more than subtext

  • Ren in Volumes 1 - 3: Yeah hi, just over here in the background, doing my thing, looking fabulous and sometimes being a dork no biggie, hey have you seen my childhood friend NORA who's way more expressive than I am?

anonymous asked:

I get that Dean being bi was heavily hinted through out all 12 seasons, but unless the show textually acknowledges those moments, casual fans who overlooked those moments are just gonna say it's pandering to fans and that's what I'm more concerned about. How are they gonna make the casual viewers go "oh, that makes sense" instead of "woah where did that come from" ?

*Gestures at my whole blog* 

Season 13.

Originally posted by imagine-everything41

Why are you worried about casual fans? Let the writers worry about how to get them on board….that’s not your job. You’ve seen it, you just enjoy it as it becomes more blatant!

Basically all my season 13 speculation meta is:

- Jack will be central to furthering all of TFW’s arcs: Sam through Jack being his mirror re: Lucifer. Cas through his transformation and being Jack’s teacher of Heaven/Humanity. Dean through Jack’s mirroring with John and the plot arc.

- Dean’s arc will be focused on continuing with the “fallout” from the “climax” of his Performing!Dean arc in 12x22.


Otherwise literally what the hell was the point in building up to all this for 12 years and having the climax of Performing!Dean in the finale of season 12?

Making it the central focus of the WHOLE SEASON?

Part of what I love about Dabb’s era is how he loves a circular narrative, how he often harks back to earlier episodes and key points, precisely to reveal how if NOW it means X then it meant X then too. Ie. how this whole season was a giant season 6 mirror and, at the same time, a huge Dean is bi / Destiel exposition, making us think back to season 6 and see THAT as romantic. If you didn’t already…

I mean…I’m kind of expecting to be honest, well, I’m very much hoping for some mirrored scenes from the past where we will see some great Bi!Dean moments, where he will use the same flirty pick up line or something as before. 

Honestly I mean, it’s just a matter of time before he just comes out with “I like dudes too ok, get over it” aka 12x18 parallel and Sam’s just like “yeah, that’s not news Dean” and they move on like its so not a big deal except that we see more blatant bi!Dean moments now and of course, Destiel becomes more blatant too, thanks to the mix of Bi!Dean being out and the Dean/Cas dynamic now in it’s new chapter thanks to Cas’ death and the season 12 build up.

That’s kind of how I hope it goes down anyway, it’s not meant to be a big deal, Dean just made it one through his issues, which he has now put to one side spectacularly, thanks to Mr Grenade Launcher.

I mean yeah, in season 12 it’s still quite subtle, I guess, for casual viewers, but I’m pretty sure we are going to be seeing a lot more text rather than subtext in season 13. 

Season 12 was the “in between” space between everything being very subtextual and endgame having canon Bisexual Dean and Destiel, same with the other 12 year long themes themes since the pilot of, for example: 

- Dean being Sam’s parent.

- Dean repressing his true self, eg liking Disney movies and riding “Larry”.

- Sam graduating from the “child” position to the “adult” and true brother position within the family, being ready to LEAD.

- Potential magic!Sam / Sam embracing / not feeling guilty for his Supernatural side.

- Mary on her pedestal being the one to bring it all about.

Those are all themes that meta writers have talked about for over a decade, and are now textually CANON. I don’t think they will stop now when they’re on a roll and have been building up the Destiel and Bi!Dean consistently up to this point.

Genndy Tartakovsky put all his favourite romance tropes in episode eight and it was glorious.

Tip of the hat to everyone who worked on the sound design. The music cues really enhanced the visual storytelling.

I am just blissfully happy to see these two together. I pinned Ashi as a potential love interest from episode one so to have it be more than subtext…*squees*

Not only do they cover the Enemies to Friends to Lovers trope, but they are also battle buddies! I can’t properly articulate how much I loved this week’s fight choreography.

Now to defeat Aku and go back to the past to rule Japan.

PS. I first heard Tara Strong as an itty bitty baby during the Batman The Animated Series days and I still love her.

Imagine what it feels like for Ben and Martin to see the ratings for S4 to hit all time low and what a big blow it must be to them. Watching the show they have worked in for almost a decade. It’s like a slap in the face to see the hours you clocked in, with your blood sweat and tears, AND the emotional rollercoaster needed to get in character was for naught.

I imagine them doubting themselves, wondering if this brilliant show’s downfall was because they did not try harder, they did not work harder, they did not put in enough effort to get in character, they weren’t consistent, they weren’t… they weren’t… they weren’t….. they weren’t enough.

If their thoughts do lead them down this path, i hope they know that they are wrong.

I hope that someone, anyone, or rather everyone will let them know that they were enough, they were more than enough, in fact, they were brilliant and marvelous and wonderful and and and… incandescent! It’s because of them I fell in love with this show 5 years ago; the way Martin displayed a soldier’s bravado, clinging to every last ounce of will to live, finding hope in Sherlock where everyone and everything else in life has failed him, or rather he thinks he have failed in life, the way Benedict portrayed a character so uniquely, holding his own in a sea of Sherlock Holmes in the past century, giving life to a detective whose seemingly nonexistent heart is apparently almost as big as his mind palace. Most of all I love how their undeniable chemistry and spark made me believe in love, or finding hope in places you’d never think of. Such cliched sentiments but they are true nonetheless.

It’s a shame that this love story, veiled vehind heteronormativity since its conception due to societal expectations, set in this modern-age where it is plauded to be forward-thinking and ingenious, has to once again be lowered down to nothing more than subtext because ….. what? Was the timing not right? Implications? Poor reception?

Whatever it is, I only hope that the actors realise that they were perfect in embodying their characters, and that our disappointment is nothing more but a reflection of the screenwriters’ failure this time round.

The actors deserved every accolades they have garnered.


Sherlock had noticed signs of John’s attraction to himself many times before in heated glances and subtle flicks of the tongue, but he had never before viewed John’s attraction to another man. Sure, there were other women all the time, but for some reason this man…this man was different. Sherlock was confronted with feelings he hadn’t felt for a long time.


“Stay here!”
“Xena, no!  Xena!”
“I thought I told you not to come in here!”
“I never listen!”
- “The Ring” -

There’s something quintessential about the above scene and the exchange between Xena and Gabrielle.  

There are so many occasions in the series when Gabrielle doesn’t listen, doesn’t do what Xena has told her to do or what Xena would want her to do–and many of them are delicious, subtexty delights. Gabrielle not listening to Xena is at the very foundation of their relationship and of the premise of the series.  Also, it’s a common plot device in S1 in particular, often getting them into or out of dramatic events.

“Sins of the Past”
Xena says “Don’t even think about it… . Following me.  You don’t want to make me mad, now do you?” and Gabrielle follows her anyway.  SUBTEXT.

“Chariots of War”
Xena leaves Gabrielle in a safe place while she goes on ahead–and then gets into trouble.  By the time she eventually heads back, she meets Gabrielle, who has come out looking for her.  Proto-SUBTEXT.

Xena tells Gabrielle to steer clear of swords because she’ll become a target the moment she picks one up.  The very next fight Xena finds herself in, Gabrielle picks up a sword.

Click to Enlarge. (Image Credit: hyxenagabrielle)

“The Reckoning”
Xena tells Gabrielle that her imprisonment and whatever vigilante justice the locals decide to mete out is not about her … and Gabrielle loops the rope that binds Xena around her own neck anyway–and thus makes everyone pause long enough that cooler heads prevail and Xena is, for the moment, saved. Proto-SUBTEXT

“The Titans”
When Xena rejects out of hand her proposal to go to the Titans’ cave and read the scroll that will put them back to sleep, Gabrielle sneaks off to carry out her plan on her own.  Because, as Xena puts it, “she must be trying to prove herself to me.” SUBTEXT.

“Death in Chains”
Xena sends Gabrielle off to the hospital with Talus to keep her out of danger while she goes to free Celeste … and Gabrielle, having learned that touching Death will mean the death of her friend, hares off after Xena to warn her. Proto-SUBTEXT.

(Image Credit: hyxenagabrielle)

“The Black Wolf”
Learning that Xena has been arrested and imprisoned, Gabrielle assumes that Xena of course intended for Gabrielle to find a way to join her in the prison to lend a hand.

G: "I figure two things.  One--if you’re here, it’s because you 
want to be, which means that you have a plan to get out; and two--you’re gonna need my help. You couldn't ask for it, of
course--that’s not you. But you knew I’d get down here and
I’d bring you this--” X: “My chakram.” G: “Ah--and this.”

“A Fistful of Dinars”
Xena tells Gabrielle to avoid Petracles, who’s manipulative and can’t be trusted, but Gabrielle can’t resist learning all she can about the man who actually convinced Xena to marry him. Proto-SUBTEXT.

“Altared States”
Xena leaves the stoned Gabrielle in the cave where she’s safe and goes to rescue Icus … and Gabrielle comes looking for her.  She says a rock told her she had to find Xena, but we can be pretty sure that was just her subconscious giving her a nudge, eh? ;-)  SUBTEXT. (Considering the “By the gods! You–are–beautiful!” line from earlier, I’ll drop the “proto.”)

“Ties That Bind”
Gabrielle intends to leave Xena for the latter’s own good so that she can have the opportunity to travel with her father (who’s actually Ares in disguise). Proto-SUBTEXT.

“The Greater Good”
This one is implied.  Xena is taking on the warlord and Gabrielle is watching from a hiding spot in the bushes.  We can assume that Xena has told her to stay back and stay hidden to keep her safe.  When Xena goes down, Gabrielle is out of hiding and taking down the warlord with a thrown staff to get to Xena.

(Image Credit: hyxenagabrielle)

“Death Mask”
One of my favorites!  When Xena attempts to send Gabrielle out of harm’s way, Gabrielle doesn’t merely agree and then follow her anyway; she outright defies Xena with a tirade that draws an unseen smile from our warrior princess.

X: “Gabrielle, that mother whose baby you saved the other 
day ask her to put you up for a few days. You know, guard
the village.”
G:  “Huh--oh no.  No, no--that’s your way of saying, ‘It’s too 
dangerous to be around me right now, Gabrielle.’ Well, have
you ever considered that there isn’t a safe time to be around
you? Now, that village doesn’t need my help, but you might--
and I’m going with you. Now, if that’s all, I’ll just be practicing with my staff--end of discussion. Sorry you had to witness
that, Toris.”

Later on, when Xena needs it to be just her and Toris who take on Cortese (for purposes of closure), however, Gabrielle volunteers to stay behind on her own initiative.

G:  “Oh, I know.  It’s easier to get two in than three.  I’ll
just go guard some villagers or something--even if they’re
not in danger.”



And that’s just Season One!  Which very likely contains the largest number of instances because, later on, as Gabrielle became a proficient warrior, Xena stopped leaving Gabrielle behind and they became partners.

In later seasons, there’s a less-but-more dichotomy.  There are fewer instances but they often mean more.  The instances of Gabrielle disregarding Xena’s instructions are for the most part just rife with subtext because Xena only gives those instructions in direly dangerous situations and Gabrielle ignores them to save Xena.  The examples in S2 are a little different, though; they are surrounded by subtext but not necessarily manifestations of it.


“Return of Callisto”
Xena tries and fails to talk Gabrielle out of going after Callisto.  Then, Gabrielle hears Xena praying to any gods who will listen–“please, don’t let [Gabrielle’s] light go out.”–and tells Xena that she will go home and let Xena handle Callisto, only to slip off to take revenge on Callisto on her own.  What was the point of telling Xena she would go home?  If she hadn’t said that, she’d have still gotten to go after Callisto with Xena.  Perhaps she merely wanted to make sure that she got to exact revenge by her own hand and thus wanted to go without Xena.  But as the catalyst for her actions was overhearing a desperate Xena’s plea, it seems more likely that she was trying to protect Xena in some way–protect her from risking herself by taking on Callisto, protect her from witnessing the fading of Gabrielle’s “light” by being present when the bard took her revenge–or simply to make Xena stop worrying and angsting over Gabrielle by giving her reason to believe Gabrielle had been persuaded away from vengeance.  So I think we can call it … SUBTEXT.

“The Price”
Gabrielle disregards Xena’s orders about rationing supplies only to the healthy men who can fight.  She disregards her wishes when giving water to the Horde prisoner and even more strongly disregards what would have been Xena’s wishes by using Xena’s authority to go outside the walls so she could give water to the injured on the battlefield.  None of that is subtextual, really, but Xena’s reaction to the latter certainly is.  Xena apparently has to stop herself from killing the messenger when she learns Gabrielle is outside and in danger and is then deliciously ruthless in getting to Gabrielle to get her back inside.

“If I give you the word, kill anything near her.”

Then, when Xena comes to Gabrielle to tell Gabrielle that she was right, the SUBTEXT skyrockets.

X: “I let my fear and hatred blind me to everything.”

G:  “Sometimes the past can do that.  Xena, if I had been
through what you’ve been through--” X: “No. No. You understand hatred, but you have never
given into it. You don’t know how much I love . . . that.

“The Furies”
A mad Xena ties Gabrielle to a tree to get away from her so she won’t inadvertently hurt Gabrielle.  Of course, as soon as she can get loose, Gabrielle follows Xena to Cyrene’s inn, intent on taking care of and saving her.  SUBTEXT.

“Gabrielle’s Hope”
A dark example of Gabrielle not listening.  Refusing to believe her newborn daughter is evil despite Xena’s insistence, Gabrielle runs away with Hope and then lies to Xena, telling her Hope is dead.

“The Debt”
Shall we include this example of not listening?  It’s rather a different sort, but Gabrielle definitely does NOT listen to Xena as Xena tries to explain to her why she has to go to Chin to kill someone.  That’s a huge failure on consistent characterization on the writers’ part more than anything, but the subtext comes into play when we learn that the real reason Gabrielle went on ahead to Chin to betray Xena was jealously over Lao Ma.  SUBTEXT.

“Maternal Instincts”
Another much darker example of not listening.  Gabrielle hides from Xena the fact that the strange little girl is Hope until it’s too late.

“One Against an Army”
Twice Xena moves to abandon their stand against the Persians in favor of taking Gabrielle to medical help and twice Gabrielle talks her into staying and fighting for the “greater good.”  SUBTEXT (though more from Xena’s side just there).

Now we’re getting into the later-season type of examples.  Gabrielle knows that if Xena kills Hope, Xena will die, thanks to Ares’ calling in her debt through the Fates.  Xena insists that Hope must die anyway and that if she has to die to make that happen, so be it.  Gabrielle seems to agree, but when the moment arrives, she intervenes and kills Hope herself, sacrificing herself in the process.  MAJOR SUBTEXT.

“Locked Up and Tied Down”
Though Xena insists that she needs to be punished for her past crimes, Gabrielle sneaks into Shark Island Prison.  Perhaps at first her intention was merely to be near Xena as she served her life sentence, or perhaps she meant all along to break her out, which is what she does, almost being hanged in the process.  MAJOR SUBTEXT.

Gabrielle throws her own body over that of the unconscious Xena’s to spare her from Najara’s sword.  Now, this isn’t a case of her disregarding Xena’s stated instructions, but we all know that Xena would never have approved of Gabrielle risking her life for Xena’s … nor of her agreeing to spend her life with Najara to save Xena.  

G: "I need to move on, but I could never live with someone 
who killed her. There would be no going back from that."


(Image Credit: hyxenagabrielle)

“Past Imperfect”
Gabrielle refuses to accede to Xena’s intention of getting Gabrielle out of the besieged city.  That refusal is not particularly subtext but that intention definitely IS.  As is the way Gabrielle phrases her refusal.

G:  "Xena, I don't believe in your vision.  I can't afford to!
Now, either I prove you wrong and we go on from here--or I
prove you right and we die.  But either way--I will not
continue like this."

She can’t afford to believe in the vision because if it’s true, avoiding it would mean separating from Xena, and that is not an option.  Death is an option but not separation.

“The Convert”
Gabrielle gives Najara the benefit of the doubt despite Xena’s warnings.  That in itself is not very subtexty but pretty much everything else about Najara’s part in this episode is.

“Takes One to Know One”
Gabrielle poisons the bounty hunter to slow her down so she can reach Xena in time to warn her.  You know that if Xena had known her position would have been that she could take care of herself and even if she couldn’t, she wouldn’t want Gabrielle to risk danger on her behalf.  SUBTEXT.

“Ides of March”
This is one of the most significant examples.  Gabrielle abandons the non-violent Way of Love without even a moment’s thought as she picks up Xena’s fallen sword to defend her fallen warrior.  She slaughters an onslaught of soldiers while the paralyzed Xena, crying, screams “Noo!” MAJOR SUBTEXT.

(Image Credit: hyxenagabrielle)

“Fallen Angel”
Gabrielle refuses to return to Hell with the demon Xena, despite the latter’s epic plea.  It’s like …anti-SUBTEXT.  But Xena’s attitude and words save the episode.

X:  "She has to be rescued."

Michael:  "That's the responsibility of the archangels."

X:  "No, it's my responsibility." [swoon]

M:  "Yours?  You're not even an angel.  You're to be reborn in a new body."

X:  "Well, that's gonna have to wait.  Right now, I'm going 
after my friend." Mic: "That's impossible." X: "No, it's not. No, it's not. [Xena throws herself off the cliffs of Heaven to fall to Hell but Michael catches her and brings
her back.] Huh? Huh? Huh? Don't!" M: "Are you insane??" X: "It depends who you talk to." Mic: "If you go down to Hell voluntarily, you'll be doomed to
everlasting suffering. Gripped with an unbearable thirst and
hunger--you'll be tempted to eat the fruit of Hell-- and when
you do that, you're well on your way to becoming one of
them." X: "Gabrielle and I have already been through hell together. I didn't come all this way to lose her now. So, either you set me up with a pair of wings, or I take another dive. Michael,
Gabrielle's soul and mine were destined to be together. I can't let her walk through Hell alone. Please."

X: "Gabrielle? We shouldn't be fighting." G: "You're right, Xena." X: "I wanna spend eternity with you. Won't you join me?" G: "Lay down your sword, Xena. If Callisto can be redeemed, why not you?" X: "Callisto's a trick. They deceive you, Gabrielle. Callisto can't change. You know that. Our master is greatly pleased when a soul joins him of its own free will. Come with me, now. Whaddya say?" G: "I can't." X: "Why not? Gabrielle, the love that we have, it's--it's stronger than Heaven or Hell. It transcends good or evil. It's an end in itself! Our souls are destined to be together. Gabrielle, you can't let me walk through Hell alone." G: "I'm sorry."

“Them Bones, Them Bones”
Gabrielle remains insistent that she go into the spirit realm to fight Alti despite Xena’s initial intense rejection of the very idea.  Xena is convinced after Gabrielle’s heartfelt plea: she loves Xena’s baby as if it were her own and she deserves the chance to fight for its life–because it’s her baby too, of course!  MAJOR SUBTEXT.

“God-Fearing Child”
When Xena goes into labor as an angry Zeus chases them down, she tells Gabrielle to leave her and get to safety.  Gabrielle, of course, refuses.  SUBTEXT.

“Eternal Bonds”
When Joxer is poisoned and Xena tells Gabrielle to get him to the antidote, Gabrielle initially refuses; her place, she insists, is with Xena and Eve, fighting at Xena’s side and protecting her family.  SUBTEXT.

“Who’s Gurkhan”
When Xena has drugged Gabrielle to get Gabrielle to stay behind while she hunts down Gurkhan, Gabrielle immediately rejects being left behind when she wakes and throws herself into the dangers of Gurkhan’s harem right alongside Xena. The SUBTEXT here is all in Xena’s attempts to protect Gabrielle.

Xena lies to protect Gabrielle after the latter has accidentally killed Korah.  Despite Xena’s pleas (omg–heartbreaking), Gabrielle speaks up to declare her guilt.  The look on Xena’s face in that moment makes this one of my favorite examples.  Again, the subtext is all in Xena’s actions.

“The Rheingold”
Xena leaves Gabrielle, sneaking away in the night, to keep Gabrielle out of harm’s way.  This is the example where Xena’s motivation in leaving Gabrielle behind is stated most explicitly–and with the most amount of SUBTEXT.  If you can still call it SUBtext.  

Xena's Letter: "Gabrielle, I've gone to take care of some 
unfinished business. This mission is so dangerous I'm afraid I won't survive--and I can't ask you to die with me once again.
Whatever happens, know that my love for you is endless."

Also, Gabrielle, in the act of following Xena, repeatedly states, “Xena’s path is my path.” ULTIMATE SUBTEXT.

“The Ring”
Xena positions Gabrielle safely out of harm’s way while she lures ‘Grinhilda’ near.  When 'Grinhilda’ bolts, Xena tells Gabrielle to stay put before chasing after the monster.  Gabrielle is furious at Xena for running into danger and immediately takes off after her.  Later in this same episode, when 'Grinhilda’ has Xena in her clutches, Gabrielle rushes in, throws herself onto 'Grinhilda’s’ back, and begins stabbing the chakram into the monster’s neck until it lets go of Xena.  SUBTEXT.

“When Fates Collide”
After Xena has rescued her for the second time, instead of escaping from Rome as Xena had intended she do, Gabrielle instead returns to Rome and visits Xena in Caesar’s dungeon.  Then, when Xena is dragged away to her execution (but not before ordering Alt-Joxer to keep her alive, i.e., get her out of Rome again), instead of fleeing, Gabrielle rides to the temple of the Fates, burns the loom, and destroys the whole damn world because she has lost “what was meant to be.” MAJOR SUBTEXT.

“Friend in Need”
This is the example that wasn’t, alas.  All Gabrielle had to do was follow her usual habit of never listening when not listening means protecting Xena and dump the ashes.  Damn, damn, damn.  My fascination with Gabrielle never listening and the wrongness of FiN has resulted in a fanfic that rewrites the end of that episode to how it should have been, while revisiting some of my favorite themes of the series and adding intimate moments to a number of episodes.  

Its tentative subtitle: “Why Gabrielle Never Listens (And Neither Does Xena).” ;-)

Later, in the night, the tension in her body awakens me to the awareness of her nightmare.  I immediately wake her.  She bolts upright, clutching me to her, her breath sobbing into my hair as she presses her face against mine.  It’s been a long time since she woke from a nightmare to reach for her weapons instead of for me, but there’s something so particularly desperate in her hold this night that I know what she was dreaming about.  I hug her tightly and stroke her hair and back.  I murmur her name, a request to know if she is okay, a reassurance that she is, and an invitation to share the horror of it, all in one. 

“You did what I said,” she manages.  “We were lost to each other.”  She squeezes me more fiercely.

“Never,” I assure her.  “I never listen, remember?” An overwrought chuckle bubbles from her throat.  “I’d never let us be lost.  Never.” 

Never again.  I almost made that mistake twice—once on the cliffs of Heaven and again in a desert only slightly less barren—and both times, she saved me from it. 

I keep murmuring reassurances and petting her, and slowly the tension drains away and her grip eases.  We lie back down, holding each other more gently now.  I find tears on her cheeks and dry them away.  After a few more moments, she says, “Not even if it was my choice?”

I feel my mouth quirk in an unexpected smile.  I know my cue when I hear it.  “Especially if it was your choice.”

We have an understanding: this kind of choice, we make for each other.  That is the way of things to which we have come after these years of fighting and loving.  It is the sharp cutting edge of our love, the point of the blade which the greater good sometimes runs up against and is impaled on, sacrificed.

She might have tried to keep the choice to herself this time, given the chance—she almost certainly would have—but that too is only part of our understanding.  I tried to do the same once, in the desert. 

“All right then,” she murmurs, drifting toward sleep again.  Still smiling, I go with her, because that, too, is the way of things.
[Full fic coming soon to]

                                      Regarding Shipping

Okay since I’ve come back into the Johnlock fandom (been a fan since Granada;) I’ve noticed a very toxic attitude towards anyone who doesn’t ship Johnlock especially since + I love you line in the trailer.

Now personally I think it might link to Sherrinford Holmes (which I have waited literally a decade for, the smartest of all the brothers exciting :D) and I have lots of different theories on that one line not just johnlock;)

I would point out all the evidence for Johnlock but I’m here to view the other side as well so watch TJLC & her many theories on Johnlock (highly recommend)

But I have noticed that SOME BBC Johnlockers have been very over defensive of the ship to anyone who has a different opinion on the show.

Throwing around words like “Troll, heteronormative etc.” to anyone who doesn’t believe in that ship.

I saw one rude post saying how Canon Sherlock book readers only like straight ships(untrue Johnlockers are older than spock x kirk) and didn’t understand being gay back then…… didn’t know you were a time traveller! On a serious note all us book readers get times were different then!

I even saw one YouTube comment say “If you believe Sherlock is asexual or just friends your homophobic”

Originally posted by yourreactiongifs

This is one of the most disgusting things I’ve read!

Being asexual myself this upset me.

Also the misuse of the word homophobia which a serious issue being trivialised and used in completely the wrong context.

Thus it prompted me to write this post.

I can tell that Benedict is playing an Asexual he has even said so in interviews.

BUT this does not mean that Johnlock cant be real. Asexual’s can be very romantic actually :)

Sherlock for my me has always been my asexual hero he doesn’t need to have a GF or BF his love is his work :) This pic describes me perfectly!

Like Sherlock I have had the if you don’t have a BF you must be gay Q before. How about asexual’s aren’t intrested in anybody!

Originally posted by merindab

As TPLOSH says “Your being presumptuous.”

If you ship Sherlock as gay, asexual(lots of evidence for both) or straight(evidence for this too as Sherlock said he has though of taking a wife , also Irene adler) I’m happy with that btw <3

People are allowed to ship people as just friends I mean heck I ship Frodo and Sam as friends. Some ship them as lovers fair nuff :)

Even I have shipped Johnlock as a friendship depending on which show I’m watching.  

If people like Sherlolly or sheriarty let them ship it ffs nothing worse than ship shaming!

What I want people to understand is just because 2 people are friends doesn’t mean they are just friends or on the other hand in love.

I have had friendships like ‘Johnlock’ and people shipped me and the person but were we up to anything. Not a jot!

Eve contact ,hugs etc even friends say I love you just as families do yet again lovers do that too!

 Relationships are far more complex than subtext allows!

Also the classic oh if they are a boy & girl they would /must be together. That trope must go #justsaying

Though on a serious note the obsessive nagging got to one of my friends (really frustrated and annoyed them as it did me)

So if you ship people in real life and they say they are friends, no matter what signals you think you see take their word for it!

We will all see what happens in the next two eps personally I don’t think they will kiss.

If they do kiss I will jump for joy <3

I think it looks like John and Sherlock will go their separate ways and then in 10 years (which I think they are hinting at in interviews) We will have old Sherlock like the Mr Holmes movie!

 Regarding representation in the LGBTA community yes we need more representation but we need more new main characters who being gay or asexual isn’t their biggest trope.

E.g Sherlock asexual but everyone knows him as a detective

So whoever you ship or however you view a character that’s fantastic its your imagination I encourage it!

Please don’t burn other peoples ships or opinions !!!!!

Maybe look at their opinion a little more than throwing it into total disregard or using cores out of text language to shut down the conversation.

Originally posted by xxpenciledinxx

everyone, at seventy already: Wow I’m really enjoying this game and the story presented to me in full

me, sitting at 64, scribing all over a crowded wipeboard: I’m not leaving until I’ve crafted more lore from subtext than what is readily available and I’ll be damned if I am moved an inch beforehand

anonymous asked:

Wait keith and shiro have a history past keith knowing about shiro via rumors n a hero worship kinda thing?????

I mean, it’s more subtext than anything. Most of their implied past is referenced in the first episode.

  • When Keith finds Shiro in the medical tent, he’s immediately shocked. Like, he recognizes Shiro on sight, even after an entire year of Shiro being presumed dead. 
    • Shiro has also changed physically; he’s beefier, has that huge scar on his nose, and part of his hair is white now. Also, he’s in a crop top. And yet Keith recognizes him instantly.
  • Also, here’s what Keith looks like when he realizes it’s Shiro:


  • Correct me if I’m wrong, but those are the first words we hear Keith speak. He’s just broken into a secure government facility by blowing something up, has beaten up three dudes without breaking a sweat, but the sight of Shiro reduces him to a disbelieving whisper. This is the face of someone who has realized that their friend is still alive.
    • Screenshots alone do not capture how Keith’s eyes sparkle when he sees Shiro.
  • In the scene after this, we’ve arrived at Keith’s weird shack in the desert. Shiro is chilling out in the pre-dawn, rubbing his arm and coming to terms with the fact that he’s finally free. Keith is the person who approaches Shiro without any hesitation.
  • Also, look at Shiro’s face. He knows Keith. He’s just lost a year to captivity and torture, has been given undeniable proof that aliens are real because they were the ones that held him, and has just escaped from a government facility. Yet in this screenshot he looks pleased. And it’s because Keith is there.
  • Keith is also the first person to ask Shiro what the hell happened to him. Keith is the only person comfortable breaching this subject.

“So, what happened out there? Where… were you?”

  • Keith also felt some mystical pull that directed him to Shiro, and you can chalk that up to the weird magic science that follows Voltron around, but I argue that Keith was only able to find Shiro so quickly thanks to their pre-existing bond.

Evidence outside of the first episode:

  • Keith is shown to be constantly worried about Shiro, probably because he remembers spending an entire year thinking his friend was dead. Anytime Shiro starts getting wailed on, Keith is usually rushing to help him.
What if...

It closed. Lucifer was long gone now.

Mary and Cas has just made it back in time, fortunately for everyone’s hopes. Sadly Kelly had not made it, the pain was too much for her to bear, but she went on long enough to give birth to a young, powerful, and healthy child.

Hugs of happiness and relief went all around, making joyful tears form in the eyes of many. And as for Dean and Cas, they greeted each other with a long stare, something that made it a bit more than subtext.

Crowley made it too. It turns out that Kelly’s death triggered the spell to work and even though he was left with some damage, it would heal after a while.

Years past. And they’ve never been happier. They finally have the ‘apple pie life’ they’ve always wanted. And that, is just how it ends…


I’m not very good at writing so sorry for all the mistakes in the plot and the grammar but I felt like I needed to do this to make people feel a bit better after tonight.

when s2 came out i heard a lot of people talking about how they “eased up on the sex” because those scenes were usually the main point of conversation post-s1 and some people felt like it was “too much in their face”.

personally, i don’t think they ever “eased up” on ANYTHING. i truly don’t think they wrote s2 saying “hey ppl kinda complained so let’s tone it down”. no. i mean, just looking it 2x01 “happy fucking new year” there’s such a celebration of sex - from sun’s memories/speech, through the orgy, kala’s unsuccessfull first time, etc. in the remainder of the season there’s more subtext rather than actual sex - mostly with lila’s character, and then of course 2x06 with kala, wolfgang, capheus and zakia. personally, i didn’t feel any “shortage”of sex scenes, but i understand why they weren’t as spread out and present as they were in s1 - because s2 was about information on bpo and background stories rather than meeting the characters. s1 one was all about introducing these people that are connected - and people are in relationships, and they have sex. it’s normal, it’s healthy, especially with consenting adults. but s2 is more about dealing with bpo that these personal relationship moments take a bit of a back seat - although they’re always present.

this is just my opinion on this and something i felt like sharing after reading one too many articles.

thegenderbinaryisalie  asked:

Hi! Yesterday i got myself into a discussion with some non-believers, of a feminist aware kind, whose main argument against tjlc seemed to be that it's 2016 we can request representation in more than just subtext. They made me feel, not only like a queerbaited fool, but also like I put myself down by being happy with representation in just the subtext. This kept me up at night and I would like someone elses thoughts on it. Also do you think we ever will get to hear them say out loud "I'm gay/bi"

Hello, my beautiful wonderful friend! 

I’m SO sorry for the delay on a reply to this. I’m very new to the community myself (only just recently discovering my own asexuality through analysing Sherlock) so I was trying to think of an answer I myself would want to hear, and I truly hope I help you feel better.

Honestly, I think it’s a waste of time to engage in discussions with people who don’t believe or think the whole thing is queerbaiting. The WHOLE POINT of the subtext is to warm people up to the idea of it being made text. In 2010, when this series first started, gay marriage was still illegal in the UK and the world was new to the idea of it all being socially acceptable. IT ONLY BECAME LEGAL TWO YEARS AGO (2014) for same sex marriage in the UK, and LAST YEAR in ALL STATES IN THE US. Your acquaintances say this because they’re talking like this series started in the NOW. Certainly, if this series was started this year, then yes, agreed, no need for the subtext. But in 2010, it just… was more difficult. So, as both men are masters of subtext, they decided to warm up the audience instead to the idea of John and Sherlock inevitably being together, and in the end make the audience demand they end up together, kind of like it was done in one of their favourite films, The Princess Bride, which Sherlock coincidentally has a lot in common with (and what do we say about coincidences?).

I know the argument is old, but it is still valid – ask these people one thing: if one or the other main protagonist was a woman, is it subtext then? There’d be no mistaking that John or Sherlock were openly flirting with one another. There’s NO subtext in that, at least! The flirting is only subtext because some homophobic asshats are insisting on this series being a bromance. Mark Gatiss, a gay man who is actively involved in supporting rights of LGBT+ people and positive portrayals of LGBT+ characters in the media, would not just… queerbait. And Steven Moffat has openly gay and bi characters in his other show, Doctor Who and he is SO hard up on being the one to make these classic characters be together at last. AND their favourite adaptation of Sherlock Holmes ever is The Private Life of Sherlock Holmes, a movie that the writer, Billy Wilder, has openly come out to say that his Holmes was gay, but because of the laws and time period, he just couldn’t do that. In this day and age, to say that a show which has so much queercoding will eventually lead to nothing is so ridiculous. There is a long game at work here, and I honestly think it is some of the most brilliant storytelling I’ve ever come across.

Like I said, Moffat is just JUMPING at the chance to make them a couple (show your friends the Unaired Pilot and ask them to come back to you… John and Sherlock, by now, would be married in Sussex with bees and 4 dogs if they continued down THAT train). In fact, it’s MARK who is holding him back (SPOILERS!). He couldn’t wait so he made his own gay Holmes and Watson in Doctor Who, and test ran a storyline in the latest season. Mark wants to tell a beautiful love story; Steven just wants them to get together already (this is my headcanon and I’m sticking to it!).

I’ve written extensive masterposts on why I think that none of what TPTB are doing is queerbaiting, so I’ll just link you to this abridged version I did up a bit ago so you can pick the posts you want to read. If you’re ever doubting Johnlock, READ THE STUFF AT THAT LINK. Please. 

As for my opinion on if they will come outright and say they’re gay / bi? THEY SHOULDN’T HAVE TO by the end of all this. THIS is what the subtext is for; this is what it’s trying to accomplish. Mofftiss want us to root for the heroes to end up together. Mofftiss want to normalize queer relationships and they’re choosing two of the most prominent literary heroes in history to do it. They want to make a queer relationship just like any het couple you see on TV. When people watch a movie or television, people automatically assume the male and female characters are just incidentally going to be together by the end; THIS is the goal Mark and Steven are trying to achieve, that ANY two people will be assumed to be in a relationship by the end of the series. I honestly don’t think Mofftiss will ever have the characters say it; they’re going to make it explicitly clear by the end of the series that John and Sherlock are together. However, I think the possibility of John correcting someone by saying “I’m actually bi” to parallel his “I’m not actually gay” has a high probability to happen. because some people still think that bisexuality isn’t real. But other than that, I don’t think they’ll make Sherlock come out and say he’s gay; a blind man can see he’s been coded gay since day one and not interested in women, and I honestly think that this coding will be amped up in S4 now that Sherlock has come to terms with his sexuality / love and need for John in TAB. Sherlock shouldn’t have to be a stereotype, but BEN chose the way Sherlock acted when he was drunk and without his guards up in TSo3. BEN. Not Mofftiss. BEN. Because he thought that’s how Sherlock really is (though I can’t remember if the quote ended there or “when he’s drunk”). I’m sure Mofftiss obviously had input into it, obviously, but still people argue that Ben and Martin would never go for it.

TSo3 was the gayest episode to ever gay before TAB, and it was supposed to be the most hetero thing ever. Really, if your acquaintances can’t see that, there’s honestly no helping them. I know from personal experience that people stuck in a heteronormative view of the world or are bigots will not budge from a straight reading of the show; I worked with someone who thought TSo3 made no sense, while my sister’s boyfriend thought it was ‘funny’. Right, the most depressing episode on this side of TRF is ‘funny’. Okay.

I’m putting my money on the series ending like TAB did, only in modern times (because Mofftiss LOVE THEIR GODDAMNED PARALLELS) with the two of them talking and chatting, and Sherlock gets up from his chair and goes to sit on John’s lap, “Just the two of us against the rest of the world?”, “Yeah.”, and they start kissing, camera pans out the window to overlook London. 

It would LITERALLY BE Sherlock’s dream come true. I’m sentimental like that.

Anyway, TL;DR: 

  • No, it’s not queerbaiting, it’s heterobaiting.
  • Mofftiss want queer relationships to be the norm.
  • People shouldn’t HAVE to say what their sexuality is. It’s no one’s business but you and your chosen partner’s. But because the world is so stuck on heteronormativity, people will assume unless a flashing neon sign is in their face.
  • Your acquaintances are poopy-heads.
  • Johnlock is canon and all is right in the world.
  • Amen.

Genny, honestly, don’t let it keep you up at night. Representation IS important, I agree, and you should NOT be ashamed of being proud that one of history’s greatest Sherlock Holmes adaptations is finally going to get it right! That a 7-Emmy Award Winning Show with A-List Actors is doing that for you. That you can relate to the troubles of the characters. That you feel special because finally, FINALLY someone has listened to you. 

DO NOT FEEL ASHAMED. You are amazing and beautiful. These acquaintances of yours are toxic to your mental health. Please be safe. Personally, I don’t think you should associate with them anymore if this is a common occurrence, them making you feel like this. Please, and this goes for everyone, never hesitate to PM me anytime in the chat; I don’t want you to ever feel like you are not important. I think you’re important, and it only takes just one person. 💜

All you have to do is think of how perfect this love story is and that, in the end, Mofftiss© will bless us with Johnlock™ and the Fires Shall Burn Brighter Than They Ever Have Before®. 

And you know what else? Slow burn romance is the BEST romance, in my opinion. It makes the ending THAT MUCH SWEETER.

Don’t come into my tag and tell me the only mainstream woman/woman happy ending I have shouldn’t have happened.


  • I ship Korrasami
  • I totally agree that it could’ve been handled better than it was
  • If you want to critically analyze the series I’m right there with you
  • But don’t come and tell me I shouldn’t have gotten this sliver of representation because it wasn’t done perfectly

I originally had a wall of text here that was getting way too long so I’m just going to bullet point the rest of the post as well.

  • Shipping Makorra doesn’t make you homophobic
  • Telling people with extremely low representation in media that you’d have been a lot happier if they hadn’t gotten their representation *is* an awful, hurtful thing to say no matter how polite you think you are being.
  • As hurtful as the “hetero lenses” remark may have been to some, let’s not pretend heteronormativity hasn’t been a huge, ugly problem in the fandom (and the series, and society as a whole).
  • Makorra and Korrasami will never be on equal standing socially. There is simply no way to reasonably attack heterosexuality by attacking Makorra given how ubiquitously, even oppressively, heterosexuality is displayed, promoted and at times enforced by mainstream culture. The reverse on the other hand, is very much possible.

And last point:While I don’t see Korrasami as pandering… even if it was, I wouldn’t care?

If that’s what it takes to get me some representation at long last as something more than a footnote in someone else’s story, yeah, I’ll take that over never getting anything at all. Yeah, it could’ve been done better, but really, where do we get off calling a wlw couple “pandering” because its execution was less than perfect, but decades upon decades of heterosexuality exploding off of every screen and billboard, that’s somehow not pandering?

Out of over 100 episodes between AtlA and LoK combined, ONE relationship was confirmed as not straight with something more than subtext and implied statements and it was in the very last episode, are we really going to pretend straight people haven’t been pandered to throughout this entire show?

Thinking about BotFA and...

The parallels between Tauriel & Kili and Bilbo & Thorin are crazy. The way THAT scene was framed… Tauriel & Kili is explicitly a canon couple, and the framing made Bilbo & Thorin basically canon as well. The framing was intentional; you can’t ACCIDENTALLY do that!!

(ALSO there is so much subtext for Bagginshield that it’s more than subtext… IT SEEMS SO CANON. And yet so HEART-BREAKING. I can’t look at acorns anymore.)