Because i have faith in you! i have faith in your perseverance! be my friend, don’t be my friend, whatever! but don’t be so foolish as to confuse punishing me, with punishing yourself. […] i am a drug addict, marcus. a drug addicted. now that might seem like an obstruction to you because i’ve been sober since i’ve made your acquaintance. but two years ago, i was as pitiful soul as you will ever meet. with help, i fought back. and i got a little better. i know what i’m supposed to do with my life. d o   y o u ?

I don’t know if you people have noticed how often Sherlock says John’s name but he really says it a fucking lot because for the first time Sherlock has another person with him that’s not going to abandon him and by saying his name he is reassuring himself that John is not just a fragment of his sociopathic brain but a real person that really cares about him and I think that is just the most beautiful thing 

I’m not that kind of man in the day, 
Won’t you hold me steady

  • Molly:*huffing; shifting*
  • Sherlock:*reading*
  • Molly:*throws the cushion off of the sofa; massaging her stomach*
  • Sherlock:*still reading*
  • Molly:*rolls onto her back, propping her feet in Sherlock's lap* Come on! This is ridiculous.
  • Sherlock:*glances at her* You're uncomfortable.
  • Molly:*grits her teeth* Yes, I'm uncomfortable. Your daughter is now two weeks overdue!
  • Sherlock:*chuckles* She's my daughter when she's irritating you *shrugs* Makes sense *turns the page*
  • Molly:*kicks the book out of his hand*
  • Sherlock:*sighs; playing with her feet* Tomorrow. I promise.
  • Molly:*rubbing her stomach* If you say that one more fucking time, I will sit on you.
  • Sherlock:*smirks*
  • Molly:*whines* I'm sick of being fat and hormonal, wavering between wanting to kill you and wanting to shag you. I'm sick of being sick, sick of the aches and pains. I want to see my feet. I'm sick of you, I'm sick of me. Sick of daytime fucking telly. I'm sick of needing the loo every five minutes. I just...want to be able to eat a bacon sandwich and drink coffee; I can't even remember what coffee tastes like *fanning herself; pouts* I want to fuck you in my black dress.
  • Sherlock:...
  • Sherlock:*shrugs* Might suit you better.
  • Molly:*giggles* Oh, I wanna be a Mummy.
  • Sherlock:We could try the peppers again.
  • Molly:*shakes her head* What were the other suggestions?
  • Sherlock:Umm *reaches for paper; reads* 'curries, pineapples, walking, hypnosis, nipple stimulation' *turns to Molly with a raised eyebrow*
  • Molly:*frowns* Over my dead body.
  • Sherlock:Or sex. Having an orgasm can stimulate your womb to induce labour.
  • Molly:...
  • Molly:*affectionate smile; awkwardly leans over to kiss him* You certainly know how to turn me on, Mr. Holmes.
  • Sherlock:*puppy dog eyes* Shall we, Mrs. Holmes?
  • Molly:*shrugs* Might as well.
Music Composition in Sherlock and by Sherlock Himself: A Meta

Part ½ (Hopefully!)

Disclaimer: This is pretty much gonna be 50% musical analysis and 50% me bowing at the feet of David Arnold, Michael Price, and their team of sound editors. Maybe 75/25 if I’m disciplined about this. Just so you know what you’re getting yourself into here.

So I’ve seen my share of meta on Tumblr, but I don’t think I’ve seen anyone take a good crack at why I’m about to discuss here, and that’s thinking about Sherlock Holmes, his violin compositions, and how they fit into the larger score of the show in a way that you may not have considered. I’m not here to put out some grand theory or prediction, though; it’s more or less just an in-depth perspective on a subject that I think deserves attention.

Characters who play music onscreen are interesting in and of themselves, but when a character’s music makes it into/influences the overall soundtrack, it takes away part of the TV or movie illusion that fictional worlds are entirely independent from reality. But it’s a good thing — a great thing, even! It breaks down the fourth wall and for a moment, everyone exists on the same plane. And it connects the audience to the characters and their world in a very unique way that goes beyond just a wink or nod to the camera.

Keep reading

So in reichenbach there’s the scene where she tells him he looks sad right? and there’s the part where she’s like I don’t count and he does this thing. he blinks and his eyes flicker over her briefly and he looks like he’s confused or something… And then she asks if he wants anything after she says she’s going to get crisps and he tries to tell her she counts by saying he wants something, to join her but she brushes him off and then he just stares after her and looks down and he’s having a moment and I just need to talk about it with someone because its important

Can I just draw attention to how flawless and perfect this part of their choreography is now.

Video credit goes to  Johnathan Carvalho

So it looks like there’s no time for them to film s4 this year. Honestly I can’t see when they’d fit it in?? It kind of pisses me off a bit, because Sherlock is constantly pushed to the bottom of the pile these days. If there’s not enough time to film for Sherlock then maybe you’ve taken on too many projects?

As much as I love the idea of Sherlock and Molly having a big fancy wedding with hundreds of guests and a honeymoon on a private island that Sherlock was given as payment for a case, I also can’t imagine either of them wanting that kind of attention on them all day. My alternate idea for their wedding is when they’ve been together for a few years - Molly is 6 months pregnant when Sherlock puts his newspaper down and asks if she wants to get married. Out of the blue, but it’s not like they’re not ready to commit to each other. 

The main problem is that it’s a week before Christmas, and they won’t have the time to plan a wedding when the baby arrives… so they hatch a plan. They invite their family and closest friends - 15 people in total - to Baker Street on Christmas eve, with a dress code of ‘semi-formal’. The women are sent to the living room of 221B, while the men meet Sherlock in Mrs Hudson’s flat, and it soon becomes clear that it’s not a normal Christmas party. After the situation is explained, there’s a rush to get Molly’s hair done and her dress on, while Sherlock gets the generic ‘how to be a good husband’ speech from his father, John, Greg, Mycroft, and Molly’s younger brother. Mycroft calls in a favour and the groomsmen make their way to the nearest registry office in a fleet of black cars, followed by the bridal party. 

After the ceremony, they all go back to Baker Street, where Mrs Hudson and Mrs Holmes put on a slapdash wedding breakfast - including a Christmas pudding that Sherlock and Molly burn the brandy off (using a blowtorch) to a round of applause from their guests. The wedding party lasts until 9pm, when Sherlock’s parents kiss him and Molly goodbye for the 5th time, drag Mycroft from the chair he’s dozing in, and leave the newlyweds alone to celebrate with their first dance.