joan and adam

  • Caleb: do you ever get so annoyed at everything that you start to get pissed off at even little things like a spoon clinking against a bowl or sounds of people talking?
  • Adam: I think it’s called sensory overload it’s really common in people with anxiety
  • Dr. B: It can also be a result of sleep deprivation, stress, or even dehydration
  • Caleb: Thanks, I thought I was just a bitch
6

fave tv ships (no particular order): Joan & Adam, Joan of Arcadia

“Adam, I don’t just like you.”

Maude Adams as Joan of Arc (1909). Alphonse Mucha (Czech, 1860–1939). Oil on canvas. Met.

Depicts Adams in the role of Joan of Arc in Schiller’s Die Jungfrau von Orleans, which she performed in 1909, at Harvard University Stadium. The portrait was made specifically for that one-night gala performance and was displayed as a poster for the event. Mucha also designed the costumes and sets and supervised the direction.

Watson watched him, recognizing the body language. The gushing confidence Holmes had exhibited back on the museum steps had gone, replaced by something dark, moody. And Watson knew exactly what Holmes’ problem was.

He was uncertain.

For Sherlock Holmes, that was perhaps the one thing he was truly afraid of: not knowing. Knowledge was power. Knowledge was control. And that was how Holmes processed the world around him, Watson knew that. He found the world, and the people in it, fundamentally problematic. But the one way he could bear it, the one thing that allowed him to operate in a more or less normal manner, was to exert control. Nothing tangible, nothing real. But it was knowledge that gave him this control, even if it was just control over himself.

And that was what drove him. Watson knew, to solve mysteries and crimes - despite what he often said about his mind ‘rebelling at stagnation,’ his work was really his way of imposing some kind of order on the chaos of life. Once he was on the trial of a mystery, he wouldn’t let go until he had solved it.

As Watson had come to understand, the desire to solve a murder, bring a criminal to justice, or obtain closure for victims and their families was not necessarily her partner’s primary motivator - although those were important to him, of course. Instead, it was the pursuit, the 'Great Game’ as he liked to call it, that was the real driving force. Missing pieces of a puzzle didn’t just frustrate him, they made him angry; not at others, but at himself.

As he saw it, an unknown variable was merely proof that he was a failure.

—  “The Ghost Line” by Adam Christopher [pages 137-8]