anonymous asked:

Hi, okay this might come off as a ramble but do you think that Derek knows that Spark (or 'something')? Because countless times he has often downgraded him to convince others that he is nothing special such as: 3x18: Derek - “You think Stiles, skinny defenceless Stiles, is the Nogitsune?” 3x19: Derek - “I didn’t think Stiles was smart enough to frame us for murder.” 4x06: Malia - “Maybe we need to think like Stiles?” Derek - “Like a hyperactive spaz?” (Part one)

(Part 2) I know that 2 of those examples are him protecting stiles because he is Derek’s anchor (as we find out later) but we also saw Derek’s awed face when stiles broke the mountain ash barrier. Derek would possibly had some knowledge on magical users like witches, Druids ect and maybe even a ‘spark’ ? I don’t know if it’s just that Derek doesn’t want anybody to find out that he has affection for stiles or maybe he is trying to protect him.

Have you met me? I LOVE RAMBLES. It’s what I do best (or worst depending on who you ask I suppose…). 

I actually do think Derek knows, or at least strongly suspects, that Stiles has some sort of ability. 

You list some of the things that serves as clues here, like how he constantly downplays Stiles and what he’s capable of. I think that is in part to protect him - with the “nogi” think it was just as much to save his life, because if they thought he was possessed by an evil fox spirit they could try to kill him. 

But Derek has been present for quite a few of Stiles’ little moments, and remember he’s more well-versed in the supernatural than the rest of them combined. And Derek is smart, much smarter than anyone gives him credit for. 

The mountain ash thing is one thing - Derek looks dumbfounded when Isaac and Erica can’t get past it. And Stiles is ecstatic. And then Stiles breaks with telekinesis while Derek watches

Derek knows that Stiles held him up for two hours in a pool, with clothes and Derek totally paralyzed.

Derek watched Stiles whack voltron!alpha over the head with a force that destroyed the baseball bat

Derek was paralyzed next to Derek at the sheriff station, poisoned with kanima venom when he found out that Stiles was healing just as quickly from it as he was, despite him jump-starting the healing process by hurting himself

Stiles has also held down werewolves in the presence of Derek

If I’m right and Derek suspects that there’s more to Stiles, then he’s kept it secret either to protect him because he cares and wants to keep him safe. Or perhaps he can see that Stiles himself isn’t fully aware of the uniqueness of it all, and is therefore not addressing it. 

And by the way, I totally think Peter is in the know as well. He usually is :) 

Needless to say the whole movie was about people who turned out not to be dead, dangerous situations that turned out to be safe.
I mean there’s 1) Amelia 2) The parachute 3) The train test, and most importantly, 4) The whole shoot-your-dog incident.
And do I need to mention that concerning no.4 Harry’s specified that he shot the dog, not that the dog died? In fact the dog died YEARS LATER from old age and such.
The dog was shot. The dog did not die. Guess who else got shot? And they did even check that freaking body????


Mary: “You don’t know anything about human nature, do you?”

Sherlock: ‘Nature, no.  Human, no.’

There’s just one problem with this.  It’s not true.  Immediately after this exchange Sherlock deduces tons of stuff about Mary.  Most of this stuff is very much about human nature.

When we first meet Sherlock, the most in-depth part of his John-releated deduction is definitely about human nature.  Sherlock knows the price of his phone shows it was probably a wife, not a girlfriend, who bought it and his knowledge of sentiment lets him know that it was Clara who walked out.

Later, at Baker St, Sherlock reasons that Hope would panic and would have to call John’s cell back.  He has incisive knowledge of psychology and human nature.

His Anderson/Donovan sex deduction is also very much about human interactions, sexuality, relationships, etc.

The truth is that Sherlock is a sensitive guy who does understand human nature very well.  The person who labels him as not feeling things, ‘that way’, is John.  Granted this is after his declaration that he’s a, ‘sociopath’, in the ASiP drugs bust, but I think that Sherlock thought that John had seen through this rouse: this is how he kept people like Anderson at bay, this boundary was not meant for John.

Keep reading


So, I haven’t been in the team delusional tag much today so forgive me if somebody’s already made a note of this, but while I was doing some therapeutic spring cleaning to take my mind off the incoming shit storm that is sure to be the finale tomorrow, I was thinking about episode titles, specifically this final one- “Conquer”.  We already know that the titles in the last push of this season are taken from Faulkner’s “The Sound and the Fury”, and quoted way back in Season 1 by Dale: “I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it.” (Episode titles bolded/italicized.)  Someone more ambitious than I am could maybe do an interesting meta on how each of those episode titles play out in the episodes themselves.  Who is doing the remembering and what do they remember? Who is doing the forgetting and what do they forget? Who is spending? Spending what? Why?  The answers to those could potentially be worth talking about. However, what made me sit up and realize that I just can’t let go of my final thread of hope that perhaps Beth is still alive (even after the storm of spoilers that made me feel like I had better prepare for the worst), is that word- conquer.  Because you know what comes to mind if we forget about the Faulkner for a minute? 1 Corinthians 15:26: “The last enemy that shall be conquered is death.”  I’m not gonna lie, I had serious goosebumps when that quote popped into my head. Beth being alive would be such a perfect embodiment of that message, regardless of whatever other conquering might be going on in the episode. That would be the coup to end all coups. Little Beth Greene turns out to be the exact opposite of “just another dead girl”.

anonymous asked:

there's so much amy hate around in the who fandom it just breaks my heart.. i don't think that the problem ever was that she couldn't decide between rory and the doctor, or doesn't respect rory, i think she loves them both in completely different ways and maybe thats one of the most striking parallels between her and the doctor.. she's so caring and does everything to protect the people she loves and eventually she always ends up in trouble because she has too much love for too many people

I am literally so sorry this sat in my inbox so long I got it intending to answer it on Friday but it got buried and I was exhausted from work and honestly I wanted to give this ask the attention it deserved so again I’m sorry.

I completely agree with you.  People talk about how Amy doesn’t love anybody and that she has no complex emotions and how Moffat wrote her as a sex object but they’re so blatantly wrong.  Amy Pond’s struggle, a lot of her characterization, is that she has too many complex emotions that she can’t handle.  She loves too many people but she’s scared to get close to them because of her abandonment issues.  She loves Rory, but she afraid if she ever gets close to him he’ll leave her and break her heart.  Nevermind that that would never happen, it’s not rational.  Mental health issues rarely are.  

She loves the Doctor too, but it’s a different kind of equally strong love.  Whether people read that as romantic or platonic, it’s up to them, but I think they’re equally as valid readings.  She attaches herself to him so strongly because she lost him once and she’ll be damned if she loses him again.  It’s another manifestation of her abandonment issues I think; she’s holding on so tight she can’t possibly let go (that is, until series 7A, which is the culmination of her healing process, and people criticize the ending of “The Angels Take Manhattan” because she’s making her decision based on a man or something like that, but it’s such an achievement for her to be able to let go of the Doctor and do what she feels is best for her happiness when two seasons ago she could’ve never done that out of fear).

She’s so loyal.  She’ll do anything for the people she loves and cares about, and she’s passionate, so that passion guides her in her actions.  Her killing Madame Kovarian at the end of “The Wedding of River Song”, I would argue, is an act of love for River.  She’s angry that her daughter was hurt by this terrible woman and feels the need to avenge her.  You’re so right in saying that the amount of love she has gets her into so much trouble.  Her refusal to go and leave Rory at the end of “The Pandorica Opens”, even when he tells her it’s dangerous to stay with him, is an act of love again.  She believes that she loves him so much that he can fight his instinct as a Nestene duplicate with her help, and she ends of getting shot for it.  Her trying to kill the child in the spacesuit at the end of “The Impossible Astronaut”, even though she knows it’s wrong and that it could have serious consequences, is an act of love for the Doctor.  She loves with her passions, and usually that means her love would burn up quickly, but as Amy progresses through the seasons she’s learning that life isn’t the all or nothing battle she thought it was.  That she can love with all of her heart but also love gradually and slowly, and not feel like everything she loves is slipping away and she has to fight to keep it near her.  That she can love more than one person and that’s okay.  She has a series of realizations across the seasons that help her grow into the person she is (gosh that’s a meta screaming to be written maybe I’ll write it soon).

People fundamentally bulldoze over Amy because they don’t understand her and so they reduce her down to the one-dimensional thing they want her to be, and it’s really sad.

anonymous asked:

hello, I love reading your meta :) but there is a fact I want to poin out. you say that stiles being able to hold down werewolves is a sign of his somethingness, but derek being human also managed to restrain liam (without any support, while stiles had it), despite the fact that werewolves should be a lot stronger that humans (even if derek is supposed to be strong and liam is just a teenager). so stiles' unnatural strenght can be a sign, it also can be writers not paying attention to details :(

Of course it can be, and this is by no means the first time someone has pointed this out to me. I would be willing to dismiss it completely if it was just that one time, but it’s a clear pattern by now, making me thing there’s something to it. 

I would also like to point out these instances:

This is a funny moment, and because of that we don’t stop to really think about what just happened. The voltron!alpha is probably thickheaded and super-strong, so let’s just for a moment assume it’s like hitting a wall. Get a baseball bat and hit the wall - what happens? Does it splinter into tiny bits of wood like above? No - it hurts like a fuck is what it does. 

I’ve searched the web and watched grown men smash tv, laptops, cars and other hard surfaces to pieces using a wooden bat. never have i seen it turned to saw dust like this. Is it just because voltron alpha is so hard? I’m no physics major or anything, but i would assume it takes quite a bit of force and momentum to hit something hard enough to achieve this outcome. If anyone with knowledge will either confirm or shut this down i’d be grateful :)

Keeping Derek afloat in water while he was totally paralyzed for two hours. They were both wearing clothes and shoes that will serve to try and pull you down and certainly doesn’t promote buoyancy. And Derek is an alpha with a lot of bulk, so he’s probably heavy. Not saying you have to be super-human, but it’s still an impressive effort for a 147 pound 16 year old. 

Stopping werecoyote Malia about to smash the computer to bits by grabbing onto her hand. He stops her almost effortlessly. The camera also zooms in, to emphasize what he just did. 

Then there’s the scene you refer to, with him and Derek holding down an out of control werewolf. In this scenario the dialogue is adding to the scene drawing attention to it - and we’re left wondering  if it was in relation to Derek losing his powers or Stiles being stronger than expected. Perhaps it’s both. At this point Derek still has some juice left, so he’s not completely human.

Then there’s Derek ordering Stiles to hold down Scott when he’s about to experience the worst pain ever with the tattoo thing. Derek holds a steadying hand on Scott’s leg, but Stiles is left with the task of keeping Scott in the chair. There’s also the strange finger thing that i’m not really sure means anything. But Derek glances at Stiles after, as if making sure he’s ready.

Then there’s Stiles holding effortlessly on to the lacrosse stick with one hand while Coach is tugging on it with all his strength. 

Here he helps Scott hold down an almost feral Liam in the showers. They each grab onto a shoulder and keep him in place. There is no visible difference between Scott and Stiles’ ability to keep hold him down here. 

In additon there’s also the fact that he never seems to get hurt (at least not when supernatural elements are involved. The only time we see blood is when Gerard hits him and he crashes the jeep). 


Not ruling it out as convenience of plot, but Stiles showing signs of more than human strength is a pretty consistent pattern making me think there’s more to it. 

Consider this

After Eggsy avoids the fox and fucks up, he tells his friends “I’ll sort this out, get out of the car.”
After that his friends don’t see him for at least a year, maybe thinking he went to prison or whatever. But HE’S ACTUALLY FINE and eventually comes back.

SO. What I’m saying is. After Eggsy spares JB, Harry say the same thing, “I’ll sort this out,” then proceeds to get shot by Valentine. Everyone thinks he’s dead. BUT HE’S ACTUALLY….?

I’m just saying. It’s a pattern. You know how patterns are. Not predicting anything or anything.

  • natasha vandalizing clint’s quiver WITH pi ctures of clint as a bird 
  • natasha using bucky’s arm like a whiteboard and writing the grocery list on it (“james don’t look at me like that look at how useful this is we can go shopping and don’t have to worry about misplacing a piece of paper”)
  • natasha calling Steve “старпер” (old fart) and when he’s asleep she outlines his abs in permanent marker
  • natasha dressing as a nesting doll for halloween 
  • natasha buying all of them socks with the russian flag on them for christmas.
  • natasha texting tony in the middle of the night just with the poop emoji
  • natasha sending bruce a complex coded message and telling him that she needs to figure out what it says because it’s urgent and lives depend on it, and he stays up for two nights to solve it and when he finally does, it spells out ‘lol sucker’
  • natasha telling sam she spent days making him a really good mixtape and the only song on it is “i believe i can fly” 10 times

if steve has to die in civil war the only way i’ll accept it is if his death scene is gay and cliche af. he lies dying in bucky’s arms. bucky says something about how he can’t die he just got him back!! there’s some symbolic thing of steve giving bucky the shield as a prelude to buckycap. there’s forehead touching. seb stan does the thing where he cries while looking really hot and really gay. they either cut out all the sound or play some slow depressing music in the background. a montage of people looking sad follows. natasha beats up a punching bag. sam’s running shoes lay neglected in a corner. bucky drinks himself unconscious in a seedy bar. tony does the same but in his penthouse. everyone contemplates the meaning of the death and the universe.

i fucked up i’m sad now and I did not think this through well at all fuck me


Why they aren’t sitting in their chairs? in every scene with a client they are always sitting in their chairs. Sometimes Sherlock is walking around, but the scenes with the clients are always with  them in their chairs. Even in the infamous scene with Mary/A.G.R.A, John is very clear about their position regarding the clients.

JOHN: … the people who come in here with their stories. -the clients – that’s all you are now, Mary. You’re a client. This is where you sit and talk … (he gestures towards the armchairs) … and this is where we sit and listen, then we decide if we want you or not. (X)

So, why in this particular night, the last night together in their flat, they choose to change their places in front of a client?

They were very, very  drunk, they fell asleep in the  stairs, but that was not enough. They continued drinking, flirting playing games. When they were about to kiss Tessa comes along with a case, so John and Sherlock, decide “no, we won’t stay in our places, as we always do, this night is special, let’s stumble in our drunken state to the other side of the room and we sit on the couch.”  (please imagine them giggling, and joking with each other while they can’t even stand)

I think they main reason why they are sit in the couch while Tessa is telling them her story is because that night they aren’t the detective and his blogger. That night they are simply two men, two best friends, and sadly in love with each other, but they think their love is unrequited.

This night is their last chance to be together in a way, that maybe is impossible but they’ll try to make it happen. John was touching Sherlock the  whole night and Sherlock lost all his inhibitions. That’s why they are sitting together in the couch, because they can’t even think of being apart. They need to know, to feel the other at his side, even touch them.They are so desperately in love, so desperate to feel that the other is there, close to their hands. And at the same time exists an abyss between them. I just hope that someday they can build a bridge, and stop this madness.

Let’s remember that Bucky Barnes without Steve Rogers was the kid who befriended a small sickly boy looked down on and picked on by everyone else without caring what anyone thought.

Bucky Barnes without Steve Rogers was a smart, bright, likable young man who enjoyed going to dance halls and science fairs.

Bucky Barnes without Steve Rogers earned the respect, friendship, and loyalty of his soldiers to such an extent that when a stranger in spangly tights saves their lives only to ask them to follow him back into the fray, they agree because this guy’s nuts but he’s got Sarge’s seal of approval.

Bucky Barnes without Steve Rogers withstood years of unimaginable physical and psychological torture until his captors were finally forced to strip him of his memories and all sense of self in order to make him compliant, and even then had to phrase his missions as fights for the good of the world.

And then, Bucky Barnes, with no knowledge of Steve Rogers or himself, with no agency or moral compass, couldn’t be kept out of cryostasis for too long lest he regain the smallest sense of self and turn on his masters. Because even they knew that James Buchanan Barnes was the furthest thing from a bully, and feared the vengeance he would bring down on them if he realized what they were forcing him to do.

And this is just Bucky Barnes in the MCU, who’s had maybe a half hour of screen time and a handful of lines.

Yeah, the seeds of the Winter Soldier are in Bucky, insomuch as he is competent, loyal, fierce, a brilliant tactician, capable of doing the dirty work to save others the burden, and a bit ruthless when it comes to protecting innocents and those he loves. But isn’t it telling that even stripped of everything but these attributes and then turned to destruction and chaos he becomes, not a bully, but an asset of terrifying efficiency? The Winter Soldier is single-minded and brutal in carrying out his missions, but he is an effective soldier, not a bully.

James Buchanan Barnes is a hero, and nothing, not the absence of one man (even a man like Steve Rogers) or anything else, could change that.

Dean Winchester went on a rant about how many girls he was getting, when he was textually lying and putting on a front. This was a macho straight dude persona, an act, and it was for the case and even the casual viewer understood that this was Dean lying, because it was part of how they planned to solve the case.

And then Dean drops the act, becomes Dean himself, and says truthfully that there are people and feelings he wants to experience differently, or maybe for the first time at all.

Like, if I have to hold your hand and walk you through that subtext, then maybe media interpretation is not for you.


When I first saw this scene I was surprised that Mind Palace Moriarty listed Irene as one of the people who would cry over Sherlock’s death (I figured it would make more sense to include Molly in that slot).  However, after mulling it over, I concluded that there’s a deeper meaning to it.  When you consider who these people are to Sherlock or what they symbolically represent, this list has a pattern. 

First, Jim mentions Mrs. Hudson.  Mrs. Hudson has always been like a surrogate mother to Sherlock and, up until S3, she was the only mother figure in Sherlock’s life that we knew about.  So you could say that Mrs. Hudson is symbolic of parental love and affection.  Next on Jim’s list are Sherlock’s actual parents; they are the literal representation of parental love.

Then, the camera angle changes—this change further emphasizes how everyone is paired off (Mrs. Hudson/Sherlock’s parents, Irene/John)—and Jim lists Irene who, as many others have pointed out, is often the symbolic representation of romantic love and sex.  So, if we continue the pattern of symbolic love followed by literal love, what does John represent?  


This is Dorian’s space in the library. 

I wanted to post this because I think Dorian is an easy character to take too lightly (getting caught up in stereotypes) or to imbue with too much darkness (I’ve seen references to him being, “a broken man,”). I think the truth is that, like most of us, he occupies the middle ground most of the time. While it’s easy to get pulled into the darker stuff in search of feels, Dorian is much more complicated and interesting. 

Take a look at his space. It’s a great big padded chair right at the top of the stairs in the library. From his seat he can see who goes up to the aviary, who visits Viv, who’s talking to Fiona or dropping off items for the researcher. He’s not detached or closed off. He’s chosen a spot that puts him right in the middle of everything that happens in that room. 

The piles of books are practical, research he’s pulled and brought to his nook. Those piles are lining the floor in front of the bookshelves, they aren’t obstacles or walls to any that might want to talk to him. And there’s a lute behind the chair. Does he play? Does he sing sometimes knowing he has a decent voice and not afraid of who might hear him?

The last picture has the view from his window. It’s the front gate to Skyhold. He sees not only who comes in to see the Spymaster or do research but anyone who enters Skyhold. 

He’s curious, interested, and engaged. His problems are his problems but they don’t reign over every aspect of his life and even in areas where they hold a great deal of sway, as in a romantic relationship with the inquisitor, he’s one to take a breath, pull his shoulders back and push through through issues with courage. The issues he has to deal with are painful but they aren’t all he is. His place in the library is a reflection of that. 

anghraine asked:

Top five things about Luke Skywalker :D

Okay friend, well I hope you are prepared for an explosion of feelings here.

1. His character arc. I adore Luke at all stages of his character development (and tbh I really have no patience for people who talk about “whiny Luke”). I love him because he goes the whole journey - from this relatively inexperienced, but still profoundly earnest young man to someone who is wise and compassionate and absolutely himself. I love that his journey is hard-fought. He’s a fundamentally good person, yes, and that’s one of my fave things about him too, but he’s not this naturally all-forgiving incarnation of compassion. His compassion is burning and hard as the twin suns, and he works at it, makes a conscious decision to live that way, and has to keep re-making that decision, over and over and over again, often in the face of what everyone around him is telling him. And he makes that decision because he’s been through the depths, because he survived the annihilation of self that was Bespin for him, and he came back out from the underworld, carrying with him the knowledge of death and resurrection. He has one of the best executed mythical story arcs out there.

2. His earnestness. I mentioned that above, too, but I gotta mention it again. I really love characters who are just unapologetically decent, earnest people - people who care, people who dedicate themselves wholeheartedly to what they believe in, people who are idealistic and live their lives in that idealism, who are often wrongly assumed to be naive or foolish or unrealistic because they choose to believe in the goodness of humanity. Luke is all of those things, and often in spite of what quite a lot of people would consider evidence to the contrary, and I love him for it.

3. His goofiness. Characters who are all of the things listed above and also enormous dweebs are my greatest weakness of all. I said that the scene where they’re captured by Ewoks and Luke is just giggling behind his hand as Threepio insists he’s not allowed to impersonate a deity is one of my favorite Luke scenes ever. I was not exaggerating.

I don’t think Luke is much of a prankster, though he probably enjoys other people’s pranks. But I do think he’s probably (in)famous for his ridiculous puns. Han is constantly groaning about it. Leia is more likely to sigh fondly and say, “Well, that’s Luke.”

Things only get worse when he starts chatting more regularly with his father’s ghost. (Anakin’s jokes are awful. And I have a headcanon that ghost!Anakin, who is finally free for the first time in…ever, has really cut loose and is probably the kind of overly intense, overly dweeby person who’s just so awed by life and existence and everything that he’s caught in a state of constant wonder. And terrible jokes. But I digress.) Anyway, sometimes Luke passes on Anakin’s jokes, which always make Leia groan even more, and Han just stares incredulously every time, like, “Darth Vader told you that joke?! I refuse to believe that. It’s a fucking terrible joke.”

Then eventually Han and Leia have kids and Luke becomes the cheesy-but-awesome uncle, which is literally everything he ever wanted out of life.

Oops, I guess this became a headcanon entry. Oh well!

4. The way he interacts with Artoo and Threepio. Luke never seems to think of them as “just droids.” Even when he first meets them, he treats them like people with their own thoughts and experiences - thoughts and experiences that he is genuinely interested in learning about. His relationship with Artoo undergoes a character development arc all its own, just like his relationships with the biological characters, and I adore that. The way they talk to each other is just wonderful.

5. Luke is more Jedi than the Jedi. Or, to put it the way I’ve been saying it for years (and wow, it really is years now, what a horrifying thought!), he’s the only one who ever really gets it.

Say what you will about Anakin in AOTC, but I actually really like his definition of compassion there. And he claims it’s central to the Jedi way of life, but the cold hard truth is that we don’t see any prequel era Jedi ever actually living that way. Compassion is hard, so much harder than fighting, or even than controlling your own feelings. Compassion is knife-edged and burning like the sun, because true compassion makes you see - the other, and yourself.

In the first numbered point I talked about the journey into, and back out of, the underworld. In some ways I think Luke is the only one of the Jedi who actually makes the anabasis, the journey back from the depths. Everyone else gets stuck in that place of death. Anakin’s stuck-ness is most obvious, but Obi-Wan and Yoda, too, are trapped and largely powerless in their respective exiles. There’s no way forward for them. They can teach Luke, but all they can teach him is what they know, which is a binary, Dark and Light, good and evil absolutes, the fullest and final expression of which is Obi-Wan’s flat-out admission that they’ve trained Luke to kill his own father, because that’s the only choice.

None of the Old Republic Jedi ever could have done what Luke does, which is to throw away his sword and stop fighting. And I love that THAT is the moment when he says, “I am a Jedi” - that moment in which he is, in so many ways, acting least like the Jedi of old. There he is, a Jedi confronted with two Sith Lords, and his greatest action is to refuse to fight. Something that would have been literally unthinkable for any of the Jedi of the old Order. But not just “I am a Jedi,” no, he says, “I am a Jedi, like my father before me.” Everything about that statement is like a perfect antithesis of the old Jedi Order, from the words he says to the actions he takes along with them.

"This weapon is your life," says Obi-Wan, and he makes it sound like a common Jedi aphorism. This weapon is your life, and Luke throws it away. Because Obi-Wan and Yoda and all the other Jedi were good, and they were wise, and they had millennia of tradition, and they were wrong.

So Luke throws away his lightsaber and rejects the binary understanding of reality, and that’s when Luke names himself, both a Jedi, and his father’s son.

And the thing is, he’s right. He is a Jedi. If compassion is central to a Jedi’s life, Luke Skywalker may very well be the only Jedi that has ever been.


Desert Elves of Middle-Earth 

Swathed in emerald green and saffron and ivory silk, they hunt in the arid waste astride leopards; they are the Elves with a thousand words for Sun but only one word for family; who know the language of the wild beasts and the faint wind at sunrise. They are fair and indomitable, never-faltering, and endure endlessly through the ages.

inspired by { x }


Oh boy, do I love TSOT! :)

I find this scene with Major Reed very interesting, as it shows us John’s interaction with the Army, so we have a glimpse of his past… I love how John seems a bit too desperate for Reed’s approval and how defeated he looks when the man treats him with disdain. 

I read with fascination Shinka's and Kinklock's metas on this scene and I love how they tie this scene with John's father. It is indeed quite thrilling to see how John craves “his father“‘s acceptance and love. I totally agree with these interpretations and find them brilliant.

I’d like to add something, though. I think Reed represents a bit more than John’s father: he represents every figure of authority and idea of family John may have had before Sherlock.

Reed represents John’s father, as Shinka & Kinklock wonderfully said => I’m sure John had to fight for his father’s approval and maybe never received it.

Reed also is a symbol of the Army, a family John had chosen for himself, and I’m sure he fought there as well to be accepted and recognized. But the Army gave up on him. He was rejected, left broken without so much care, disposed of. And that was quite hard for John: when we meet him in ASIP, he’s seriously considering killing himself.

Reed’s rejection is a harsh reminder of how the Army discarded him and severed all ties with him. The Army was John’s family, but they don’t care about John anymore, they don’t approve of his life with Sherlock: it’s something ridiculous and laughable (“the one with the silly hat” in a voice full of contempt).

John spent several years risking his life for the Army, firmly believing in this institution. And they just threw him away. John is defeated and broken.

Also, note that Reed is a major. We see another Major in this episode… Remember Sholto? (Sholto who also serves as a foil for Sherlock in TSOT, so I could even extend this analysis to John’s desperate need for Sherlock’s approval that was blown away when Sherlock faked his death for 2 years without telling him because John couldn’t be trusted. Depressing much?).

Sholto, his “ex”-commander… A man who obviously counted A LOT to John. A man he lost after getting shot, a man who apparently stopped all contact with him until John’s wedding day. Considering John’s puppy face when Sholto calls him by his first name, it’s pretty safe to say John craves his love and recognition. Only to be rejected again.

This scene is about how desperate John is for approval. How he never really got any.

It’s awful how much John needs to be loved and accepted, how he needs at least once in his life the approval and recognition of a figure of authority/family.

Sherlock, now would be the time to hug your partner in crime and whisper your eternal love into his ear!


How did I not notice this before? Look at Dean’s face in that gif, when Balthazar looks away. There’s a slight grin, and almost a sigh of relief or happiness, as though Dean can’t believe Cas may have feelings for him too.

People made these choices. Jensen made this acting choice, the director chose to frame it this way, the editors chose this take.

No (Or: Anakin Skywalker in Ten Steps)

1. When he’s eight years old he decides that freedom means never having to say “Yes Master” or any variation thereof again.

2. Two days later, he starts counting. In one day, he says it 13 times. Kitster says he said it 16 times, and Anakin wonders if that’s worse, or just more of the same.

3. When the Jedi comes, Anakin calls him “sir.” He hates that word, too, but he’s learned the hard way that it’s safer. The Jedi doesn’t correct him.

4. Even so, for a few days after leaving Tatooine he almost believes he’s free. He’s off planet (and that’s where all the freed people go, isn’t it?), and in a starship, and he’s going to be a Jedi. He’s heard a lot of stories about the Jedi, but none of them say they’re slaves.

5. He was wrong, though. He has to call all the Jedi “Master,” and there are rules to follow, and they cut his hair and dress him and tell him where to go and how to behave and what to do. Master Obi-Wan tries to explain the difference, but he can’t see it, so he doesn’t understand.

He chafes, but never too much. He’s always known just how far he can push, and no further.

6. By the time he’s nineteen years old, and in love, he’s said “Yes Master” 22,753 times.

7. Padmé is upset that they have to hide their wedding, that it has to be private and unshareable. She pretends that it doesn’t bother her so much, and in return he pretends that it does bother him, too.

It doesn’t, though. On Tatooine, all slave marriages are like this. He’s always known he would get married this way.

8. He’s going to be a father, and he’s joyful and giddy and terrified. (He’s now said “Yes Master” 35,802 times.)

There’s a corner of his mind that repeats the old Tatooine law like a mantra. Children follow the mother. His child will be free.

9. There’s something to be said, he thinks, for choosing one’s own master. Or at least having the illusion of choice. He’s now said “Yes Master” 35,998 times, and as he kneels before Palpatine, he could almost believe this is what he’s always wanted.

10. Luke is twenty-four years old, whole, and beautiful, and he’s never said “Yes Master” in his life. Vader doesn’t know this empirically, of course, but he knows it all the same. The slave can always recognize the free man.

It’s not until Luke lifts away his mask and looks at him with desert blue eyes that Anakin realizes he’s said “No” for the very first time.

A study in facial expressions

Because I don’t believe the lying liars for one second when they come out with things like ‘John is thrilled for Sherlock! [being in a relationship with Janine]’ mostly because of, well, the entire scene, but also because I think the facial expressions these boys pull on a regular is enough to tell us the whole truth and nothing but the truth about John and Sherlock’s emotions. 

Quick disclaimer: I’m no expert in acting, I’m also no expert in the psychology behind body language and/or facial expressions, but to be honest I’m just using my common sense to reach these conclusions, it’s not much of a stretch. 

When looking at promo pictures such as this one:

at first glance the reaction is typically ‘lol, look how much Sherlock is pining in this pic’. But the truth is, *chandler voice* could he be any more obviously pining? I mean really look at his face for a second. This has been done purposefully, Benedict has made the conscious decision to pose for this photograph (not just a still image someone has capped from an episode, this has been well thought out) with that expression on his face.

Notice how the eyebrows are pulled together, there are visible creases on his forehead. He’s not just staring at the back of John’s head, he’s frowning, his eyes are sad and his mouth is quirked down. (Basically he’s really fucking sad.) 

Now as an exercise, try pulling that expression yourself. When you make this face you immediately feel different, right? You feel or can imagine the feeling of being sad, longing, and it takes effort! It takes a lot of effort for your facial muscles to shift into that expression. My point is, it’s very deliberately controlled on Benedict’s part. When they pose for these promotional photos, they are in character and are displaying emotions of their character in that particular setting i.e Sherlock longingly staring at the back of John’s head while John is looking away from him. Like, this shit is carefully directed, and carefully selected. They don’t just take one photo and be done with it, they choose from potentially hundreds of images to find the one they most prefer. 

Another image:

Again, the same principles apply. ‘Oh but they’re both just being broody’, you say. Well here’s another

And another

And finally (my personal favourite)

This is meant to be John’s wedding day, not a funeral ffs. Just remember they stood and posed for this photo. Both of them stood there and deliberately decided to look like miserable shits on ‘the happiest day of John’s life.’ Yeah. So happy.

So either Benedict and Martin are very particular about the emotions they display when playing Sherlock and John, either they are very careful and controlled when it comes to the physical characteristics and they do so to tell us about the emotions their characters are feeling (Martin ‘I can do that with a look’ Freeman), or… Or they’re pretty rubbish actors that really need to learn to get into character better. And I mean really, I think we all know that’s not true.