he solves crimes

Diamond City’s littlest detectives

I’m a huge fan of podcasts so, here’s a few for those boring bus rides to school.

Docudramas - these are podcasts that are meant to seem like real life with a twist. while not for the faint of hear, gullible, or paranoid utterly enjoyable.

- the black tapes: a podcast by Pacific Northwest Stories which follows Alex Reagan exploring interesting people, most notably Dr. Richard Strand in the world of paranormal investigation.

- tanis: another podcast by Pacific Northwest Stories. this one follows Nic Silver as he looks for perhaps the last genuine mystery in the Information Age.

- rabbits: Pacific Northwest Stories strikes again, but this time in a little bit of a shorter (for now) story line. When Carly Parker’s friend Yupik goes missing, she delves into the world of an ancient game called rabbits which has worldly and otherworldly implications.

- limetown: a podcast by Two-Up which follows the mysterious disappearance of the residence of limetown, a city of scientists, after an emergency that not one seems to understand.

- the message/lifeafter: (it’s called life/after right now but the episodes of the message are near the beginning) podcasts by Panoply. the message is about a team of linguists figuring out an extraterrestrial message that has been sent to earth. life/after looks at what if an app could connect you to a dead loved one, and what would you do to keep that connection.

The Radio Show - these are styles like a talk show but are often bizarre and have twists and quirks

- welcome to night vale: a podcast by night vale presents. this podcast is fairly well known now, and for good reason. This mysterious town of night vale and its wonderful host Cecil Gershwin Palmer announces the news of the day and have done so for ~5 years now. with drama and a really nice voice as well as some wonderful cooing over carlos’s perfect hair, it’s what got me into podcasts.

- king falls am: a podcast by king falls am. a weird town, aliens, creepy towns folk, some real shade towards the US presidency, king falls am shows an early morning am talk show often overshadowed by their more popular and successful counter parts. Funny and intriguing.

- kakos industries: a very, very explicit podcast by kakos industries. (if you’re not good with a lot of frank talk about sex, then this is not for you) corin deeth the third is the CEO of kakos industries whose main aim is to do evil better. a company about the evil in the world, its comedic and comes in the form of an update for those with shares in the company.

Science Fiction - My favourite genre and often with comedy, these podcasts are hopeful and yet to “down to earth (haha)”

- eos 10, a scifi radio play: a podcast by Justin McLachlan. doctors on a space station called eos 10 deal with so much hilarity and difficulty. Dr. Ryan Dalius is transferred as head surgeon to help Dr. Arviddien deal with alcoholism which has stunted his practise.

- ars paradoxica: a podcast by ars PARADOXICA. Time travel and the effects of it is the story line of this podcast, amazingly made and shows Dr. Sally Grissom after being transported back to the 40’s in war time USA.

- marscorp: a podcast by Definitely Human. When EL Hob is woken she expects the mars colony to be started, but among many other mistakes and hilarity, there is laziness at work.

- the strange case of the starship iris: a podcast by Procyon Podcasts. When Violet Liu narrowly escapes the destruction of her starship, she is rescues by some travellers, but they are not what they seem, and soon the misfit crew will uncover a huge conspiracy.

- wolf 359: a crew aboard a ship has so much misfortune, I’m so sorry Douglas:(, but this crew manages to keep a ship falling apart in the middle of space, with some difficulty.

Other/Miscellaneous

- the penumbra podcast: a podcast by Sophie Kaner and Kevin Vibert. the penumbra pod follows a few stories, but most notably the story of Juno Steel, a detective in Hyperion City on mars. He solves crimes, all while being a bitter lady, with the help of his assistant Rita.

- alice isn’t dead: a podcast by night vale presents. When a truckers wife, called Alice goes missing and is presumed dead, Alice’s wife (the trucker) goes on an adventure to look for her, but someone or something doesn’t want her to.

- the bright sessions: dr. Bright is a therapist for people with super powers, need I say more?

- return home: when a demonic voice summons Jonathon Parker to his hometown, curious things begin to happen and he is left the task of sorting them out.

- within the wire: meditation tapes with a twist

Special Agent Dale Cooper’s Daily Routine

  • 5am- rise
  • 5:07am- coffee
  • 5:15am- meditate
  • 5:30am- exercise, shower, consume “shower coffee”
  • 5:55am - eats powdered donut
  • 6:05am- meets Albert for breakfast. Consumes 3 coffees, 1 orange juice, 8 pancakes, 6 slices of charred bacon, 3 pieces of ham, 2 eggs over hard, all smothered in maple syrup.
  • 6:55am- pays bill and gets coffee for the road.
  • 7:15am- arrives at Twin Peaks Sheriffs Station, immediately consumes 4 jelly donuts and 3 coffees.
  • 12pm- Lunch at the RR Diner.  Turkey sandwich on whole grain bread, fries, endless cup of coffee, 2 slices of cherry pie, 1 slice of huckleberry pie, 3 scoops vanilla ice cream, 2 chocolate milk shakes.
  • 12:50- Driving to crime scene, eats a “road donut.”
  • 12:55- tastes cocaine found at crime scene.  Washes it down with some coffee. Tastes baby laxative just to make sure the cocaine is cocaine.
  • 1:00-2:00pm- Uses bathroom for full hour.
  • 2:05pm- coffee, old-fashioned donut.
  • 2:35pm- meeting at The Roadhouse.  Eats peanuts, drinks 1 Black Yukon Sucker Punch.  
  • 3:00- Coffee
  • 3:05- Donut
  • 3:10- Coffee
  • 3:12- Donut
  • 5:30- Dinner back at RR Diner.  Meatloaf, mashed potatoes, 2 whole cherry pies with vanilla ice cream ordered one slice at a time.  Coffee.
  • 6:30pm- chews 7 sticks of gum.
  • 6:45pm- Donut
  • 7:00pm- After dinner beer and peanuts at The Roadhouse.
  • 8:15pm- Relaxes in lounge of The Great Northern with 2 coffees and 4 glasses of milk.
  • 9:00 pm- In bed with “nightstand pie” and glass of warm milk.
  • 10:07pm- Wakes up and runs to bathroom.  Doesn’t come out for a full hour.
  • 11:15pm- Back to bed.  Insane levels of sugar and caffeine intake cause vivid hallucinations of dancing dwarves and clue giving giants.
  • 1:00am- Wakes up from caffeinated sugar psychosis to call Sheriff Truman saying he’s solved the crime.
  • 1:05am- Falls asleep, forgets he solved the crime.
How Mary Morstan destroyed the moral centre of BBC Sherlock

So let me just start by saying that no one wants two-dimensional, black-and-white characters. Flawed people are normal, believable, more interesting, more relatable. That’s all fine. What the first two series of Sherlock gave us was:

1. Sherlock Holmes: A self-appointed detective, occasional (mostly past, seemingly) drug user who solves crimes as a puzzle to keep his overactive mind occupied. Rude to people, a trait born more out of impatience to get on with saving lives without being hampered by other people’s relative slowness, and possible also because he falls somewhere on the autism spectrum and struggles with social skills. Tries to believe that he is cold, emotionless, but the opposite is palpably true: his facial reaction when Moriarty destroys the old woman in The Great Game. This line: “This hospital’s full of people dying, Doctor. Why don’t you go and cry by their bedside and see what good it does them?” (Read: wasting time wringing our hands won’t save this person’s life.) This exchange:

John: Charming. Well done. 
Sherlock: Just saving her time. Isn’t that kinder? (Read: He attempts to be kind, successful or otherwise.

Sherlock’s face when he sees John wearing the bomb jacket in The Great Game. Sherlock admitting his fear in The Hound of the Baskervilles. Sherlock showing compassion by rescuing Irene in A Scandal in Belgravia. Sherlock’s tear as he was saying goodbye to John in The Reichenbach Fall. These two series are full of evidence that Sherlock absolutely does care about people, so much so that his brother reminds him to be wary of sentiment as though it’s an old refrain, routinely repeated. And the final touch: “I may be on the side of the angels, but don’t think for one second that I am one of them.” That’s it in a nutshell: Sherlock is no angel – but he is indubitably on their side. He solves crimes. He stops criminals from their actions. He saves lives. He is, despite his surface rudeness, a good person.

2. John Watson: An ex-army captain and doctor with an appetite for adrenaline, an inability to settle into civilian life, post-traumatic shock nightmares, and a dangerous violent streak. A man with a “strong moral centre” who waits until he believes it absolutely necessary to kill, then does it cleanly, quickly, humanely when he thinks he must. John is such an interesting mix. In one way of looking at it, there’s a lot more dark in him than there is in Sherlock. Something obviously went wrong in his family, too, as not one of his immediate family attended his wedding. There’s some resentment there, some thirst to prove his worth – and a corresponding hyper-willingness to assume that people doubt it, that people place blame on him, that they find him wanting in some way. Trust issues, indeed.

And yet he’s the one who’s mindful of when Sherlock is stepping on toes and hurting feelings, the first to pull him into line, to make sure he doesn’t go too far. They’re such a good team this way: John came back from the war with a hand tremor that made it impossible for him to practise medicine and a psychosomatic limp and blasted-up shoulder that made it impossible for him to be the “war hero” Sherlock describes him as during their first cab ride. They fit each other perfectly: Sherlock gives John a safe outlet to let out his demons and channel them into being a hero again, cures him of his impediments almost just by believing him unshakably, always, without one shred of doubt, no matter what his sharp-edged humour might suggest, even giving him back the ability to practise medicine again, and in turn John provides Sherlock with equanimity: someone to come home to, eat with, be normal with, someone who will save him from going too far either verbally or into the deeps to search out a criminal there, who will follow him down and shoot the criminals off his back. They save each other. They do good work: they’re good people.

And then series 3 gave us Mary. Mary the former secret agent gone rogue, Mary who kills for the highest bidder (confirmed in The Six Thatchers), Mary who scales a building pregnant to intimidate or kill a man who is blackmailing her. Mary who shoots a friend in the heart rather than accept his help and request his secrecy, or his help in breaking the truth to John. Mary the pathological liar, who layers lie upon lie upon lie, and feels that she should never have to apologise for anything, including all of these lies. Mary, who got snippy and resentful over John’s “months of silence” after she tried to murder his best friend, as though he had no right to his anger. Mary, who denied John the right to have a say in naming his own child after she put him through all of that. Mary, who would rather drug her friend and abandon her family rather than accept help. Mary, who abandoned her team without confirming that they were beyond rescue and started a new life with a marriage and a baby and not a second thought for the people she’d left behind. Mary, who never for a second left her profession, keeping her guns and her outfits and her secret info stashed in random walls in Norway, her vast collection of wigs and offensive accents.

This might have worked if the show had seen her arc through as the villain she clearly was. Mary was decidedly NOT on the “side of the angels”. Mary was not saving lives. Mary was taking them. Mary was a person whose life choices, past and present, clearly put her on the other side from Sherlock and John – two flawed, yet ultimately good men who do good work. Mary’s work was, in a word, bad. She was the opposite, really: an inherently bad person with a cute façade, who could giggle and make little jokes (that frequently had a sting buried within), who could roll up her pants instead of just getting them hemmed, who could tease and banter, but as soon as the pressure came back on, her real self came out again. The old habits came back: drug a friend, shoot them in the heart, run away without looking back, kill anyone who gets in your way. The fact is that the show did NOT see this arc through. The writers tried to spoon-feed us the façade, and it didn’t work, because the truth was so very visible: Mary was not a good person, and trying to pretend that she was is either completely unbelievable, or else destroys the entire point of who Sherlock and John are, in their essence. To have them take Mary on board without question, without her actual redemption by having felt or demonstrated remorse of any kind at any point for any of the very many terrible things she did, does not work! This is tantamount to Sherlock and John teaming up with Moriarty! Even if they’d needed information from Moriarty or something, it would have been a necessarily temporary arrangement, because they are not on the same team and never have been!

So, tl;dr version: we want characters who are nuanced, who have grey area, who are three-dimensional: but not characters who betray their own moral code by associating themselves willingly with someone they would normally oppose with all of their combined might. Writing their acceptance of Mary Morstan destroyed their moral centre. In a way, it made them no better than she was, and we know from the first two series that this just isn’t who Sherlock and John are. They’re good people. Mary wasn’t.

  • Stranger: I've never done anything like this before.
  • Molly: *nods* I know. It's a first for me, too.
  • Stranger: *smiling* I've really enjoyed talking to you. I think we have a real connection.
  • Molly: *chuckles* You're the only one who laughed at my morgue jokes. Most people run a mile!
  • *bell rings*
  • Stranger: *sighs* I suppose that's time up.
  • Molly: Yeah, well...I have your number. I'll call you *shakes his hand*
  • Stranger: *smiles; leaves*
  • Molly: *watches him*
  • Sherlock: *sits opposite; amused* Enjoying yourself?
  • Molly: *looks around; stunned* Sherlock? What the hell are you doing here?
  • Sherlock: *shrugs* I was on a case.
  • Molly: *frowns* You followed me!
  • Sherlock: *smirks* You think you'll find your forever partner this way?
  • Molly: *folds her arms* For your information, you sod, I have met someone. He's really nice, very fit, finds me funny and thinks I gave a cute nose.
  • Sherlock: You do have a cute nose.
  • Molly: *blushes* Oh. Thanks.
  • Sherlock: You're welcome. Don't go out with him.
  • Molly: *scoffs* Oh, come on, I'm sure you got your fair share of phone numbers-
  • Sherlock: Everyone I met but that's not the point.
  • Molly: *sighs* You probably didn't even have to open your mouth.
  • Sherlock: *smiles* It would've ruined the illusion.
  • Molly: *giggles* Weeeell...
  • Sherlock: It doesn't matter. I don't care about anyone else in this room *firm* don't go out with him.
  • Molly: *hesitates* I really like him...
  • Sherlock: *raises an eyebrow* What's his name?
  • Molly: ...
  • *bell rings*
  • Molly: *relieved* Oh, so sorry, time's up. See you later.
  • Sherlock: *looks around* This isn't really my scene.
  • Molly: *rolls her eyes* You don't have a 'scene' unless the word crime is involved.
  • Sherlock: Mmm. Baker Street?
  • Molly: What?
  • Stranger: *annoyed* Oi! Didn't you hear the bell?
  • Sherlock: *smiles coldly* My apologies *stand up; mutters* erotic figurine collector *winks; leaves*
  • Molly: *smiling slightly*
  • Stranger: *sits opposite; grins* So, how about you and I-
  • Molly: *hastily* Sorry, I-I'm not feeling very well. Must be the heat. Nice meeting you. Goodbye *runs off*
  • Sherlock: *waiting outside; smirking*
  • Molly: *frowns* Shut up, Sherlock *grabs his hand; drags him to Baker Street*
Being in a relationship with Lucifer would include:

Originally posted by dailytomellis

Warning: Smut, drugs

A/N: *smirks*


  • Him playing the piano for you, singing a song he wrote for you.
  • You never touching his scars because he doesn’t like that. 
    • But you still telling him that he’s magnificent.
  • You worrying when he goes solving crimes with Detective Decker. 
    • You always telling him to be careful.
    • Also telling him to keep his mouth shut before he gets shot.
    • Secretly asking Detective Decker if she could keep an eye on him.
  • Babysitting Trixie from time to time. 
  • Maze accepting you after some warm up time.
    • She actually showing you how to be a bartender when you’re bored. 
  • Amenadiel being very polite, but wary of you.
    • Him not trusting Lucifer and him thinking you’re just his toy, nothing serious.
    • You calling him Ami just because.
  • Sometimes chilling at the Lux because it’s Lucifer’s home and loving it when he plays the piano and sings.
    • Being jealous when the ladies stare lustly at him.
    • “Don’t be jealous, [Y/N]. Green doesn’t suit you.” 
    • “Well, if that redhead touches you again, I’ll murder her ass and drag her corpse to the garbage bins.“
  • You calling Lucifer nicknames.
    • Luci.
    • Luce.
    • Lightbringer.
    • Wings.
    • Chicken wings when you’re drunk or high.
    • Daddy when you’re drunk and horny.
  • Getting drunk together. 
  • Doing cocaine together. 
    • He absolutely loves to snort cocaine off of your chest. 
    • You do like the same. 
    • Him taking care that you don’t do to much cocaine because he knows that mortals end up dead after an overdose.
  • You making him talk about whatever he wants to talk about because you love his accent. 
  • Driving with his super fast car around the city.
    • Him not liking that you want to drive because he thinks he’s a better driver.
    • Also, him having better reflexes.
  • Going out on dates and him always paying, although you don’t want him to.
  • Pervy jokes all the time. 
  • Your first time together being spontaneous. 
    • It’s gentle and passionate with lots of kissing and touching. 
  • Soft sex.
    • Despite what others might think, Lucifer can be very tender. 
  • Rough sex. 
    • Lucifer having the stamina of a horse.
    • Handcuffs, hot wax, ropes, blindfolds, cocaine, alcohol, gags.
    • Him showing you all the positions you didn’t even know they exist. 
    • Having sex everywhere. 
      • Bed, couch, car, floor, piano. 
  • Oral sex. 
    • Almost always to ‘warm up’. 
    • Him making you quiver when he pleasures you. 
  • Maybe a ménage à trois.
  • Cuddling. 
    • Both being the big and smal spoon. 
  • Lucifer confessing that he’s indeed the Devil and you not believing him until he shows you his true face. 
    • You slapping him is your first reaction, then screaming in denial and anger, and then calming down before asking him about everything.
    • You slapping him after he tells you that one of his powers allows him to ask about your darkest desire. Of course he has asked you that question the second time you’ve met. 
Swedish books/movies/tv shows you should read/watch

Originally posted by introverts-hideaway

Here is a list of swedish books/movies/tv shows that you should read/watch if you want to !

(this is not a ranking)

1. BOOKS

April Witch 

(Aprilhäxan) by  Majgull Axelsson. 

Desirée wants to know who stole her life. Institutionalised since early childhood due to severe disabilities, she lies in her hospital bed making plans. She can neither walk nor talk, but she has special abilities. Desirée is an ‘April witch’, which means that she’s able to see through other creatures’ eyes and can make them take her wherever she wants to. In her quest to find out which of her three foster sisters has stolen her life, Desirée becomes an invisible presence in their lives, following them, biding her time.

Simon and the Oaks

(Simon och ekarna) by Marianne Fredriksson.

Simon Larsson grows up in a working-class family in Gothenburg in the 1940s. World War II is raging. Simon’s father is a man of principles and strong views; his mother runs the home with love and warmth. But they are not his biological parents. Simon finds out that he was adopted and that his real father is Jewish. At school, Simon meets Isak Lentov, the son of a rich Jewish bookkeeper. The Lentovs, who fled from Nazi Germany before the war, becomes closely linked to Simon’s own family as the two boys make the transition from childhood to adulthood.

The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared

(Hundraåringen som klev ut genom fönstret och försvann) by Jonas Jonasson.

On his 100th birthday, Allan Karlsson breaks out of an old people’s home, through the window. He is determined to fill his remaining days with adventure and embarks on a long journey through Sweden, being chased by thieves and police, making friends along the way. Mixed with his old-age adventure, his life’s story is told: he dines with president-to-be Harry S. Truman, hitchhikes with Winston Churchill, travels on a river boat with Mao Zedong’s wife and treks through the Himalayas.

Gösta Berling’s Saga

by Selma Lagerlöf.

A priest defrocked for misbehaving and drinking, Gösta Berling wants to die. The Mistress of Ekeby saves him from freezing to death and takes him in. As one of 12 party-loving homeless men in the manor at Ekeby, Gösta Berling becomes a leading spirit. But the evil Sintram lures the men into making a deal with the devil, which leads to the Mistress of Ekeby leaving home. Wild adventures, power struggle and redemption follow.

Let the Right One In

(Låt den rätta komma in) by John Ajvide Lindqvist.

It’s the winter of 1981 in the grey Stockholm suburb of Blackeberg. Twelve-year-old Oskar is being bullied. But he has a friend who lives next door, Eli. The two develop a close relationship, and Eli helps Oskar fight back against his tormentors. But this story is more than just a snapshot of average suburban life. Eli is a vampire, which Oskar has yet to find out. As mysterious murders spread fear and confusion in the community, Oskar starts to understand – but doesn’t abandon Eli.

The Road

(Vägen till Klockrike) by Harry Martinson.

In 1898, cigar maker Bolle faces big changes. Hand-rolled cigars have to give way to modern, machine-made, mass-produced cigars. Industrialisation is here and Bolle doesn’t like it. He hits the road. On wood-lined gravel roads we follow his vagabond journey through a Sweden about to change. Bolle learns how to beg without provoking people, faces the fear of inhabitants and meets riding policemen as well as vagabond friends. The vagabonds share a longing for freedom and a feeling of scepticism of the brave new world.

Popular Music from Vittula

(Populärmusik från Vittula) by Mikael Niemi.

Matti and his silent friend Niila grow up in Pajala in the very north of Sweden, in an area called Vittula. This is the 1960s/70s, when roads are covered with asphalt, small farms are closed and rock music hits the radio. The older generation doesn’t like the novelties, shaped as they are by memories of poorer times and by Laestadianism, a conservative Lutheran movement that started in Swedish Lapland. Mikael and his friends dream of another life, a life that awaits beyond the horizon.

Let Me Sing You Gentle Songs

(Nu vill jag sjunga dig milda sånger) by Linda Olsson.

One dark evening in March, Veronika arrives at a remote cottage in a small Swedish village, having come all the way from New Zealand. She is a young author longing for peace and quiet to be able to finish her novel and get on with her life after mourning a great loss. Veronika’s closest neighbour is Astrid, a loner. Behind her walls, dark family secrets and a personal tragedy are hidden. As the cold winter turns to spring, the two women slowly form a bond. Their friendship will change both of their lives forever.

The People of Hemsö

(Hemsöborna) by August Strindberg.

Carlsson is on his way to the island of Hemsö in the Stockholm archipelago to work at widow Flod’s farm. With Flod’s husband dead and her son Gusten not caring about farming, the farm is in a state of disorder. When Carlsson starts taking care of everything, Flod is happy, but her son finds Carlsson very snobbish. Eventually Carlsson marries Flod – but let’s just say she’s not the only woman on the island.

The Serious Game

(Den allvarsamma leken) by Hjalmar Söderberg.

Arvid Stjärnblom and Lydia Stille accidentally meet again, ten years after their young romance ended. Now, they are both married, but can’t help falling for each other again and start an affair. Lydia is an independent woman who gets a divorce and is prepared to follow her emotions, which turns out to have far-reaching consequences. Arvid, on the other hand, stays married to his wife with whom he has two children. It soon becomes clear that love is a serious game.

Keep reading

I’m still laughing my ass off at Magical Girl Nero tol Scaeva, so have a big glittery sticker which you can trot out every time he’s being a bit too “himself”.

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Image: 7831/Gamma-Rapho via Getty Images

On Monday, Amazon Studios announced it had acquired the rights to bring J.R.R. Tolkien’s The Lord of the Rings to television. Naturally, our nerd-pal Glen Weldon has some thoughts:

1. The Tom Bombadil Mysteries

Everyone’s favorite immortal forest-spirit and his wife Goldberry caper through The Old Forest solving animal-on-animal crimes while singing tra-la-la-la!

It’s … it’s less annoying than it sounds, the singing.

2. Hangin’ With Mr. Bombadil

Everyone’s favorite immortal forest-spirit and his wife Goldberry kick it with some of Arthedain’s surliest, most hardened teens. They provide straight talk, and tough love … and singing. Lots of singing. So, so much singing.

3. CSI: Numenor

Join Nindamos’s brilliant but troubled medical examiner as he solves crimes and snippily dismisses his assistant’s concerns about rising sea levels.

You can find the rest of ‘em here – I swear to Ilúvatar they’re not all Tom Bombadil jokes! Well, mostly not.

– Petra

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Joel McHale is Ryan Hansen - Ryan Hansen Solves Crime on Television - S1 E3

Ryan - Wait, what, he’s even allowed to sexually harass you?
Jessica - It’s not sexual harassment, it’s chemistry

It was too late. 

He was too late.

His words, though sincere, fell flat.

Molly couldn’t suppress the angry tears, or the accompanying frown. “How dare you?”

Sherlock gaped for a moment, wordless, before managing to speak. “I– I beg your pardon?”

“How dare you say such a thing?” She clenched her fists, her jaw; she squeezed her eyes shut. “I’ve told you countless times, you insensitive prick. Yet you still feel the need to tease and embarrass me, as though I’m some sort of plaything. I’m not an experiment, Sherlock.”

Bewilderment played across his features. “Th-that’s not–”

“Get out,” she said, staring him down.

“But–”

“Get out of my morgue!” She hadn’t stamped her foot, but she may as well have.

Sherlock turned quietly and left.

~

“Rubbish timing,” John said later that evening as he sat at his kitchen table with his friend.

“Rubbish emotions,” Sherlock quipped. “How is it that, with everything else in my mind, I still have room for the damned things?”

John shushed him; Rosie was asleep in the next room. “You’re still human,” he replied quietly.

The consultant leaned forward, face in his hands. “How can I even know for sure what I’m feeling toward Molly?" 

"You do care about her,” John said matter-of-factly. “However, you might have come to me before bungling it up. I still can’t believe you told her you were ‘ready to have a go at a relationship.’”

“Just… help me fix it,” Sherlock said quietly, looking up at his friend. “Please.”

John just stared at him. Sherlock almost never asked for help, let alone politely.

“Fine,” he replied. “I’ll do what I can.”

~

After a sleepless night, Molly decided to call John for advice.

He answered at the first ring. “Molly? I was just about to call.”

“Oh,” she replied. “Did you need me to come over?”

“If that’s alright.” John glanced over at Rosie, who was making a mess of breakfast, and Sherlock, who’d fallen asleep at the table. 

“As long as Sherlock isn’t there,” she said. 

“Oh, he won’t be,” John lied.

When Molly arrived, John answered the door with a grumpy Rosie in his arms. She took the toddler and followed John to his living room, sitting down on the sofa across from him.

“Can I talk to you about something?” Molly asked, gently stroking Rosie’s hair.

“Er, yeah,” John replied. “Of course.”

“Sherlock…” she started. “Sherlock came to my morgue last night.”

John said nothing.

“He… doesn’t know where to draw the line, does he?” She set Rosie on the floor with her toys. 

John pressed his lips together. He was looking at Rosie, but his true focus was on her godmother. He sighed before replying. “How long has it been since the last time he carelessly trampled on your feelings? Months? A year?”

Her eyebrows drew together. It had been a while. “What are you getting at?” she asked.

“Clarify for me,” John said, already knowing the answer. “What did he say to you?”

Molly scoffed. “He told me he was 'ready to have a go’ at a relationship.” She swallowed hard. “With me.”

“Hm.” John thought for a moment before speaking again. “I can see why you think he was taking the mick.”

“Well, he can’t very well be serious,” she replied, leaning forward and resting her elbows on her knees.

Rosie threw her doll at Molly, who handed the doll back saying, “Rosie, remember, we must be gentle with babies.”

Rosie took it back and hugged it before going back to playing alone.

“Why not?” John asked. “Why can’t he be serious?”

Molly smiled bitterly. “You know how he is. All logic, no emotion. He prefers drugs to actual human company.”

John shook his head, a smile playing across his lips. “That’s what he wants people to think. He only pretends not to care. He can’t get hurt if he won’t let anyone get close enough.”

She bit her lip. Her heart ached to accept that as truth, but… “Maybe that’s what he wants you to think.” …she didn’t want to take the chance.

“Molly…” John sighed. “I know it’s hard for you to believe or accept, but Sherlock does care.”

She shook her head.

“Molly.” Her gaze darted up to the door, where Sherlock stood with sleepless eyes and disheveled hair.

She turned to John, her voice barely above a whisper. “You said he wouldn’t be here.”

“Molly,” Sherlock said softly, stepping into the room. “Please.”

John stood, picked Rosie up, and left the room. He’d done what he could.

Molly got to her feet, arms crossed, and eyes welling up with tears. “Why, Sherlock?”

He knit his eyebrows. “Why?" 

"Why me? Why now?”

“Why you?” he replied, tentatively stepping closer. “You are kind… caring. You see the best in people. The best in me. You have always,” his voice cracked, “been a good friend. Why now?” He sighed, shaking his head. “It’s not just now. It’s been… too long. I…” He paused. “I wanted you to be happy, and… I didn’t think you could be happy with me.”

The silence that followed was deafening. 

Sherlock mentally counted down. If she doesn’t say anything by the time I reach zero, I’ll just leave, he thought. The heart that had been purposely hardened felt heavier with each passing second. At zero, he turned, but stopped when she spoke.

“How long?” she asked quietly, letting her arms fall to her sides.

“I’m not sure,” he replied, still facing the door. “But… the day you said you didn’t count–it was the day I realized that you do count, Molly. More than anyone. More than… more than me.”

Another pause.

“One chance,” she said.

Sherlock turned back to face her again. “Sorry?”

“I can offer you one chance, Sherlock. If…” She took a breath. “If this is a joke, an experiment, or anything like that, you’ll tell me right now. If I find out on my own, that’s it. I won’t ever want to see you or hear from you again. Do you understand?”

Sherlock nodded silently.

“Now, tell me: are you serious about this? Do you absolutely mean what you’ve said?” Molly closed her fists, bracing herself for the answer.

He slowly closed the distance between them, leaned down, and kissed her gently before answering.

“Absolutely.”

mild-lunacy  asked:

This is a bit more open-ended than usual, but there's no one else I could ask. To wit: are there any particular moments in Series 4 that suggest or demonstrate to you that John really loves and/or genuinely cares about Sherlock? I guess secondarily, how do you read Sherlock putting off rescuing John from that well until after he dealt with Eurus In TFP?

Any particular moments? It’s hard to pick, it’s kind of infused through the whole thing, but okay, I’ll do my best.

In The Six Thatchers, John should be deliriously happy. He’s got what he wanted: the normal life with a job, a wife, and a new daughter, but he’s also got Sherlock, who is as committed to maintaining this careful and potentially awkward balance as he is. They still solve crimes together, and Mary and Rosie aren’t an obstruction. In fact, sometimes they join in! John’s devotion to Sherlock is pretty obvious from that alone, but Sherlock’s special place in John’s life is underscored by John asking him to be Rosie’s godfather. 

John should be happy, but he’s not. He’s never managed to get over what Mary did and who she really is. His happy life with wife and baby is a lie. As his trust in Mary continues to decline, his trust in Sherlock never waivers. John and Sherlock confront threats together as a team while Mary lies, drugs Sherlock, and scarpers. Sherlock, weird, rude, and difficult, is John’s stable rock, and Mary does not look good in comparison. 

After Mary dies, John blames Sherlock and cuts him off. I’d suggest that this is more indicative of how much John cares about Sherlock than otherwise. Not only because he thought Sherlock was a superhero who could could genuinely protect Mary and Rosie from everything forever, but because, as we later learn, the reason why John pushes Sherlock away stems primarily from his own self-loathing. John betrayed Mary, and his guilt and despair at not being able to live up to Mary’s, Sherlock’s, and his own expectations leads him to push away the things he loves most, including his daughter and his life with Sherlock. This is underscored by his goodbye scene in the hospital, where he leaves his cane as a silent final message: you saved me, I didn’t deserve it, and here I betray you. 

We’ve had Sherlock’s mind palace for a while, which is a wonderful way to see what’s actually going on in his head. In The Lying Detective, we finally get the equivalent for John: Mary. Hallucinated Mary isn’t a ghost or even a memory, she’s the honest part of John. And she adores Sherlock. She talks about him constantly. She watches him mid-deduction with love and delight. She recognizes that Sherlock knows John, understands him completely, but John disagrees. Sherlock can’t possibly know how worthless John is; like Mary, Sherlock believes he is a good, moral man, and John knows that they’re both wrong. The voice in his head says: Sherlock may be a monster, but he’s my monster.

The most dramatic indicator of how John feels about Sherlock is his confession and breakdown at the end of The Lying Detective. This is the first time John has been completely honest in this entire story. John hides his feelings constantly, he lies about them, even to himself. And in this scene he nearly does it again, he nearly walks away. Had he done so, I believe his relationship with Sherlock would have been essentially over. He would have grown more and more distant and dishonest until their connection was entirely lost. But out of love and faith, he finally, finally makes a different choice. He chooses to be brutally honest and vulnerable. He cries, but does not turn away. He lets Sherlock hold him. No one has or ever will be this close to John.

Sherlock does not put off rescuing John in The Final Problem. From the moment he realizes that John is in danger, all Sherlock does is try to save him. The problem is that the solution is Eurus. We know that he can’t rescue John without her intervention because he was unable to the first time; the puzzle is too complex for him, it will always be too complex for him. The mistake he made all his life was thinking that intelligence was the answer. When he was a boy he didn’t have the resources to do what he does now: he recognizes that it’s sentiment that will save John, not brainpower. He’s got sentiment in his tool belt now, and that’s because of John. John made him feel and taught him to be a loving and feeling person, and that’s what allows him to triumph over his much more brilliant sister in the end.

what i really want from lucifer is luci inadvertently bonding with trixie bc this smol child has adopted him as her weird uncle like:

  • trixie inviting lucifer to tea parties and lucifer being too polite to decline
  • (“there’s no tea in these cups, child, are you quite sure your mother didn’t drop you”)
  • chloe interrupting truly horrifying games of make-believe like “the teddy bears have finally decided to exact their revenge against the barbies using a little technique from the spanish inquisition known as strappado. you humans invented that one all on your own, did you know? it’s delightful.”
  • lucifer helping trixie with her homework????
  • (“i can’t believe they expect you to learn anything reading this drivel, why would the tree let the boy chop her down like that, it’s absurd, she should’ve strangled him with her vines when she had the chance. what rubbish. have you read bulgakov?”)
  • trixie teaching lucifer SCIENCE and the two of them making lightbulbs out of potatoes (”I AM THE LIGHTBRINGER”) and setting off baking soda rockets
  • (chloe like “i shouldn’t be surprised you two get along so well, actually, since you have the maturity of an seven year old”)
  • lucifer being weirdly appreciative of lilo & stitch
  • lucifer trying to teach trixie how to play the piano!!!!!!!!
  • trixie wanting a puppy and lucifer maybe trying to give her an actual hellhound
  • “i cannot BELIEVE you slept with our lead suspect what were you THINKING” “mommy are you mad at lucifer because he likes boys, because it’s okay for boys to like boys, lucas p. has two moms and they’re really good at making snacks, and mrs. m says you need lots of different colors to make a rainbow” and chloe gritting her teeth and sighing and explaining that she’s not mad at lucifer for that, of course it’s okay he likes boys, she’s mad that he, uh, made friends with this particular boy, thanks a lot lucifer
  • lucifer being weirdly overprotective over this small child that he definitely doesn’t care about, nope, not at all
  • lucifer accidentally learning about humanity and family and kindness from the decker girls despite his best efforts
  • trixie asking lucifer to pinky-swear that he will take care of her mom while she’s out fighting crime, and his word is his bond
  • trixie bringing lucifer to show-and-tell like “this is my friend lucifer he plays the piano he solves crimes with my mom he’s really funny he likes cake and he’s from hell”
  • “a boy and his dog”, or a girl and her prince of darkness, lord of flies, ruler of hell, the adversary, etc etc