If I was Taylor, or any female celeb that gets harassed with sexist comments instead of praise on their careers and success, I’d reenact the last scene :) especially since she’s been saying the SAME things since she was a kid #kudos to Tay for always putting these ‘reporters’ (laughable since most don’t even have an English degree yet alone a communication degree) in their place.
#also it kills me that lexa’s eyes are glossed over and teary through this entire scene #especially visible in that last bit when she tilts her head up #and the way she shouts indra’s name #my fucking heart is going to die #she loves her people so much this must be so fucking gutting for her #i can’t even imagine (via @chrmdpoet)
can we just like… stop and appreciate pearl’s acting in this episode, guys? especially in its last half.
i love her in this scene. the way her eyes are just a little too wide, and the way her voice sounds just a little too detached… you can tell that she’s spent the last two nights working herself to the bone rebuilding that hub, just losing herself in this trance so she can be one with garnet again. she is trying not to let it show, she is trying to act as believable as she knows how, but it’s plain to see that she’s pretty much out of it.
like she’s bad at picking up sarcasm and jokes, and like she’s bad at processing her words until after she’s said them – pearl is a bad liar. here she actually is going over every word in her head before speaking it aloud, and it shows – this strange, hollow deliberation with which she speaks, just the subtlest bit too slow to be natural. it’s not so bad as to be comical or to be immediately picked up on by someone who doesn’t know the truth, but you can tell that she’s straining, that there’s no real feeling to those words.
and then when they’re finally about to fuse, she makes this face.
i mean, yes, let’s get the surface-level reading out of the way: she’s stayed up all night twice now rebuilding the communication hub. she’s tired. it makes sense for her to look that way.
but just… the curve of her eyebrow, that small, quiet smile, the lines under her eyes. this is the face of someone who’s tired in more ways than one; who’s been tired for a very, very long time, and is finally able to find reprieve.
this is what she’s worked for.
there’s so much subtlety and nuance to those characters’ behavior, both through the animation and the voice acting… it’s some seriously brilliant stuff, i think. there’s so much delicate care going into this show and characters, i honestly adore it.
Here are some of the backgrounds I did for Everything’s Jake. It was a really fun episode to work on, especially the last two scenes where I got to fill in the picture frames with whatever Jake-related things I could think of.
Friendly reminder that Moffat and Gatiss dedicated shitloads of time, money and resources to one scene in TAB that to most viewers didn’t make any sense at all. They even filmed a whole extra clip about the production of that scene.
Yes, I’m talking about their go at Reichenbach. Because that’s where most casual viewers I talked to lost it completely; because, to them, this scene doesn’t serve any purpose. It is not even a true to canon re-enactment of the Reichenbach scene from Final Problem.
It looks like it is - being built like the famous Paget drawing. But it’s not - as the whole show is not ACD Holmes with iPhones.
Mofftiss took this scene and made it their own. That’s why they were so excited. In terms of plot development of the surface narrative - is Moriarty alive or dead / how can he be back? - this scene does nothing, especially when taking into account what Sherlock says in the last scene at the tarmac before getting into the car. And yet Gatiss said about the Reichenbach scene in TAB:
‘Got everything we wanted in terms of telling the story.’
They wrote a literally wet dream in which Sherlock overcomes his fears (Moriarty) with the help of John. This is not an update of the ACD story; this is so far removed from Reichenbach in Final Problem as one can imagine!
This is finally the turning point of the whole series as it leaves ACD behind and becomes its own story. John is suddenly there, he kicks Moriarty off the precipice and Sherlock first throws his deerstalker away before taking a leap of faith…
This is what Mofftiss do with canon - they take the famous names, the props, some pieces from proverbial cases - but they don’t just update them; they fill them with new, contemporary content. To tell the story they’ve mapped out from the beginning. I’m not even sure that this is a Sherlock Holmes show anymore (which is not meant in a derogatory way).
Because in this scene it becomes batantly obvious that Moffat and Gatiss are telling a love story, not just a romance or a story about a detective (and his blogger). This is a story about what love can do to people, that it is possible for anyone - how damaged or strange or afraid they might seem - to find someone to love and be loved in return; to become whole and free through love. Using Sherlock Holmes and John Watson as a famous vehicle to get this message across just adds prominence.
And I’m not even sure if it is about Sherlock and John being straight or gay or asexual or bi or celibate - and perhaps that’s why Mofftiss always argue against the assumption of making a ‘gay’ show - because perhaps it doesn’t matter (and in the universe where the show is set it certainly doesn’t) who you love or what gender the person you love identifies?
To me this is what Sherlock understood at the waterfall:
WATSON: Actually … would you mind? HOLMES: Not at all.
And I’m sure by the end or the series - be it after S4 or S5 - most viewers will have arrived at the same conclusion. They won’t mind - there won’t BE anything to mind at all, because these two men are in love (and I’m not talking a platonic kind of love here, don’t get me wrong. I mean full on physical and mental LOVE in capital letters). Mofftiss will dish out a story so irresistible that even ‘antis’ will be happy for Sherlock and John. Because this is not about two middle-aged blokes snogging or political representation of minorities (as important as these issues are) - this is about how two people save and complete one another. And this is eternal and way grander than time or gender concepts.
Before the Reichenbach scene Sherlock tells himself that it’s not the fall that will kill him - the act of fallig in love - but the landing - the actual consequence of acting upon his feelings. But these are Sherlock’s treacherous fears speaking (his inner Moriarty). At the waterfall, when John shows up to save him, he understands that neither the fall nor the landing will kill him. And therefore he jumps.
We’ll see him land in S4 (or S5). And it will be a good one.