mark the script

Reblog this if you had to learn cursive writing as a child

If you were ever told or were made to learn cursive writing when you were in grade school.
I wanna see how many of you suffered like I did.

What I think might have happened...

Dark: “Hello, Mark. It’s been awhile. I’ve been looking forward to this.”

Mark: “*gulp* Uh, hi Dark. What do you mean by ‘this’?”

Dark: “I know how much you love games. And there’s one game your fans know you best for playing, one that has numerous sequels and its own fans creating games inspired by it… What was it called again?”

Mark: “Uh… Five Nights At Freddy’s?”

Dark: “Yes. That one.” 

[Dark touches an earpiece tucked underneath his hair, to speak to someone offscreen.]

Dark: “My friend, are we ready to begin?”

The Host: “The Host assures Darkiplier that the Googles are ready for their part in this evening’s entertainment.”

Dark: “Excellent. Inform the Googles they are to activate their secondary objective.”

The Host: “The Host will do so in five minutes.”

Dark: “You have five minutes before they come for you, Mark.”

Mark: “What?! How?! What the hell do I do?!?”

Dark: “You know how this game goes. You have this one room, and all the security footage available to you… and no weapons. All you have to do is survive until six A.M. Good luck.” 

[Dark gives a low, malevolent chuckle and leaves.]

Mark: “Oh. Crap.

Just so you all know, any one of you reading these Sherlock scripts, regardless of what you ship or which bloggers on this site you hate, you are absolutely, 100% playing what’s called “The Sherlockian Game” whether you mean to or not. This game has been around for one hundred years, look it up of you’d like. The purpose of The Sherlockian Game is to flush out anomalies, differences, and implied details regarding Holmes’ personal life. You’re playing and you don’t even know it.

Are you seeing the discrepancies in the script? I’m sure you are. One scene shows new lines, another takes them out. These discrepancies change the way you interpret the show. THIS is The Sherlockian Game. I don’t even need to try to recruit you all to play – you’re playing on your own.

Conspiracy theorists in the Sherlock fandom don’t need to do anything to get people to start questioning these anomalies on screen – the BBC is making you do it and you don’t even realize what you’re doing.

You don’t believe there’s a game? Or if there ever was one, that the game is over? Far from it. The game is never over.

There simply are new players now.

You know how Doyle had all those discrepancies and incorrect details in his text, making readers think he must’ve been a lazy writer and apathetic toward his own creation the whole time.

You know how Moffat and Gatiss have all those discrepancies and incorrect details in their script, making readers think they must’ve been lazy writers and apathetic toward their own creation this whole time.

And you all still won’t entertain the notion they’re intentionally recreating the social phenomenon surrounding The Final Problem of 1893?

Last September, while attending the Sherlock convention and listening to Moffat and Gatiss speak, I was struck by a moment of inspiration. I saw a small auditorium of fans ask questions to these people whom I thought were “too important” to spend time mingling with the commonfolk. Heck, even I got ahold of the microphone at one point and got a chance to ask Moffat my question. Someone as unimportant, as ordinary, as me got to participate in actual discussion of something globally pertinent, that is adored by millions of people.

At that moment, I couldn’t help but laugh at the simplicity of it all.

You want to participate in Sherlock discussions? Join them. You want to learn about the television industry? Ask them.

You want to see your stories on screen? Write them.

It hit me then that I could write my own story, that I could produce something new audiences have never seen.

So I did.

And I sent it to 3 different fellowships/festivals.

The feature film runs 109 pages. It features many female main characters and LGBT themes. It includes literary subtext worthy of Wilde, himself. It tackles compulsory heterosexuality and feminism in the media, all while killing zero lesbians – a difficult feat in modern storytelling, I know.

***

“In the chance of a lifetime, an aspiring young actress lands a role in the next Hollywood blockbuster. Her happiness is short-lived, as her biggest personal secret threatens life with her family as well as the path of her promising new career.”

***

So thank you, Mark Gatiss and Steven Moffat, for helping me find my own voice. Because now that I have it, there’s no telling what I can do.

For my fifty-sixth Evangelion book review, here is Evangelion Shin Gekijouban: Q E-conte Shuu (Evangelion New Theatrical Edition: Q Storyboards Collection), published by Groundworks.  This is a new book that just came out this week, and it is devoted to storyboards for the Evangelion: 3.0 movie.  (If you also want to see storyboards for the Evangelion: 1.0 and 2.0 movies, check out my fifty-fourth and fifty-fifth book reviews.  Or for storyboards from the original Evangelion TV series, take a look at my twenty-seventh review!)

This book is not available in English or French, but there are plenty of pictures.  It also has a removable dust jacket, however there isn’t any alternate cover art hidden underneath.  But that’s okay, because the book has plenty of interesting stuff inside, such as this lovely scene when Shinji sees Kaworu playing the piano:


The column on the left is for dialogue (or sometimes other audio for the scene), the column in the middle is rough sketches of the visuals for the scene, and the column on the right has additional instructions such as camera directions.  However, as you can see above, sometimes the visuals are just too big to be contained in only one column… the topmost shot of Kaworu at the piano was so large that it extended into the left and right columns!

Keep reading for the rest of the book review, plus a few more pictures!

Keep reading

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Medieval Massive Gold Iconographic Glove Ring with Saints, Spanish, 16th Century AD

A flat-section gold hoop formed as three discoid panels with interstitial square panels and larger bezel; the square panels each with high-relief expanding-arm cross; the discoid panels each with the symbol of an Evangelist, a winged nimbate ox for St. Luke, a winged nimbate man with scroll for St. Matthew, a nimbate eagle for St. John, a winged lion for St. Mark; bezel with pelleted border, reserved image on a hatched field of Corpus Christi with cross and banner above marked ‘inri’ in blackletter script, two nimbate flanking female figures. 29 grams, 29mm overall, 23.93 x 25.21mm internal diameter (approximate size British Z+5, USA 14 ¾, Europe 35.08

Devotional iconographic finger rings were a popular class of personal jewellery in the later medieval period. The present ring features heavy religious imagery.