that John is the most important person in his life but he hasn’t fully realized/had to think about the sexual component of this at all. At Christmas he accidentally deduces both Irene and Molly have “lurve on their mind” (can you believe he says this? literal trash nerd). note lipstick/wrapping paper epiphany. and he humiliates one of them and the other one dies. he goes into a state. he literally shuts john out. he starts writing romantic music…which he hadn’t done after meeting irene! he had seemed perfectly cheerful and cheeky with mycroft and unconcerned about irene’s texts. then suddenly…as though he is contemplating the reality of sex/romantic love for the first time after having that epiphany…

then he follows john. Like according to john, sherlock may or may not be pining for irene and won’t sleep or talk and is off in his little world composing music. but then lol he seems perfectly attuned to john’s every movement? so sherlock just stands there throughout that whole conversation, passing up the opportunity to be dramatic and one-up irene and reveal himself. he has time between when irene send the text and the alert goes off but he stands there listening to the two of them discussing HIS RELATIONSHIP WITH JOHN AND NOTHING ELSE? btw the camera shows a pov that is implied to be sherlock before he is even revealed to be there, it shows john and irene through little gaps as sherlock would see them except it mostly focuses on john and only shows irene a few times when she’s responding directly to something john said and sherlock’s pov focuses on john especially when john is being posessive of sherlock. And john has just point-blank stopped dating after jeanette and sherlock has been trying to figure out what his relationship with john is and what it means to experience love and sexual attraction (a thought process that comes to an abrupt stop at the end of the episode when he concludes that love is nothing but a chemical defect). So …everything is a little murky…john’s not dating, john’s putting him first always and being jealous over the text messages…what could all of this mean..„he’s genuinely trying to find out. he doesn’t know.

BUT THEN THIS IS ALL RUINED. John says that he’s not gay—he’s never heard john say this before so there’s always been a chance but this is like a definitive rejection??? and John only says it when he thinks sherlock can’t hear??? DOES EVERYONE REALIZE HE ONLY EVER SAYS THIS WHEN HE THINKS THERE IS NO CHANCE OF SHERLOCK HEARING?? and in the next two episodes after this, he doesn’t even say it to third parties. John also says they’re not a couple. so it’s like: why did i even bother contemplating the possibility of love when john is unavailable in the most absolute sense. 

so yeah then we get some nifty depth of field action and wheel effect that show sherlock actually dissociating from his surroundings on the way back to baker street. he’s in shock. but note how this plot thread is interrupted by the cia guy. sherlock is conveniently afforded a punching bag to take out his feelings and the audience is conveniently distracted from the emotional drama.

the next time we’re allowed to come back to this thread is incidentally the next time john and sherlock are alone together. john tries to talk about it!!! john had tried to run after him at battersea but accepts irene’s presumption that she knows sherlock better!!! the moment they are alone john (assuming this is about irene) tries to!!!! note how sherlock still seems heartbroken and not glad after the initial shock has worn off. it’s almost as if his breakdown was over what john was saying rather than the fact that irene is alive. john tries to talk and sherlock physically turns away from him. cause john. said. they. weren’t. a. couple. HOW ANY OF US ARE ALIVE IS LITERALLY BEYOND ME.

see okay I have absolutely nothing against noting a character’s gender and romantic/sexual orientations, especially if they’re not cishet (but even if they are that’s important to note), and trivial information is fine and all

but gender and orientations alone do not make a good character?? don’t just say “aro/ace demifluid character X, they’re a meme-loving nerd” that’s great and all and important to know but I want to know what the character’s made of

what are their deepest fears? how far would they go to achieve whatever goals in life they have? who do they like, dislike, how do those relationship dynamics work? how do they act at 2 in the morning when something’s keeping them awake—why are they up at that time, anyway? and once we know what makes them tick, then we can talk about how their gender identity and other labels come into play—how they’ve affected the character, how they found the words that work for them, etc.

tell me about character X tossing and turning at 1, 2, 3 AM, realizing that they might be okay with their life but it’s not enough. they have friends but none of these are close relationships (what if someone wants to be “more than friends”?) and they broke off with their family a few years ago after their coming out as nonbinary was met with scathing whispers and soul-crushing glares. and if they don’t have anyone close, then who do they have?
tell me about character X picking up fifty hobbies, maybe forging closer relationships along the way, but dropping these hobbies just as quickly because nothing seems right. tell me about how they need to come to terms with how they feel about themselves, who they are as an individual, and then they’ll feel satisfied.

there’s your story. there’s your character arc. don’t neglect gender and orientation, but it shouldn’t be the only thing to their character. give me substance.

and then you can tell me about how character x spends their free time laughing at memes on a blogging platform.

I think it might be perhaps a little too idealistic of me to want this, but all I have to say in regards all the negativity I’ve seen on tumblr in the past while is simply this: be nice, be kind, and be respectful. Always try to put yourself into the perspective of others and try to understand them, express your opinions (whether they be agreements or disagreements) with grace and kindness because there is always a nicer and more productive way of getting your point across, and lastly, treat others the way you want to be treated. These are simple lessons that we have learned when we were younger, but sometimes we all need a little remainder and that’s okay. I just hope that we will take kindness to heart and remember it. :-) 

[SCREAMS] THE WINTER SOLIDER

[PUNCHES YOUR WINDOW IN] THE WINTER SOLIDER

[JUMPS OUT OF A PLANE] THE WINTER SOLDIER

[RIPS OFF SHIRT] THE WINTER SOLDIER

[whispers] the winter soldier 

Day 17: Saddest death.  

Okay, this one merits a small explanation, so I’m going to briefly interrupt your update arts for a sec. I chose the first time Dave has to chuck his doomed self’s dead body out of his apartment.

I chose this for a variety of reasons that are not always immediately apparent. Firstly, this is the moment where Dave realizes that any missteps he takes in time travel will result in his own death. Not just “doomed Daves” because really, any one of those doomed Daves could be (was/is) him, and his current iteration could experience first-hand the cold claws of death if he’s not the single “alpha Dave.” Dave is the only character that has the constant reminder that if he screws up, if he fails, it is not only dangerous, but terminal—the only other player we really see effected by this is Aradia, who isn’t really bothered by it due to the fact that she is already dead. Everyone else faces death, but it’s not constantly looming over their shoulders. 

Secondly, a lot of people see Dave as having either a huge fear of death or suicidal tendencies, but I read it a bit differently. I mean, basically he’s resigned to possible death at any simple miscalculation, but he goes through it anyway. And he’s also aware that if he does fail and die, another Dave will take his place—in other words, that Dave dies unglorified, discarded. A failure, and nothing else—no one will miss him, since there is another to take his place. That’s kind of heavy, even if that person replacing you is still you, because at the same time, it’s not you (Davesprite has this going on sometimes). Dave does everything knowing he could die at any time, unsung and forgotten, yet does it anyway. I’d consider worth taking into account.

But it would mess you up some. I think part of Dave’s issue with not viewing himself as a hero in comparison to the other kids stems from the fact that he knows iterations of himself will die. He thinks it’s partially his role to perish so that others can live—which is why he wasn’t too happy with Rose’s suicide mission. But he’s also not completely comfortable with the thought of his own eventual demise looming on the horizon, so he feels guilty when he can’t go through with it or when the thought of self-sacrifice to the highest degree makes him afraid. That conflict appears when Terezi tricks him to face his quest bed—I think a lot of people don’t quite realize what he was being asked to do. Not only would he have to literally kill another version of himself, but that version would go on to become god tier, the “hero”—meaning that, most likely, that version would be the alpha Dave. Or, in other words, the left-over Dave—the one doing the killing—would be a doomed Dave. Killing the other Dave would mean that the non-god tier Dave essentially committed suicide for the sake of the mission. The difference between that and the Tumor suicide-mission is that with the Tumor, at least someone is being saved—Dave dies a “hero,” true to his mission, and not just as a tool of progress, forgotten under the glory of another. 

That’s some pretty heavy shit for a 13-year-old, no matter how cool he is. So, this art is for all the dead Daves, discarded and ignored. Maybe not as immediately jarring and tear-inducing as some of the other deaths, but kind of romantically tragic. That’s pretty sad, imo. 

*cough* Yes, sorry for the wall of text. That’s the psychology major in me having a field-day. 

Archetypes | THE TRICKSTER

See him hiding in plain sight, with charm and flair, smoking your cigarettes and drinking all the rum, promising you the moon with one face and stealing your immortal soul and your pocketwatch with the other. The trickster more often than not cannot be understood, merely guessed at, for he wears many masks and takes delight in playing the fool to make greater fools of others. He is a black hole at the centre of the story with many reflecting facets, a blind spot in the hero’s vision, sucking up all the love and light and truth and turning them into shining rupturing distractions. He is a gateway to transformation and the underworld, with chaos at his right hand and death at his left, and a terrible whimsy in between. Change is the song he sings, and chaos the ruin that he wreaks. Like a particularly toothsome shark, he will never stop moving onward.

He cannot abide any absolute or rule, will rattle at the cages of authorities until they come tumbling down. He likes to watch worlds crashing and burning and whirling like a whizzing firecracker with them. He has no care for good or evil, no need for the usual vices and virtues of humanity. Where others see fate and patterns, morality and honour, gods and righteousness, he sees only lies stretched over mayhem, and plays with them like a child playing cat’s cradle. Lies are his mother tongue, and with them he shapes and reshapes himself and the world to his liking. He may be destructive or merry, precise or bacchanalian, dealing out death or candy or all at once, but he is never, ever tame. He has no means but chaos, no plan but disorder, no motive but winning whatever fickle game he is playing against the universe, and so may be left standing alone in a burning wreckage that he never intended to create. (He will probably laugh for the flames anyway).

He charms, he whittles at wills, he holds up a mirror to your soul and will twist your mind until everything you see is so warped you will trust only him to speak the truth. And the truth he will speak; only just enough truth to fit his purpose best. He is not a guide; though he may become one by chance or boredom. Humanity is a fascination for him; an ongoing project. He may hate, or he may love, but only in strange ways unbound from traditional emotion, from right or respect or truth, but in creeping, crawling, manic ways that burn and turn the object of his love inside out; that sends them howling mad into the abyss until they destroy themselves or come out the other side burned clean, like earth scorched and made fertile to grow things not seen ever before. 

What he desires above all else is to be free, free to pursue his pleasures in all their caprice and recklessness through the playground of the world. Yet often, in the end, he is bound for his crimes against nature. He will always rise again. Change is his game.

Examples: The Devil, Hannibal, Jack Sparrow, Tyler Durden, Loki (when he’s not trying to rule the world), Robin Goodfellow, Iago, Prometheus, Howl Jenkins, the Doctor, Alice Morgan, Moriarty, Anansi, Coyote, The Joker.

6

How is it that you guys are fluent in Russian?

We paid attention at school.