(i also feel like this comment speaks wonders about john's character

Homestuck Meta Theory

Alright, so I know there’s a lot of people disappointed with the ending, again, I sound like a broken record by this point. And don’t get me wrong- While I love the ending, I would still love to see more of the characters and the story! I just feel it’s a good end as it is. I’ve made a lot of theories about what the End means and everything about Act 7, but all of the things I said, about the Jujus, about becoming freed from Paradox Space, it made me think about the rest of the story, and I believe it has made my entire idea of what Homestuck is change.

So the big question here is, what IS Homestuck? Most people, including me, when talking to someone who knows nothing about it, will speak about the story, the 4 Kids playing SBURB, and the subsequent destruction of Earth. And then mention its huge amount of references towards programming languages, popular culture, storytelling in itself, and it’s self-referential nature. But this Ending has got me thinking that maybe the reason why so many people have been disappointed in the End is because they got Hussie’s intentions wrong.

We tend to reference how the humor and the nature of Homestuck’s narrative is a little extra onto the story, and while it is true the story itself and the characters have drawn a big part of the Fandom, I thought… What if the important part of the Narrative isn’t the Story, but the Meta elements.

As soon as I made connection, everything about the ending began to fall into place. I have commented before that I feel Act 7 is like being shown the Good Ending of a video game without seeing its Neutral Route. 

The Kids have Earth, and Juju Vriska uses manages to flip the ending so that instead of being trapped by Paradox Space’s rules…

They manage to ‘End’ the game properly and get their Happy Ever After.

All while Caliborn is shown getting his power of Immortality, and while we’re left ambiguous about what happens to Vriska and Lord English and everyone in the Dream Bubbles…

Another thing people have complained about is the Character Arcs.

They say how ‘different’ the timeline is. What was the point of Rose’s alcoholism if then Vriska just swats the drink away and it never had any relevance anymore? Terezi’s relationship with Gamzee never happened. Dave and Karkat got together? The Game Over Timeline is bad, everyone agrees that people dying is never good, but they also claim that suddenly having all that Character Development changed made them unable to relate to some characters anymore.

And of course there’s always the mention of how Vriska, even though she’s an abusive 8itch, ended up being somewhat of a heroine, or at the very least not seemingly getting too punished…

That’s where the Narrative itself told us there was something off.

DAVE: rose we dont have fuckin “arcs” we are just human beings

Many have mentioned it, about how not having a closure to certain character arcs referenced this portion, the notion that the characters didn’t have an arc. The same way she then references Jade breaking Endgame ships and such. Rose’s power is Light, and her information source comes from the same place as SBURB and Skaia. It’s a game. Of course she’d have the notion that all of them have to fit certain predisposed stereotypes or their stories have to follow a certain pattern- Rose is looking at their lives since SBURB started as it has been. A Story.

But Dave is having none of it. Dave is beyond the thought that all they do has to follow a set pattern, and claims they don’t have character arcs. This might sound like a clever device by Hussie so he didn’t have to explore more of each of these character’s lives and he could close the comic leaving some loose ends but, there’s more.

Hussie? As an entity? Exists within the story. This would be all fun and dandy if it were a couple of stupid references and memes. And that’s what many people think! Most of his appearances in canon have been a joke, really. But…

Hussie joked about his influence on the comic, when his bot-self was about to mess up with the Kids in the Yellow Yard, but eventually didn’t do it. And yet? His fight with Vriska. His interactions with Caliborn. Everything pictured above? Hussie is a physical entity that follows the same rules as everyone else in Paradox Space and can influence the story. But he’s not a self-insert. He IS the Author. He is the one who wrote every of these characters and continued the story. He’s not another character, he’s himself, in the Homestuck Universe.

And then it began to dawn on me, that perhaps the Meta aspect of Homestuck was a bit more than Fourth-Wall Breaking fun and references to real life stuff. Of course, this train of thought led me to another main plot device that has never exactly been explained to its full extent. Jujus.

There’s the Sucker…

The Crowbar…

The House Juju…

A lollipop that could change character’s personalities, making them immediately make up for aaaall of their mistakes without a care in the world, start alchemizing new weapons, and end up exactly where they needed to be.

A crowbar that can break other of these mysterious devices, and more importantly, has been shown to be able to interact with the Website itself, which seems to be its own physical entity as well!

A house that gave John the ability to change the story, and that ended up being used against the Big Bad of the entire comic.

A puppet that trapped the Souls of various characters and became the gateway for the Big Bad of the comic to become who he is.

A mysterious pair of rings that oh so conveniently appear and disappear on characters, and leave you wondering what they really do, but clearly shown to at least be able to revive someone who, by no other means in the story, would have been able to get back to the world of the living.

Jujus are mysterious, when you look at them from the perspective of the characters. They have no beginning, no end, they just appear at some point and do a loop through time, ending up exactly where they appeared first. They are powerful artifacts able to change reality itself, with no explained origin… But we are no characters. We have seen what these things do on the comic through its entire lengths.

Jujus are plot devices meant to alter the Meta of the comic. They are not things that make sense in a true physical reality. They are artifacts that alter the rules of the plot. Because that’s what the plot is. A story. Because Homestuck is not real, and it acknowledges this.

Or at least… It was supposed to acknowledge this. Many have also claimed that the last updates were so disappointing, compared to Cascade, as Cascade managed to solve so many plot points, but this last one felt empty of everything. Plot. Character Development. That’s where Jujus and Hussie come in.

Hussie dies, in his own comic, a comic that acknowledges him as the actual AUTHOR of the events taking place. And later, we see…

Caliborn, the young version of Lord English, acknowledging Hussie’s death, as he takes the rest of Act 6 and makes it his. Through the use of the Command Prompt, through his own drawings, he begins to write his own story.

[S] Cascade had so many plot points resolved, and these last updates didn’t. Because that is the point. Ever since Act 5 ended and Act 6 started, Hussie has begun to lose control of the story. He was killed by Lord English, the big bad, who also took control of the narrative. Vriska acknowledges a narrator speaking, and forces the narrative to shift back to her opening the Juju chest out of frustration. The command prompts, John’s retcons- At this point, Hussie is no longer in control of his characters.

The Game Over timeline was bad, but it felt like it had more Character Development. That is because it was a not-retconned Timeline. The characters had struggles, the plot moved on forward, some people was possessed, it was all prime material for a conflict and a resolution afterwards! But Aranea’s intervention made it a Doomed Timeline. A Bad End. We all know how Doomed Timelines work, so everything that happens there would have been totally irrelevant. But John didn’t want to accept that. Roxy was still alive, and sad. And Terezi wanted him to fix things up. So instead of acknowledging he was in a Doomed Timeline, like Roxy did? Roxy, who saw her mother-daughter die in her arms, and claimed there might be nothing left for them. And meanwhile, John just managed to get his powers ready, zapped back in time and solved everything.

New problems arose in the new Timeline, sure, but not as many. And a lot of the character arcs were suddenly shoved back. Rose no longer struggles with alcoholism, Karkat doesn’t chase after Terezi, and becomes Matesprits with Dave after mellowing down. Gamzee, one of the biggest dangers, is shoved back by Vriska until he’s barely relevant anymore.

And all of this might just be me trying to find an explanation to the sudden loose ends not being tied. But I think, all of this, was meant to express more than Hussie rolling the story back or changing the story to fit other things. No.

We go back to Dave’s words. We’re real people, we don’t have arcs. We are real people. In a comic, where the author is a character, and that always acknowledges it’s a comic? Dave saying they’re real people is big. It was taken as a joke, because they are characters, come on! Right? … Right?

Well of course they are. But that’s the thing. Up until Act 6, all of the various characters were nothing more than that. And even during the Game Over Timeline, they were nothing more than that. But Hussie’s death, the ghosts, no longer relevant, trying to fight back against Lord English? Caliborn’s acknowledgement of a story and trying to take control of it? And finally, John’s powers.

The House Juju gave John something more important than being able to change the Timeline.

The ability to make Selfcest canon.

Wait no- That wasn’t it.

The ability to alter the plot to his own whims.

John’s zapping doesn’t follow the rules of Paradox Space. It allows him to change the timeline as he wishes and it still be the Alpha. Not only that, but he can also warp out of the story itself, sending people and things to the background of the website.

It’s when Vriska starts to try and find this Juju that everything about the narrative begins to shift gears. John now can change the plot. Which means he is not adhering to the rules that bound them all anymore. He can go back, bring people who were dead back to life, save his friends, and aid them get a better ending.

And in this new timeline he’s changed? Everyone seems a bit different. They have gone through different things, and are as confused as anyone else about what is going on. This is the moment where these characters stop being characters.

This isn’t a story about Four Kids playing a Game, getting involved in Shenanigans and trying to live a happy ever after as villains try to plot on destroying them and reality. Homestuck is the tale of the characters from a webcomic, becoming self-aware, and escaping the grasp of the author and the narrative.

I don’t know if this is what Hussie intended, and if it is, at what point he planned to start leading the story this way. I might just be crazy and be reading too much into this? But as I see it? It closes every single loophole in this story.

Doomed Timelines are meant to be nothing. They are meant to fade, and not be relevant anymore. But the ghosts are having none of this. They WANT to be relevant in this story again. They create an army, and head off to defeat the biggest threat in the entire comic.

Caliborn knows reality itself isn’t as it seems, and tries to make his own story within it. He strives to become almighty, and then begins to destroy and rend reality itself so he can make way for his own rule.

Vriska knows she’s in a story, having interacted with the very Author and the command prompt! But she is not trying to change the story- All the opposite. Vriska follows the rules of the story, closes loopholes from what she has seen, but tries to be the one who causes everything. She wants to be in the spotlight of this tale. She creates Bec Noir just because she had seen it in her screen. And knowing this is a story, she goes off of her way to find methods to defeat each of these villains, at any cost. Because in a story, once she defeats these big, powerful foes, she’ll be a heroine, and everyone will regard her so highly, she’ll be over everyone else. Just like she wants.

John? I don’t think he knows he’s in a story. But he has the power to alter it. And after he begins to mess with the timeline, the rules of Paradox Space begin to shatter around him and his friends. Time loops, Rules, Plot, why would they care about how a story goes, if it’s not a story, it’s their lives. They just want to be happy and get away from this cycle of destruction and death.

I’d even go as far as to say God Tier Calliope knows this. If her Land and her Earth were anything like Caliborn’s, she might also been in contact with the command prompt. Perhaps the fact her entire mission was a self-sacrifice to collapse the Green Sun represented how she, too, saw Paradox Space as what it was- A construct that kept these characters trapped as that. Characters. And the only way to escape its grasp was the erase its very existence, using Lord English’s destruction to tear a hole through the comic, and destroy it.

In this way, everything that happens towards the ending makes perfect sense. There are hundreds, thousands, who knows how many timelines, in which every plot hole will be closed. But we’re not following these. It would be easy to cause, say, the Condesce to wake up. Because of her immortality curse given by Lord English. Or the Draconian Dignitary get to the Frog Lily Pad. Something happens, interrupts the kids from entering to the new Session, and bam! Suddenly more plot! Their entrance to the Universe is blocked. Terezi worries about Vriska, so they begin to plot a way to help her defeat Lord English. The black hole in the Session that likely leads to Caliborn’s land becomes relevant, and they all have a trip to beat up Caliborn. Something happens to Calliope, her ring has ended up in Caliborn’s hands as well, he traps the kids, the Alphas beat him up, all loops are closed, we have a bittersweet, predictable ending. And this has happened. In many timelines before. Over, and over. Perhaps the one we’re following isn’t even the Alpha, for that very reason.

But it doesn’t matter. I talked about how the Jujus were a way to alter the plot, and let’s go back to this, and look at my theory about the Kids Souls being Trapped for all eternity in this Juju. The moment Caliborn uses this Juju, he kickstarts the entirety of the rules of Paradox Space. These kids we follow through the story, are trapped in a plot, with rules dictated by narrative that they HAVE to adhere too.

Then the ghosts decide that this is bullshit, and that they, even after death, want to still be relevant. Instigated by Vriska and Meenah, and aided by Aranea’s mind control, they manage to find a way they can alter the plot once again, a Juju. John touches this Juju, and suddenly he gains the power to alter this plot as well, and begins his and his friend’s journey to escape the clutches of Paradox Space and the comic itself.

John was trapped in the house all along. So of course, shoving his arm through it? He managed to grasp at the other side. He got a taste of what it was to be free. And he gained the power of changing the plot as a result.

Then, Vriska becomes alive again. She’s relevant, and bashes down on her ghost self. Ghost self that had at one point tried to make herself relevant, even though since she’s dead she shouldn’t be. This way, Vriska proves that, while she acknowledges the story as a story, and wants to be always present and in the middle, she never sees it as something she has to escape. She has no character development, because now, in this timeline that John has changed, she’s free to do whatever she wants, she’s her own person without a character arc, but doesn’t find the need to become said person. She doesn’t want to change, she wants to keep following the plot, and take down the big bad.

So Vriska takes the house Juju from her alternate self, goes against Lord English, beats up the Author of the comic itself as a last Fuck You, and then uses the Juju towards him. And this is when Alive Vriska makes her big mistake. By following this plot, this story, the Juju house crashes behind her…

She’s on Lord English’s side of the house. Because both of them know the comic is just that, a story. He knows about the narrative, and the author. So he kills the author, and becomes the big evil that must be defeated. Meanwhile, Vriska knows about the narrative, and the author, so she beats up the author and tries to become the heroine.

Caliborn and Vriska could very well strive to break free of Paradox Space in other ways, but instead they do what they do best- Be themselves, and fuck shit up in the process. And it’s this mentality that in the end, as the House Juju appears, tells us that both of them have been doomed. Doomed to be trapped in this Collapsing Paradox Space there’s no escape from.

Except there is an escape.

Because the door opens. It opens for the Kids and Trolls on the lily pad. And it opens for the Ghost Army and everyone else in the Bubbles. These are people that have been living aside from the story for a long time. The ones that are alive in the Session have had John change everything and the events happening after make them question Paradox Space itself. And the dead ones or the ones just stuck in the Furthest Ring? They fear being forgotten. They fear being erased by the collapsing Paradox Space, and had faced Lord English to try and become relevant once more.

Of course Condy’s curse didn’t wake her up. Of course DD didn’t appear. The moment the Juju appears, the story is done. There is no more plot. Because it’s not a story. The ones wanting to follow the plot are now seeing it crumble, seeing everything end. And the ones that wanted to become relevant against Paradox Space- Why would they need to even follow the rules? They are trying to escape them.

The Plot Holes are part of the plot in itself. John and everyone else didn’t need to fill it up. Because they are not part of the story anymore. We didn’t see their character arcs close. Because they are not characters anymore. They are not characters anymore. They don’t need to show us they have grown- Or maybe they haven’t even grown. They are always growing, learning. But now, they have escaped this evil Universe that trapped them and forced into cruel and crueler situations. They have escaped to a peaceful realm. They don’t need to keep following the story. They are happy and free to live their lives however they want.

They are finally happy.

Interruptions; Mycroft x Reader

Requested by Anon:

Hi. To start with, I really like your blog! :) I was wondering if you could write a fic where reader, being a very good friend of Sherlock and Mycroft, is spening Christmas with the Holmes family and Mycroft’s all this time trying to tell her he’s fallen in love with her but he’s constantly interrupted. But finally he desperately kisses her in front of his family and it’s all so adorable and aww. I’d be most honoured if you wrote this.

Author’s Note: I love writing for Mycroft, so thank you for sending in this request! I always enjoy writing for characters other than Sherlock! 

Keep reading

He’s… Mercurial. Shear talent. A genius. One of the leading actors in the world. An incredibly formidable presence. A Porsche 911.

Great people about Cumberbatch.

“Hands down, I believe that he’s the most versatile, surprising and charismatic actors of our time.” Christina Bianco, actress


“Benedict transforms, he doesn’t act. He becomes Turing.”, Morten Tyldum, director


"Even as a 13-year old, he was obviously an outstanding actor - a combination of intuition and intellect. It’s probably once in a lifetime that you find a boy actor as magnificent as this. I don’t think I had to speak or work with him in any way when I was directing him. I felt like I was working with a fellow professional rather than a schoolboy.” Mr. Tyrell, Cumberbatch’s acting teacher in Harrow


“Benedict is witty, mercurial… thoughtful and expert. He’s very intelligent but he doesn’t let it show by commenting on the character he is playing.” Richard Eyre, theater director


"He has a sensibility and an oddness to him… and a directness and a fantastic sense of humor (…) So I respect him on a pretty fundamental level (…) He’s an actor who has the ability to play in the outer field of basic acting work (…) He is a very generous, very sensitive, very thoughtful, focused, disciplined actor and, you know, when you work with somebody like that it’s just like playing… like Ronnie Scotts with B.B. King… it’s just a question of when or if… you know when someone’s got it and he’s got it.” Tom Hardy, actor


“He’s a fabulous actor and happens to have the zeitgeist. Sherlock has lifted him into a global star but he manages to combine stardom with utter brilliance which is really rare.” Hay Festival director Peter Florence


“Cumberbatch is a remarkable actor. He can quietly project the inner turmoil that more animated actors can only mimic.” Matthew Gilbert, TV critic


“Benedict Cumberbatch is shear talent. I mean he’s such a fantastically talented actor. He has a marvelous look of course, he has cheekbones you could shave Parmesan of and he’s just a magnificently talented actor. I’ve seen him do so many different things, with such style and he’s also an incredibly nice man and he deserves the enormous acclaim he receives around the world.” Stephen Fry, actor


“He is phenomenal. The amount of work that goes into his roles, he has a great work ethic and a genius mind, he is so inspiring. He really raised the bar for me and he had this integrity and genuineness. I feel really blessed to have worked with him. Plus he is so much fun, he’s become a good friend.” Adelaide Clemens, actress


“Everytime Benedict Cumberbatch opens his mouth it is positively electric… At the time I was getting really into Sherlock series one and I was just totally hypnotized by Benedict and I said to JJ ‘You gotta watch this guy, and one thing let to another and… Thank God! …. All credit goes to Benedict but I was smart enough to realize he is a genius.” Damon Lindelof, screenwriter


"I didn’t really know him as a stage actor. I knew what a fine screen actor he is. But there’s a physicality involved in the theatre. It’s not just about mannerisms or impersonation, which screen often is: it’s about sustaining a narrative with mind and body. When I saw him for Frankenstein, that was the only thing I wanted to know. Did he have that physical capacity? And of course he does. We met and I asked him to do a few things and he was extraordinary in the room. He’s as fit as a boxer, which you have to be for the stage. You have to have an internal fitness that allows you to carry the story so it never sags. He had this combination of the cerebral and the physical which you can see when you look back at his screen work – in Hawking, it’s there. Frankenstein was a great one for using it. That’s why he’s now what he is: one of the leading actors in the world.” Danny Boyle, director


“He’s a genius. There are certain actors who have the ability to take a line of dialogue and add a ring to it that you didn’t even know you put into the dialogue, into the line. And he’s one of those really brilliant actors. Just listening to him talk…you could enjoy him reading the phone book.(…) And he’s an incredibly formidable presence. He’s amazing.” Alex Kurtzman, screenwriter


“We found Benedict Cumberbatch fairly early. We needed a very good actor, someone young enough to be believable as an aristocratic, an almost slightly dislikeable character who is an adolescent in terms of his views of the world, his upbringing. But we also needed someone who could hold the screen for four and half hours, in every scene. We needed someone with experience who was not only a very good actor, but also with terrific comic timing. Benedict was the ideal answer to that.” David Attwood, director (To the ends of the earth)


“Everyone just looked at it and went “Oh. All right.” Meryl looked at me and gave me a big smile, which is Meryl’s way of saying “Well done”. It was not the best quality you’ve ever seen. And his face was very close. But he was wonderful. At first I didn’t realize that he was British because his southern Oklahoma accent was very good. There’s nothing guarded about him. It can be a little daunting because you have the clear impression at all times that he might be more intelligent than you are.” John Wells, director, about Cumberbatch’s iPhone auditioning for August: Osage County


“The difference between stars and just great actors is that stars can make parts into them, rather than themselves into parts; they make those people them. They never quite play it like you expect them to, so it becomes very much Benedict’s Sherlock. Look at how Sean Connery owned James Bond.” Steven Moffat, producer and writer


“He’s a stick shift; he’s changing up and changing down. He’s a Porsche 911.” Gary Oldman, actor


“I would like to officialy declare my love for Benedict Cumberbatch. Yes, that’s right. I’m in love with him.” Paul Feig, director


“He’s an immersive actor; he’s physical. You have to keep feeding him, trying to keep him stimulated. The engine has to be stoked all the time. The joke is that Hollywood thinks it’s investigating him right now to see what he’s made of. The truth is: He’s investigating them.” Danny Boyle, director


“Watching him physically train to play James (He dieted, ran the cliffs and swam in the cold sea), and also delve into the meaning of every line in rehearsals, and then plot the effect of his illness on his body and mind as it would be in each scene (shot in the wrong order), while all the while being a joy to be around was impressive to witness. To see it as one performance in the final cut was remarkable. - He is rare even amongst the acting breed. If the character description says handsome: he is. If it says Nasty: he is. Older: he is… Younger: he is. For this reason I just can’t wait to see what he will become.” Vaughan Sivell, producer and screen writer („Third Star“)


“Being on the set with him… I think everyone was bringing their absolute A-game. I think, frankly, in a way, [his] presence sort of elevated everything. Time and again, every scene, Benedict brought a surprising, unexpected, grounded, real and often terrifying aspect to the role. So we are incredibly grateful, all of us.” JJ Abrams, director


“Benedict Cumberbatch is one of my very favorite — excuse me, favourite — actors today, and he brought his brilliant mixture of confidence and strength to Khan in a way that, with all due respect, Montalban never did. Never once does Cumberbatch make the obvious choice, his performance is always subtle, always controlled, and when he finally goes full-Khan, scary as hell.” Will Wheaton, actor


“I think he’ll be one of the guys who lasts, that’s my take. It’s what George [Clooney] said to me ten years ago: If you can pull off ten years in this business, then you’ve done something, and we both kind of agreed that that was kind of the benchmark. And I think [Cumberbatch] is of the new crop.” Matt Damon, actor


“Benedict Cumberbatch is truly one of the greatest actors I’ve ever seen. And my favorite thing about him in this movie is that instead of his bad guy being adorned and wearing some crazy mask and costume and hair… he is just a simple man standing in a black shirt and black pants, just a common man… and his performance is so powerful in it’s simplicity… and that to me was an incredibly exciting thing to see: how little he needed to be that powerful.” JJ Abrams, director


“When he was at school, parents came to see him in plays their own children weren’t in - THAT is how good he is.” Tatler magazine


“Yes, Benedict has darkness. He has a light, brilliance, wit, sophistication, an imposing presence. He’s threatening; he’s physical. He’s also sympathetic. He does these things and makes it all look so damn easy. And the other actors … it was so funny. Every time we were doing a scene with Benedict, they were standing a little bit taller. He has a presence that is ridiculous and that voice, oh my God. There wasn’t a day working with Benedict that I didn’t think, this is insane. He elevated that moment. He made that thing that I thought was going to be really hard, authentic. He’s not like his character in any way, physically or emotionally, but he transformed himself physically. He was suddenly this wildly intimidating big guy. And he’s not. When you talk to him, he’s sort of slight. But in the movie, I spent a year editing him (Benedict’s footage). So it was like I got to see him every day. I got so used to him as that character. So when I saw him again recently, I thought, God, he’s so small, compared to how he is in the movie—he’s so epic. He is an utter chameleon who I think can do anything. He’s one of the best actors I’ve ever seen, let alone worked with. He was able to bring all of these incredible nuances and attitude to a role that in lesser hands would not have worked remotely that well.” JJ Abrams, director

Gone With the Wind

So I totally messed this up. I, for some reason, thought @kittenofdoomage‘s Movie Quote Challenge ran until January 31st … which turned out to not be the case at all. But this idea had been burning in my brain ever since I got my prompt, and I feel like today, the 77th anniversary of Gone With the Wind, is a poetic kind of culmination. Sorry this is so late, but I hope you guys enjoy.

RATING: Mature
WORD COUNT: 4478
CHARACTERS: John Winchester, female reader, Sarah Blake, Donna Hanscum (mentioned), Bobby Singer (mentioned), minor original unnamed characters
WARNINGS: THIS IS AN AU–characters are actors on the set of Gone With the Wind in the late 1930s; language, angst

PROMPT: “Frankly, my dear, I don’t give a damn.”

Originally posted by another-dimension666

Originally posted by classic-black-white

It was the last day for you on the movie set, and you couldn’t be happier. The past months had been nothing short of a roller coaster, and you’d be damned if you’d do another film for a good long while after this one.

Of course, this wasn’t just a regular movie. No, this was an epic tale of times long past, and somehow certain to give America the hope it needed in such dark times.

You stared into your teacup, letting out a breath. At the sound of something behind you, you lifted your head, looking into the mirror of your vanity, which gave a perfect view of the door behind you.

“Miss Y/N? They’re ready for you in makeup.”

You smiled at the young man who’d knocked lightly on your trailer door. You stood up, taking one last sip from your cup of tea, then sliding your feet into a pair of slippers and following the boy out to the makeup trailer. You faltered just a bit when you passed by his trailer, doing your best to keep looking forward instead of at him. He was standing outside the trailer door, a white shirt on with his brown pants and suspenders, hair tousled like he’d just woken up, which …

“Excuse me, what time is it?”

The young boy in front of you looked at his wrist.

“Half past eight, ma’am.”

You nodded. He had just woken up. Which meant the cigarette he was currently smoking was his first of the day. You quietly coughed into your hand, more to clear your head than your lungs, and stepped into the makeup trailer. Sarah walked over to you, a wide smile on her face, dark hair pulled back and twisted up.

“Last day, Y/N. You ready?”
“God, yes. I’m ready to get this over with.”
“You’re not going to miss us?”

You gave Sarah a smile.

“Oh, honey. Of course I will. You, I’ll miss terribly.”

She didn’t comment on your emphasis on the word “you,” immediately picking up on what you left unsaid. She went to say something, but the door opened, and by the look on her face, you kept looking straight ahead.

“Good morning, ladies.”

Your eyes drifted shut at the deep, raspy voice that rang through the trailer. Sarah, you knew, was smiling, because she was kind.

Keep reading

So, an anon asked what I liked about the companions, I hope this time the last three aren’t cut off again ;_;

Cait: she’s badass, she doesn’t take shit from anyone abut is very loving at the same time which is awesome, I feel like I perhaps identify with her the most? Her fish out of water thing is relatable, being Irish but raised in another country (England) myself, there’s a parallel :3 I’d like to know where accent came from though, would Atlantic travel still be viable? Or would it be due to Bostons big Irish population?

Curie: HIGHLY intelligent with a wide curiosity about everything, she’s a ferocious fighter, have you seen her throwing raiders around? :D she’s also just a complete cutie with a beautiful French accent and multilingual perhaps? She’s definitely bilingual as she speaks Japanese to Takahashi, she’s just great <3

Codsworth: The awesome robot butler anyone? It’s adorable how much he cares about Sole, he waited for 210 for them ;_; he’s also a roaming ball of death in battle, but does it in such a calm, dignified way

Danse: A tough guy with a heart of gold, incredibly loyal, example being the Brotherhood and Sole, but he’s also willing to change for those he cares about, i.e. Sole, he’s also kind of an introvert but tries his hardest to say what he needs to, if you’ve reached max affinity you’ll know what I mean, he’s just wonderful <3

Deacon: Kinda like that one friend everyone has, that even know you know is lying, you’d listen to their stories for days, but he’s also got a genuine honesty when he needs to and it feels very real, also that killer pompadour and skill with disguises, imagine him on Halloween? :D

Dogmeat: A cute, loyal, brave, lovable little doggy, who doesn’t love Dogmeat? Especially with the welding googles on <3

Hancock: The cool ghoul mayor, I’d vote for him for definite. He’s such a chilled and genuine guy, he’s not ashamed about what he enjoys and is very honest an a little self conscious which of course is relatable, he cares for others and wants to do right by them, Hancock is a lovely as they come

MacCready: he’s the adorable merc, he’s like everyone at first, he shows real development as you go further with him, like with Sole, at first just Macs employer but by the end a friend/ lover. Mac is very caring by the lengths he goes to for Sole and Duncan. He’s genuine in his feeling, like with Duncan, he feels great regret/guilt about leaving Duncan and it’s shown in the way he talks to Sole about it and the lengths he goes to. Macs just truly awesome <3

Nick: suave and charismatic as they come. He’s a noire cop for christs sake, what’s not to like? :D He’s a very heartfelt character, he cares deeply for Sole and for people in generally, constantly wanting to do right by everyone, from his golden eyes, his voice and his style he’s just incredible <3

Piper: Intrepid beauty with a killer trench coat and boots to match. Piper doesn’t take shit from anyone, similar to Cait, and seeks the truth constantly, how awesome is that? She’s a very genuine character and feels like a real person, her dialogue feels like it would be said in a genuine conversation and her love for blue feels genuine on how her comments and the way she offers them food/Nuka Cola, like a friend/lover would. Pipers just amazing really

Preston: 100% cinnamon roll, just wants to help people however he can, he’s thoughtful and has a deep set of morals that get him through. He also feels like how you would in your first relationship, if romanced forever calling Sole “babe” actually like someone I know xD

Strong: do people actually dislike strong? Some of the stuff he comes out with is pure gold, he kind of feels like an olde brother in how protective he gets over Sole but is also true to the Super Mutant formula, Strong is just pure gold <3

X6-88: what I like is that he is completely opposite to the first impression, when I first started traveling with him I thought he’d be one of the more boring characters, but he’s actually incredible, like strong the stuff he comes out with is golden, and when you reach max affinity with X the feeling is amazing, like Mac he also shows a real development, from not being happy to have to go with you at first, to completely adoring you as a companion, X6 is just wonderful

What do you guys like about our favorite gang of misfits?
J.J. Abrams’ audio commentary for the 3D-Collector’s Edition of Star Wars The Force Awakens: Revised Edition post

So, my copy of the Collectors Edition of TFA was mailed to me on Friday. It’s not actually supposed to come out here until Monday but I had it pre-ordered and thanks to CDON.COM’s early shipment, I got it a little sooner. It’s a 3-disc set that contains the film’s original theatrical release on Blu-ray 3D and Blu-ray + there’s an additional third disc for the bonus material. Although most of the bonus features have already been released in some format previously. The set looks like this:


The most interesting new feature on it though is J.J. Abrams’ audio commentary, that I just finished watching and I wanted to share some things the director commented on it. It wasn’t really all that spoilery about things to come. But, there were some very intriguing things, that he said, that could possibly have some significanse to the discussion about the direction of Rey’s and Kylo’s journey. So now, I’m just going to go through the movie again and write down some things, that he had to say about it. Edit. This actually ended up being quite a long post. And by long I mean really long. So be prepared, you have been warned :)

Second Edit. And now this post is about to get even longer :D So, I knew all you lovely Reylo people would love this stuff and thats’s why I posted it :) Believe me, I was a very happy girl on Friday, when I checked my mailbox and realised that I had already received my copy of the movie. I’m lucky to live in Northern Europe, because the boxset comes out here earlier than in most places. I think, that in many places it won’t come out until mid-November.

I’m reposting this thing, because I just realised, that I had accidentally deleted some parts of it, when I was editing it and adding the part about Poe living in the original version of the script. It’s just little something that J.J. was saying about Finn and Poe and Finn and Rey and their bonds as friends.

I also want to add, that this post doesn’t obviously contain Abrams’ entire commentary, because it’s really long. So, I ended up editing it and only posting the best bits. Although, I might later do another post about fun facts and other little things, that J.J. had to say about making this movie. But, rest assured, that I didn’t leave out any important information concerning our main characters. I feel like, I have to make this thing clear, because even though I only tagged it as Reylo, I know, that there are people out there, who don’t like what I’m implying in this post. So, I swear, that I didn’t edit out anything relevant. If J.J. had, for example, been saying that FinnRey is basically canon, I would have included it in my original post. I have nothing against FinnRey. Both are lovely characters and actors. It’s just that I don’t like to watch fluffy romances in fictional movies. I prefer angst, tribulation, redemption, forgiveness and larger-than-life love stories. And so that’s why Reylo is my jam :) But hell, maybe we’re all wrong in our speculations and Rey ends up with BB-8. Doesn’t matter really, it’s all just fun and games ;)

There are some edits in the middle of J.J. comments, but again, they didn’t contain anything all that important. J.J. himself says right at the beginning of the movie, that he “hates doing these kinds of commentaries because while there are a million stories and all sorts of details, as the movie’s playing I want to keep talking about the different moments, moment to moment, but I also have larger, equally boring thoughts, and so I apologise to you as well, in advance, because I just know this is going to be a number of different topics and stories and they might seem jumbled and unrelated and…Welcome to my brain. I can’t turn it off.” So, basically I just edited out some stuff that didn’t really have anything to do with the scenes he was commenting on or were just comments about which camera they used or who was operating it, which shots were reshots done in such and such a place and time etc.

If you choose to not believe me, you are free to get yourself your own copy of this Collector’s Edition and check it up by yourself. So, there’s no point in bitching me about it. Anyway, it’s a great looking boxset with a 3D-image on the cover. You don’t actually need a 3D-television to access the commentary, because it’s on the ordinary Blu-ray disc of the movie. I also have the steelbook Blu-ray version of it, but for whatever reason, I noticed that the image quality is much better on this new Blu-ray disc.

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Her Last Vow

AN: OK, the response I got for my story ‘Light’ was absolutely unbelievable; seriously I was not expecting that. Thank you to everyone who liked, reblogged and left lovely comments; you’re all amazing. This idea came while I was writing it, plus I wanted to try and explore Eurus’ character a little more. I hope you like it. Ask box is open to requests and prompts.

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anonymous asked:

Where does ZUN draws his fashion sense for some of the designs of the girls? Dresses such as Cirno and even Doremy in LoLK s even too are wonderfully old and frilly. Very girlish. Even the acots speak volumes of a simpler time even the shawl-like things Renko and Yumemi wear. I was wondering if you'd have any insight...

Hello Anon!

This is a rather broad questions, so I have been unsure exactly how to tackle it. As you know, too, Touhou is turning 20 next year, which also makes for a whole lot of characters to cover! In the end, I decided to try and compile some of the things I imagine have been influential to the fashion choices in Touhou Project overall. Now, a lot of these are already rather widely known topics, but I’ve tried to delve a little bit on them to see where that’d get me. 

Also as a disclaimer I’d like to mention I was 4 years old when ZUN first started working on HRtP so I don’t really have any personal references to what might have influenced him during his youth in terms of pop culture, and second I’m not an expert on fashion history either. It’s something that interests me quite a lot but really nothing beyond that.

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Thoughts on Food Coding or Why Food=Sex metaphor doesn’t work well in some cases.

The idea of this *sort of* meta came up to my mind in late 2014 right after I’ve got to know about drinking code and food=sex metaphor. And while drinking code started making a perfect sense only when @thepineapplering classified all the drinks by their meanings (before that people believed that all alcohol drinks were a metaphor for sex or romance), I still couldn’t cope with times when food=sex metaphor seemed a bit inappropriate.  

My thoughts wouldn’t go further if I didn’t pay attention to one very blatant and obvious thing, which at first might seem as something that has been brought in the show for no reason at all. This is Mycroft’s ‘obsession’ with losing weight (i.e restriction of food consuming) and, what’s more important, Sherlock’s constant comments on that (honestly, this subject deserves a stand alone meta). If you think about it for a minute and remember all of the times we hear about his diet, it becomes clear that this wasn’t put there simply as a joke. So at that moment I saw a pattern – Mycroft limits his food consumption on the everyday basis, while Sherlock «doesn’t eat while working». So what can dissatract Sherlock while he’s on a case? What can be dangerous for his “utility”? The answer is pretty obvious – feelings and sentiment. I specifically want to point out, that it’s not only about romantic relationship or intimacy, but ANY sort of attachment (friendship etc.). So what might we deduce from that fact? In this show food = *any sort of* feelings. From this moment you should read the word “food” as the word “feelings” to avoid any misinterpretations.

Oh boy, this is going to be a long post.

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my response to tumblr user ben-c

DISCLAIMER: I am not posting this to hate on tumblr user ben-c. I simply disagree with much of her philosophy and want to respond to some points she’s made against Johnlock. Fair warning.

Her comments are in italics.

  •  But how can you POSSIBLY try to use “john only got married after sherlock left!!” as some sort of argument for johnlock when that’s a HUGE indicator of the manipulation and abuse in their dynamic? like…..if it takes someone completely and (supposedly) permanently leaving your life in order for you to develop a relationship with someone else, that’s not “cute,” that’s unhealthy as fuck

John had plenty of relationships with other people through the first two series of Sherlock, i.e., Sarah, Jeanette, etc. You’re assuming that his not getting married before Sherlock left had something to do with being “under Sherlock’s thumb” when in reality, who would he have even wanted to marry? Yes, John had casual relationships with women, so we know he was satisfied on a superficial/sexual level, but none of them were outstanding enough for him to consider a serious commitment. This is completely normal. Stop acting like Sherlock was some kind of abusive pimp who kept John from meaning relationships with people outside of himself. He didn’t.

As John said to his counselor after Sherlock faked his death, “My best friend is dead.”

This is huge. As someone with a best friend whom I love dearly, I would be shattered if I was in John’s place. This was not just an acquaintance or fairly good friend, this was a best friend, and best friends are different. They occupy a much larger residence in the heart and mind, and in John’s case, this was a best friend whom he had feelings for, and that takes an even longer time to recover from. John is a man mourning the loss of the person he had begun to fall in love with, not a man mourning the loss of his abuser. Sherlock’s death was not cathartic in any way. It did not free John. It caged him. Sherlock’s effect was positive, not negative, and it was his absence that reopened John’s wounds.

Then he meets Mary, and he’s so lonely and wrecked in the aftermath that he allows her to insert herself into his life, thinking that perhaps she will be his healing. But in the end, Mary lies about her identity as an assasin, shoots Sherlock, tries to get him to keep it a secret from John, is defensive and cold when John speaks to her (forgives her) at Christmas, and exacerbates all the old trust issues he carries. Now that’s unhealthy as fuck.

  • “why do you watch sherlock if you think john and sherlock’s friendship is abusive!!!!!!” well why do you watch hannibal if you dont believe will and hannibal have a beautiful perfectly healthy friendship. why do you watch orange is the new black if you don’t think piper and larry’s engagement was great. why do you watch supernatural if you dont think john winchester was a perfect loving father?

Obviously characters don’t have to have perfect relationships for them to be acceptable for public consumption. Dysfunction is entertaining, etc., etc. But there’s a substantial difference between watching two characters who don’t have the most wonderful relationship and watching two characters engage in emotional or physical abuse. I would put up with the former, but I would never waste time with the latter. I have no respect for relationships, fictional or otherwise, that are seriously harmful. That is, if they actually are harmful. Johnlock, as I have elucidated in this post, is no such relationship. I am a pigheadedly moral person and anyone who knows me in real life can attest to that. I detest abuse, manipulation, codependency, and the works, and I’m very good at spotting it, calling it out, and cutting it from my life. I am many things, but a hypocrite is not one of them. If the hate for Johnlock was authentic and founded in anything other than subtle (and not so subtle) homophobia, bitter complaining, and ignorance, I would agree. But it isn’t, therefore I don’t.

However, the issue here is that ben-c is saying she’s perfectly okay with spending time, money and thought on a show that, in her eyes, perpetuates abuse. This is problematic. Whether in reality something is or is not abusive, if you believe it is, why on earth would you continue watching and supporting it? Why not devote time to something more positive?

  • john only has canon relationships with women and has expressed no attraction to men and uses “im not gay” as an explanation for not being with a man so maybe hes not actually bisexual crazy huh?

One word: Jolto.

Remember what Mary said to Sherlock at the wedding while the two of them watched John and Major Sholto catch up? “Neither of us was the first, you know.”

Which is great, because she herself includes Sherlock in the scope of John’s previous romantic partners.

John totally had a crush on James Sholto and he totally had/has a crush on Sherlock. This is basically canon.

His constant claim of “I’m not gay,” does not mean “I am straight.” There is a middle ground—bisexuality—and no, I’m not abusing it for the sake of my ship. Plenty of closeted bi people have said “I’m not gay,” when confronted over the fact that they seem to have feelings for someone of the same gender. Because they’re not gay. But they’re not straight either. And for some people it’s much easier to play up their heterosexuality, especially in the largely homophobic climate we live in.

I myself am not gay, and don’t experience sexual attraction toward other women, but I do experience romantic attraction toward them on many occasions and when I was younger I would often bewilderedly think “but I’m not gay,” because I also had crushes on boys. Technically I wasn’t gay. I just didn’t understand romantic orientation at the time, nor did I know it was even a thing. John Watson may be in a similar boat. He may not have fully explored the option of being bisexual or biromantic. Or maybe he has, but isn’t comfortable coming out just yet.

But using “I’m not gay” as proof John isn’t bi is an extremely limited take on the subject and propagates the bisexual erasure so many of us dislike.

  • god that “john cant sleep peacefully without sherlock” post is hardcore buggin me because like john couldn’t sleep before sherlock, and it was because of his ptsd……the whole point of him not being able to sleep after the fall was that sherlock hardcore triggered his ptsd and set back his recovery…..idk why u tryna make that some romantic shit that’s unhealthy as fuck man

I agree with the fact that Sherlock’s death triggered John’s PTSD and ruined a great deal of the progress John had made, but on the other hand Sherlock gave John an incredible sense of normality, stability, friendship, and security during their time together at 221B and the loss of that was, I believe, equally traumatizing.

  • y’all romanticize the fact that when sherlock is deducing the jack the ripper he ~hears john’s voice~ but like to conveniently ignore the fact that john’s voice was telling him he was a show-off and criticizing him and insulting him so……..

Even if a voice in your head sounds like someone else’s, it isn’t. It is our own voice masquerading as theirs and our subconscious supplies the dialogue. What we truly think about ourselves is what we hear in our heads. John doesn’t loathe Sherlock; he’s simply hurt and shocked. Sherlock loathes Sherlock, and he’s quite raw over the fact that John hasn’t forgiven him. Raw and guilty and ashamed. In reality, we know John says things to Sherlock like, “Brilliant, fantastic, marvelous.” He’s extremely kind and complimentary. But because Sherlock is feeling so disgusted with himself, his psyche manipulates John’s voice into a critical, malignant one that taunts and disapproves. Sherlock is projecting his own self-hate onto his best friend.

  • johnlockers saying that sherlolly is a bad ship because it’s abusive is literally the most hilariously hypocritical thing on the planet and will never fail to make me laugh heartily

Who said it was abusive? The only reason I don’t ship it is because Molly will never be a priority to Sherlock over John—and I believe she deserves full priority in whatever relationship she lands in—that plus the fact that Moffat has stated Sherlock has no attraction to women, so…yeah. There is that.

  •  TJLCers can make a tag for hating on mary and wishing her dead but we cant have a tag for posting about why johnlock isnt canon because that’s too offensive……….ok

Remind me again who jumped into the fire to save John?

Mary Morstan, or, as we should more accurately address her, A.G.R.A., kills people for a living. Let that sink in. She kills people for a living. Would you be okay if your spouse turned out to be assassin? If so, I am concerned.

She’s a liar. She’s a killer for hire. She’s callous and blank and apathetic. She used John. She used Sherlock. She killed Sherlock. What brought him back? The thought of John being in danger.

What A.G.R.A. did is so beyond the realm of okay. It was horrific. It was abusive. It was done to two men who have already been psychologically traumatized. If you think Sherlock’s death triggered some major PTSD in John, well get ready, because this is going to be cataclysmically worse.

The argument that she shot Sherlock to save his life is nothing short of goddamn stupid. I can think of some better ways to save his life. For example, not shooting him.

??????

As the popular text post said, Mary’s pressure point is Mary. She’s the definition of selfish and it appalls me that anyone would ignore this, but sit around whining about how Sherlock and John abuse each other. Like, get out of my face.  Sherlock made a vow to both John and his wife, and he kept it. He was there. Always. Just as he said he would be. He kept his vows; Mary did not.

I can’t believe there are people out there who want to debate this. I literally cannot believe it.

  • if johnlock not gameender, how come look at each other? Check mate!! #RealIsTJLC

Bruh. You complain about us mocking you but you turn around and do the same thing. Please stop being so infantile.

  • ok but like if your otp has abusive aspects and you don’t recognize them and/or refuse to admit them how can you possibly try degrading someone else’s ship, Christ

Yes, why don’t you ask yourself that, Miss Sheriarty-is-not-abusive-even-though-Jim-tried-to-kill-Sherlock’s-best-friend-and-ruin-Sherlock’s-reputation-and-make-him-feel-small-and-worthless? And yet you degrade Johnlock every day.

Again, don’t be a hypocrite. It’s extremely unbecoming.

  • tjlc is abusive and fetishized trash, plus johnlockers are already obsessed with taking everything for themselves, why can’t we take something back???

You seem upset.

Good Golly, Miss Molly

(This is the obsession crack my brain has focused on during the latest round of blizzards. It is the winter of never-ending-snow. And to think I almost moved to Montana. So glad the Universe intervened with a big “NO” on that one. I would have missed all the eastern seaboard fun….)

On to my very long, season 3 Molly ramblings and speculations (crazy as they may be) ~

For a character that was intended to be written off in the pilot, that girl sure does have magick working on her behalf. Furthermore, I admire her evolution. I wish there was more Molly, but appreciate what’s been given. Because, what’s been given is really good. Molly is the least known character; she’s not even canon, but she’s crept into our hearts for who and what she represents to the audience.

I have to confess, I think Molly’s importance is severely overlooked, just as Moriarty overlooked her significance in Sherlock’s life. She’s intelligent and smart, otherwise Sherlock would not have shared the time of day with her. She’s observant – more so than John, which is in no way a mark against his character. Just as Sherlock can read people and crime scenes, Molly can read Sherlock.

Viewers have watched her grow from the embarrassingly awkward ‘I gotta crush on Sherlock’ stage, to someone who is beginning to empower herself and claim a respect-filled place in his life. This woman is exceedingly important to Sherlock. He goes to her in times of his greatest need and even his darkest hours – and no one ever notices. Not even Magnussen. I have a sinking suspicion this won’t be happening in future episodes.

While I love what Molly has been given in series three, as well as the greater ease between she and Sherlock – this one line had my ears perk up in attention:

“Just the spare bedroom. Well, my bedroom. We agreed he needs the space.”

When the hell…What??? I really had to think about what this meant since His Last Vow first aired.

Talk about evolution.

As much as my inner shipper would like to imagine Sherlock and Molly doing the mattress mambo – the realist in me doesn’t go there. Instead, a more likely scenario is that Sherlock needed a safe refuge to work through the Magnussen problem and possibly used Molly as an accomplice for aspects of his plan. I might change my mind on this later, but for now it’s a plausible idea.

Sherlock has established with the audience that Molly is the Queen of trust-worthiness and she knows how to keep a secret. (I feel a sidenote coming on: Do you ever wonder what might have been going through Molly’s mind when she saw John Watson grieving Sherlock’s death? Or even Mrs Hudson, Lestrade? Molly saw all these people in heart-wrenching sorrow and never once let on. How did she make it through his funeral? How did she comfort these people, all the while knowing Sherlock was alive? Now, that takes some serious resolve and offers insight into her rainbow and kittens psyche. With the exception of Anderson, not one person ever suspected.)

So, back to pillow talk. I’ve read a few other theories on the timeline of when Sherlock used Molly’s place as a bolt-hole and I pretty much agree with the idea that this took place between the events of The Sign of Three and His Last Vow. Although, part of me suspects that some kind of information might have been exchanged between the two of them prior to The Sign of Three. Molly’s hyper focus on Sherlock’s role as best man, along with Sherlock entrusting her to calculate the appropriate alcohol intake for stag night indicated ease and trust. They clearly have been talking more off-screen. There was also a significant amount of mirroring and foreshadowing:

Sherlock’s eye ball in tea – Molly’s brain named Helen-Louise.

Both Molly and Sherlock called upon Greg Lestrade, who showed up for both with varying degrees of urgency, for the best man conundrum.

Molly’s comment about lots of sex with Tom, mirrored Mrs Hudson’s story that her marriage to Frank was purely physical.

Molly knew a Vatican Cameo was coming on even before the words were said.

Molly paid close attention to Janine – which could be written off as residual longing to be in the bridesmaid position next to Sherlock, although that’s highly doubtful. Molly didn’t look at Janine with longing or envy. She was observationally concerned.

Instead of standing with Tom during the wedding waltz, which would seem like a logical place during this highly romantic moment, Molly stood next to Janine and paid close attention. Nothing got by her.

When Sherlock left the wedding, Molly was the only one who noticed – and, according to the writers, she would have gone after him if she could. I don’t think Tom was the reason she didn’t. I think it’s possible Sherlock’s plan started in motion and Molly, in one way or another, is his confident. Given their history, it’s certainly conceivable. If I remember correctly, Mark Gatiss stated in a recent interview that Molly is “key.” Steven Moffat offered a sly smile at the remark.

And let’s not forget her serious, bad-ass bitch slapping moves.

These looks, glances and behaviors give consideration to the assumption that Sherlock shared information with Molly that had yet to be revealed to the audience. I think to fully understand the ‘bolt-hole’ bedroom comment, one needs to go back further – to The Empty Hearse – to understand the evolution.

I think everyone knows Sherlock plays the long game. He did it in the books and he does it in this show. He is an intrepid multi-tasker, picks up on all kinds of details and while he might be ‘rusty’ and more emotionally vulnerable than usual after his two year absence, he is trying to get his groove back. Sherlock on a bad day is better than I am in my most brilliant moment. ~sigh~ Most of all, it’s easy to see he missed TeamLock – all four of them: John, Molly, Mrs Hudson and Lestrade. He’s a super computer genius gathering information on what everyone has been up to. He told Mary he doesn’t understand human nature, but that doesn’t ring true. He understands human nature all too well, at least from his logical mind, and generally considers it our error.

Sherlock’s invitation to Molly to help solve crimes – now, that was a very interesting mental exercise. Sherlock doesn’t need her to help solve crimes. First of all – there are not enough hours in the day for Molly to help; at least not in the field. She has a full time job and a demanding one at that. Most of all, Molly doesn’t accept Sherlock’s reasoning, either. She played along, because she enjoys spending time with him, but she knew it was all a ruse: “Sherlock? What was today about?” What Molly doesn’t know is that Sherlock, while genuine in the reason he offers, is also using this time to assess her life.

There was some great sub-text in The Empty Hearse, which is indicative of his evaluation. Sherlock made a statement to the female client who had been jilted by her online lover: “And you thought he was the love of your life?” This statement was also directed toward Molly. We have yet to meet Tom, but Sherlock already knows him. Not personally, of course. He read Tom through Molly and, in my opinion, assessed that Tom is merely a substitute and distraction for Molly affections. After all, Tom is not Sherlock. The Boy Wonder is not going to tell Molly, either. At least not openly. Molly’s feelings toward Tom are genuine and Sherlock does not want to risk alienating her. But, he is setting the stage for her to figure this one out on her own. The kill shot, as I like to call it, comes when they leave the train guy’s flat. Sherlock is about to mark his territory – metaphorically speaking.

The intimacy these two shared in the hallway was palpable – the close proximity of their bodies, Sherlock congratulating Molly on her engagement, Molly’s fumbling to explain Tom – yes, she’s flustered - Sherlock tells her she deserves to be happy and then the longish gaze into her eyes with a dimpled smile, followed by a soft kiss on the cheek. God, Sherlock is good. From my point of view, Molly’s engagement was over in that moment. I think she knew it too – the look on her face expressed this much. She still harbors feelings for Sherlock, although it will take her a while to come to terms with this fact. Now, all our man-child savant has to do is wait and I suspect, in his mind, it won’t be long. The countdown is on. Not because he has romantic intentions for Molly. No, he’s not nearly ready to acquiesce to physical attraction and truthfully, who knows if he ever will. A shipper can dream, though.

Sherlock is protective of those he cares about but, more importantly, he is possessive. Just as John, Mrs Hudson and Lestrade all belong to him, so does Molly. And quite frankly, knowing Sherlock’s thoughts regarding romance and relationships, as long as Molly has feelings for him she should keep waiting until something happens between them, or someone even more significant (than the esteem in which she holds Sherlock) comes along.

I think the timeline is important to understand the evolution of Sherlock and Molly’s friendship. From January to May, John is spending more time with Mary. Although Sherlock is very involved with the wedding planning, he’s not dealing with any active cases that we know of. Per John, his inbox is full. Possibly he’s hanging out with Molly a little more at Bart’s. He includes her in his stag night planning, which is cute. He needs her practical experience when it comes to drinking, even though he’s a graduate chemist. She’s onboard with his ‘murders’ pub crawl theme and even finishes his sentence. There’s a moment of awkwardness, but over all, what we’re seeing is more harmony and comfort between them. They’ve grown closer since The Empty Hearse and it’s nice.

Moving on…. I think it’s safe to assume that Molly and Tom ended their engagement fairly soon after the events of The Sign of Three. Maybe even that night. I mean, when your fiancé stabs you with a fork, breaking said fork, you tend to re-think the relationship. And, then there was the whole meat dagger exposé. Poor Molly, she wanted to climb into the center of the earth. Although, let’s not blame this on Tom. This was all Sherlock’s doing. He couldn’t help himself. He saw Tom whispering to Molly and called upon him to share with the class. Molly never would have let Tom share on his own volition. But, this is Sherlock and Molly’s nonsense with Tom has taken far too long. Sherlock’s gotta move the show along and deliver the engagement death blow. When all else fails, highlight the huge mistake Molly is making and embarrass her in front of everyone. Plus, he’s in his genius-hyper-crime-solving-state-of-mind and that’s never, ever a good mix.

Now that Tom’s out of the way, he’s home free for another bolt-hole. Do I think Sherlock is that Machiavellian with his master plans? Uhhh, yeah – absolutely. He acknowledges it himself all the time (“You know my methods, John.”) Especially now that he’s attempting to adjust to all the changes taking place around him, and missing a few key insights as well. All he has to do is set things in motion and allow them to take their course. Even if they need a little nudging. Buh bye Tom notSherlock.

Between The Sign of Three and His Last Vow one month has passed. At the beginning of His Last Vow, we’re led to believe that Lady Elizabeth Smallwood came to see Sherlock to negotiate a deal between she and He Who Must Not Be Named, aka the Dark Lord Magnussen. Although no definitive timeline is given, I believe she sought out Sherlock shortly after his return in The Empty Hearse. I’m basing this timeframe upon Magnussen being summoned to appear before the Parliament Commission, the one which we saw Lady Smallwood questioning him at the beginning of His Last Vow. These sessions, however, actually took place during The Empty Hearse, at the same time news stations reported the Hat Detective was alive. We see this through Anderson’s perspective as he watches the television with his fan club.

Sherlock had been chewing on the Magnussen problem for a while, biding his time for all the pieces to come together. John and Mary’s wedding presented the perfect opportunity to start his plan in action. He deliberately spent extra time with bridesmaid Janine, of which he later thanked John for the serendipitous meeting. After all, she’s Magnussen’s PA. He got to know her and then later preyed on her attraction for him. This was some very fast work on Sherlock’s part. In one month he wooed her into falling in love, pretty much had her staying at his flat, all the while never having sex with her. Now that takes talent. The no-sex part might have worked during the Victorian age, but in 2014 – not so much…although we can deduce that some ‘slap and tickle’ might have taken place. Just enough to keep a healthy girl like Janine interested, but not overly focused on why they weren’t doing it. She might have dumped another guy by now, but because this is Sherlock Holmes and there’s definitely status dating the high profile celebrity detective, she’s willing to play this out a while longer.

Sherlock and Janine are an item, but they’re not having sex. And, if she’s staying at his flat on and off – how does Sherlock go about avoiding sexual intimacy? He stays gone at night – working on a case. So, where does he go? We know he spent several nights at the crack house – where John found him. This was a deliberate move to create a scandal and get the attention of Magnussen. But, he didn’t spend every night in the den-of-drugs, so where did he go if he couldn’t go home? He’d want a place where he could think, plan, rest and feel safe, where he knew his presence would go unnoticed and never mentioned. A place no one else knew about. He’d go to Molly. It would be easy now that Tom was no longer in the picture and, who knows, Molly might appreciate his company now that her engagement is over.

Still, why choose Molly’s home? Sherlock has plenty of other bolt holes where he would have privacy to think and rest. He chose Molly for a reason and - given what we know about her – it’s doubtful she woulda been all, Yeah, cool, you can crash here, dude and not ask questions. Molly can’t help herself when it comes to Sherlock. It might be an addiction problem, but she needs to know what’s going on. This is why I suspect he confided in her regarding the Magnussen case and maybe even some suspicions he had about Mary. Even more importantly, Sherlock always maintains a story board regarding his most complex cases on the wall behind his couch, but he can’t do that at his place – not with Mary and John, Mycroft, Mrs. Hudson and Janine hanging around.

There’s another interesting thing I noticed, although I could seriously be reaching here. When Molly reveals Sherlock uses her place as a bolt hole, we don’t know who she’s sharing this information with. It’s not John, Lestrade, Mary or some random person. In every single case where Sherlock’s hide-a-ways are exposed, we know who’s asking and who’s listening. Except for Molly. It’s as though she’s sharing this information exclusively with us, the audience. Actually, she’s looking directly at us and letting us know he stays not only at her home, but in her bedroom. This further implies a deepened intimacy between them. Not sexually, but profound trust and recognition regarding her importance. Sherlock is very careful with Molly. He keeps her role in his life well-hidden, including his declarations of tenderness and vulnerability. His inner circle is recognizing her more, but not nearly to the extent that he actually confides in her.

As for the “My bedroom. We agreed he needs the space” comment – I simply believe Sherlock needed the actual physical space to plan.

There might be another reason although, again, I could be reaching: If Sherlock is using Molly’s bedroom, it’s very unlikely she and Tom will be having breakup sex. That bedroom is Sherlock’s command center and there is no way Molly will compromise his work or trust. And, it’s doubtful Tom will be making any surprise visits on her doorstep with Sherlock present. We know from Sherlock’s ‘talk’ with Mary’s ex-boyfriend, he’s not above offering a threatening presence if necessary. Molly has to either go ‘cold turkey’ with this break-up, or seek Tom outside of Sauron’s Sherlock’s all-seeing eye.

Who knows if things really played out like this, or my mind has gone the way of Jack Torrance and seeing things that aren’t there. Either way, it will certainly be interesting to see what Season/Series 4 holds in store for Molly.

6

He’s… Mercurial. Shear talent. A genius. One of the leading actors in the world. An incredibly formidable presence. A Porsche 911.

I think its time to repost and update one of my most reblogged posts of all times. Because I see all this hate for Benedict on Tumblr these days, mostly from people who havent even seen him in anything, and I want to inform them and remind his tumblr fans why we are fans.

He’s one of the most admired actors in the world, first and foremost among his peers and collegues. I know about two guys who went to acting school because of him,  because of the video of him doing motion capture for Smaug. Do yourself a favour and watch that Video, see what a true genius he is and why he gets big roles: https://youtu.be/FHuXSZv6Tqs.

He’s an inspration for artists all over the globe and he deserves more than getting irrational hate from People who know nothing about him.

So, here my post:

Great people about Cumberbatch.

“As well as Olivier, acting giants Peter O’Toole and Richard Burton drew audiences by their sheer strength of character. Today Benedict Cumberbatch is doing the same.”
Joanna Read, Principal of LAMDA acting school

“Hands down, I believe that he’s the most versatile, surprising and charismatic actors of our time.”
Christina Bianco, actress

“Benedict transforms, he doesn’t act. He becomes Turing.”
Morten Tyldum, director

“There’s a dignity about him, a correctness.”
Steve McQueen, director

“After [Benedict] left, [executive producer] Stephen Broussard and I looked at each other and said, ‘I think Doctor Strange was just here. (Strange) gets into a horrible car accident and his hands, the tools by which he can do amazing surgeries, are mangled and destroyed. That starts his downward path, and that’s why Benedict is such a great choice - you can go to the highest heights and lowest lows with him and he won’t lose you.”
Kevin Feige, Marvel director

“Even as a 13-year old, he was obviously an outstanding actor - a combination of intuition and intellect. It’s probably once in a lifetime that you find a boy actor as magnificent as this. I don’t think I had to speak or work with him in any way when I was directing him. I felt like I was working with a fellow professional rather than a schoolboy.”
Mr. Tyrell, Cumberbatch’s acting teacher in Harrow

“Benedict Cumberbatch… is amazing. Amazing. Beautiful man, beautiful heart, soul… and how giving he is as an actor…”
Johnny Depp, actor

"You want an actor who can bring a lot of intelligence, a lot of character to it. It’s important with the dragon that he’s smarter than Bilbo.You wanted a sense that Bilbo was up against a very formidable foe. So literally, we wanted somebody scary. He’s like the Hannibal Lecter of the dragon world. And Benedict has just got such a great voice and he’s got such a great, sharp mind that we was able to contribute a huge amount to the role.”
Peter Jackson, director

Benedict is witty, mercurial… thoughtful and expert. He’s very intelligent but he doesn’t let it show by commenting on the character he is playing.”
Richard Eyre, theater director

“He has a sensibility and an oddness to him… and a directness and a fantastic sense of humor (…) So I respect him on a pretty fundamental level (…) He’s an actor who has the ability to play in the outer field of basic acting work (…) He is a very generous, very sensitive, very thoughtful, focused, disciplined actor and, you know, when you work with somebody like that it’s just like playing… like Ronnie Scotts with B.B. King… it’s just a question of when or if… you know when someone’s got it and he’s got it.”
Tom Hardy, actor

“He’s a fabulous actor and happens to have the zeitgeist. Sherlock has lifted him into a global star but he manages to combine stardom with utter brilliance which is really rare.”
Hay Festival director Peter Florence

“Cumberbatch is a remarkable actor. He can quietly project the inner turmoil that more animated actors can only mimic.”
Matthew Gilbert, TV critic

“Benedict Cumberbatch is shear talent. I mean he’s such a fantastically talented actor. He has a marvelous look of course, he has cheekbones you could shave Parmesan of and he’s just a magnificently talented actor. I’ve seen him do so many different things, with such style and he’s also an incredibly nice man and he deserves the enormous acclaim he receives around the world.”
Stephen Fry, actor

“He is phenomenal. The amount of work that goes into his roles, he has a great work ethic and a genius mind, he is so inspiring. He really raised the bar for me and he had this integrity and genuineness. I feel really blessed to have worked with him.”
Adelaide Clemens, actress

“Everytime Benedict Cumberbatch opens his mouth it is positively electric… At the time I was getting really into Sherlock series one and I was just totally hypnotized by Benedict and I said to JJ ‘You gotta watch this guy, and one thing let to another and… Thank God! …. All credit goes to Benedict but I was smart enough to realize he is a genius.”
Damon Lindelof, screenwriter

"I didn’t really know him as a stage actor. I knew what a fine screen actor he is. But there’s a physicality involved in the theatre. It’s not just about mannerisms or impersonation, which screen often is: it’s about sustaining a narrative with mind and body. When I saw him for Frankenstein, that was the only thing I wanted to know. Did he have that physical capacity? And of course he does. We met and I asked him to do a few things and he was extraordinary in the room. He’s as fit as a boxer, which you have to be for the stage. You have to have an internal fitness that allows you to carry the story so it never sags. He had this combination of the cerebral and the physical which you can see when you look back at his screen work – in Hawking, it’s there. Frankenstein was a great one for using it. That’s why he’s now what he is: one of the leading actors in the world.”
Danny Boyle, director

“He’s a genius. There are certain actors who have the ability to take a line of dialogue and add a ring to it that you didn’t even know you put into the dialogue, into the line. And he’s one of those really brilliant actors. Just listening to him talk…you could enjoy him reading the phone book.(…) And he’s an incredibly formidable presence. He’s amazing.”
Alex Kurtzman, screenwriter

“We found Benedict Cumberbatch fairly early. We needed a very good actor, someone young enough to be believable as an aristocratic, an almost slightly dislikeable character who is an adolescent in terms of his views of the world, his upbringing. But we also needed someone who could hold the screen for four and half hours, in every scene. We needed someone with experience who was not only a very good actor, but also with terrific comic timing. Benedict was the ideal answer to that.”
David Attwood, director (To the ends of the earth)

“Everyone just looked at it and went “Oh. All right.” Meryl looked at me and gave me a big smile, which is Meryl’s way of saying “Well done”. It was not the best quality you’ve ever seen. And his face was very close. But he was wonderful. At first I didn’t realize that he was British because his southern Oklahoma accent was very good. There’s nothing guarded about him. It can be a little daunting because you have the clear impression at all times that he might be more intelligent than you are.”
John Wells, director, about Cumberbatch’s iPhone auditioning for August: Osage County

“The difference between stars and just great actors is that stars can make parts into them, rather than themselves into parts; they make those people them. They never quite play it like you expect them to, so it becomes very much Benedict’s Sherlock. Look at how Sean Connery owned James Bond.”
Steven Moffat, producer and writer

“He’s a stick shift; he’s changing up and changing down. He’s a Porsche 911.” Gary Oldman, actor

“I would like to officialy declare my love for Benedict Cumberbatch. Yes, that’s right. I’m in love with him.”
Paul Feig, director

“He’s an immersive actor; he’s physical. You have to keep feeding him, trying to keep him stimulated. The engine has to be stoked all the time. The joke is that Hollywood thinks it’s investigating him right now to see what he’s made of. The truth is: He’s investigating them.”
Danny Boyle, director

“Watching him physically train to play James (He dieted, ran the cliffs and swam in the cold sea), and also delve into the meaning of every line in rehearsals, and then plot the effect of his illness on his body and mind as it would be in each scene (shot in the wrong order), while all the while being a joy to be around was impressive to witness. To see it as one performance in the final cut was remarkable. - He is rare even amongst the acting breed. If the character description says handsome: he is. If it says Nasty: he is. Older: he is… Younger: he is. For this reason I just can’t wait to see what he will become.”
Vaughan Sivell, producer and screen writer („Third Star“)

“Being on the set with him… I think everyone was bringing their absolute A-game. I think, frankly, in a way, [his] presence sort of elevated everything. Time and again, every scene, Benedict brought a surprising, unexpected, grounded, real and often terrifying aspect to the role. So we are incredibly grateful, all of us.”
JJ Abrams, director

“Benedict Cumberbatch is one of my very favorite — excuse me, favourite — actors today, and he brought his brilliant mixture of confidence and strength to Khan in a way that, with all due respect, Montalban never did. Never once does Cumberbatch make the obvious choice, his performance is always subtle, always controlled, and when he finally goes full-Khan, scary as hell.”
Will Wheaton, actor

“I think he’ll be one of the guys who lasts, that’s my take. It’s what George [Clooney] said to me ten years ago: If you can pull off ten years in this business, then you’ve done something, and we both kind of agreed that that was kind of the benchmark. And I think [Cumberbatch] is of the new crop.”
Matt Damon, actor

“Benedict Cumberbatch is truly one of the greatest actors I’ve ever seen. And my favorite thing about him in this movie is that instead of his bad guy being adorned and wearing some crazy mask and costume and hair… he is just a simple man standing in a black shirt and black pants, just a common man… and his performance is so powerful in it’s simplicity… and that to me was an incredibly exciting thing to see: how little he needed to be that powerful.”
JJ Abrams, director

“When he was at school, parents came to see him in plays their own children weren’t in - THAT is how good he is.”
Tatler magazine

“Yes, Benedict has darkness. He has a light, brilliance, wit, sophistication, an imposing presence. He’s threatening; he’s physical. He’s also sympathetic. He does these things and makes it all look so damn easy. And the other actors … it was so funny. Every time we were doing a scene with Benedict, they were standing a little bit taller. He has a presence that is ridiculous and that voice, oh my God. There wasn’t a day working with Benedict that I didn’t think, this is insane. He elevated that moment. He made that thing that I thought was going to be really hard, authentic. He’s not like his character in any way, physically or emotionally, but he transformed himself physically. He was suddenly this wildly intimidating big guy. And he’s not. When you talk to him, he’s sort of slight. But in the movie, I spent a year editing him (Benedict’s footage). So it was like I got to see him every day. I got so used to him as that character. So when I saw him again recently, I thought, God, he’s so small, compared to how he is in the movie—he’s so epic. He is an utter chameleon who I think can do anything. He’s one of the best actors I’ve ever seen, let alone worked with. He was able to bring all of these incredible nuances and attitude to a role that in lesser hands would not have worked remotely that well.”
JJ Abrams, director

Why the Internet Jerks Aren't Going to Win, And You Can Help

At PAX East 2014, I gave a talk with Depression Quest designer Zoe Quinn about discourse on the Internet. I gave an updated, reworked version of my TEDx talk (for example, I no longer had to worry about explaining every detail about a video game before using one as an example), and recently remembered all of the text is on my laptop.

Since not everyone has time for an hourlong panel, I decided to publish the text and slides from my talk: “Why the Internet Jerks Aren’t Going to Win, And You Can Help.” Hope you enjoy it! I don’t have any other talks scheduled for the immediate future, but I’ve enjoyed my opportunities in the last year or so. Hopefully that won’t be my last time up on stage.

Hi, everyone! Thanks for coming. We only have an hour, and we’re going to try and use it as effectively as possible. We’re gathered here today to discuss a thing called the Internet. More specifically, we’re here to discuss how we act on the Internet. I’m joined today by Depression Quest designer Zoe Quinn. I’m about to launch into a roughly 20-minute talk, which will then be followed by Zoe’s own presentation for about another 20 minutes. After that, we’ll open the floor to questions.

As of today, I have nearly 53,000 followers on Twitter. It’s not Jeff Gerstmann numbers but it’s nothing to sneeze at. For the past three years, I’ve been the news editor at Giant Bomb, a game website where there’s just as much focus on the people talking about the games as there is on the games. Because we’re front and center, people have pretty strong feelings about each of us. Those feelings aren’t, uh, always positive. I’m going to share a few examples of what I mean by this, and I should be explicit in telling you that there is some deeply troubling language ahead.

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Arrow 3x07 - Draw Back Your Bow (aka Oliver and Felicity breaking each other's - and my - heart)

Am I dead? I think I’m dead. I feel like I might be dead. I think that episode finally did me in. I knew going in that this episode was going to be good. It had everything going for it even before I watched it – I was excited for Cupid, for Oliver and Felicity, for the fern etc.  But I think the episode actually exceeded my expectations in almost every way.  Aside from Ray Palmer and – obviously – Carrie Cutter, this episode was light on anyone who wasn’t Original Team Arrow. Notice how strong the show is when it focuses on the core trio? Yep, exactly.

Before diving in, can we just take a moment to agree that the MVP this episode was not Oliver, not Felicity and not even Carrie Cutter/Cupid? That honour belongs wholly to JOHN FREAKING DIGGLE. Take a bow, man. You were my Johnny again.

You should also know going in that I spent most of this episode with my head in my hands muttering “Oh, Oliver…” – sometimes because my heart broke for him and I just wanted to cuddle him and tell him that everything will be okay; and sometimes because I wanted to smack him upside the head for being such a dolt.

You know the drill by now:

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