• sherlock HoB: Look at the jumper he’s wearing. Hardly worn. Clearly he’s uncomfortable in it. Maybe it’s because of the material; more likely the hideous pattern, suggesting it’s a present, probably Christmas. So he wants into his mother’s good books. Why? Almost certainly money. He’s treating her to a meal but his own portion is small. That means he wants to impress her, but he’s trying to economise on his own food. No, small plate. Starter. He’s practically licked it clean. She’s nearly finished her pavlova. If she’d treated him, he’d have had as much as he wanted. He’s hungry all right, and not well-off – you can tell that by the state of his cuffs and shoes. "How d’you know she’s his mother?” Who else would give him a Christmas present like that? Well, it could be an aunt or an elder sister, but mother’s more likely. Now, he was a fisherman. Scarring pattern on his hands, very distinctive – fish hooks. They’re all quite old now, which suggests he’s been unemployed for some time. Not much industry in this part of the world, so he’s turned to his widowed mother for help. “Widowed?” Yes, obviously. She’s got a man’s wedding ring on a chain round her neck – clearly her late husband’s and too big for her finger. She’s well-dressed but her jewellery’s cheap. She could afford better, but she’s kept it – it’s sentimental. Now, the dog ...tiny little hairs all over the leg from where it gets a little bit too friendly, but no hairs above the knees, suggesting it’s a small dog, probably a terrier. In fact it is – a West Highland terrier called Whisky. I use my senses, John, unlike some people.
  • sherlock TFP: lol whoops i didn't notice that there was no reflection of my own face in the nonexistent glass that's so wild amirite ladies

imagine if everyone let elementary be the story of two partners who are equal amounts of dysfunctional in completely different ways

one who feels everything too much and is always on ten, who proclaims loudly that he has no love in his life because he sometimes fears acknowledging how important his loved ones are, who fills each minute with some kind of activity because his brain never shuts down and never lets him rest, who is so attached to a career he’s been working on his entire life and now sees it with new appreciation because he has someone to share it with

and another who keeps everything inside and is perpetually on negative three, who doesn’t allow anything to get to her because everyone else’s problems and crises are more important, who is friendly to everyone but has only one person she connects with, who has walked away from so many things with zero regrets but has finally decided to stay in one place because of who else is there

literally, imagine

Okay here’s the thing. You introduce a character element like a tattoo that the actress always has painted on or whatever, you have a whole story for it, you SHOW it, you mention it… FOLLOW THROUGH ON THAT. Or at least explain why you didn’t. Or even say what you were planning to do but that you changed your mind.

But this “keep watching” only to arrive at “actually nah you’ll never see it” makes people feel fooled. Like, that’s annoying. I understand that things change and get rewritten, I think everyone understands that. But it’d be nice to have “well we were gonna do a whole thing where… blah blah but it just didn’t fit or work out or whatever” rather than just “nah, never mind”.

I mean I don’t even care that much about the tattoo, certainly not as much as some, but I totally understand that people get annoyed about it. It feels disrespectful. It’s like the OQ thing all over again - “keep watching, keep watching, aaaaand nope.” It’s lazy and it’s really annoying for anyone who’s actually invested in the story and the character(s).

Someone: Sam Winchester is selfish.

Me, an Intellectual: Sam Winchester tried to make choices near the beginning of the series and before that allowed him to have a better life. He has since lost most if not all of his sense of self worth and despite feeling like a bad person, consistently tries to help people and retain hope. To call him selfish is a gross and inaccurate disregard and misunderstanding of who he is as a person.

Dear JK Rowling,

(**warning: Fantastic Beasts and Where to Find Them spoilers***)

When I was little I read Harry Potter for the first time. I can’t tell you what it meant to me on so many levels, but there was one particular thing that resonated. Harry was a boy who got locked in his room, who got shouted at, who was crushed down and made to feel unwelcome and even, sometimes, unsafe in his own home.

And he got to go to magic school. He survived those dreaded Dursleys. More than that, he triumphed. Reading about it was like having a hand to hold. 

It occurred to me, for the first time, that being shouted at and bullied at home as a kid didn’t have to mean you were doomed to be sad forever, because one day your life would be so full of other things - good and bad - that the past would barely feature in your life. The Dursleys were largely so, so irrelevant. It was great.

And now I come out of seeing Fantastic Beasts and Where to Find Them and I am so hurt and confused. Because in Credence, you created a character that would resonate with so many people who are sad, people who are bullied, people who are forced to hide who they truly are even from those closest to them. You have undoubtedly touched some of the most emotionally vulnerable people in the world with an astoundingly good visual metaphor - a character whom the scared and the lost could easily connect to.

And then you let him die. No, in fact - you killed him.

He went without a word. He was sad and terrified, right til the end. Throughout the story, it would have taken so little to try to help him. Tina, knowing about his predicament, apparently only tracked his family following her demotion - was he not worth the risk of grabbing his wrist and disapparating with him to a safe place, an orphanage? Was he not even worth the attempt? And when the MACUSA wizards were firing their killing blows, was he not even worth an attempted protego? Useless it may have been, but God, if he had to die, show me that that abused and terrified kid was worth every gut-wrenching fruitless bloody try. 

Please, JK. I love your work. I love so much of it. But please, if you’re going to tell me a story about an abused kid, and if you really have to kill him off, please give him the slow-motion shots and the tears and the last words, give him the send-off, tell me why it has to happen, tell me how the main characters are hurt by it, tell me how they’re going to try to make it better. Please don’t give all those things instead to a man being obliviated by rain, whose amnesia is hinted to have been reversed anyway at the end.

If you’re going to do it, you’ve got to do it right. Abused people are not your emotional fodder or your plot devices. They aren’t doomed to die. Their anger and their sadness won’t inevitably lead to their fatal self-destruction. They deserve to be given reasons to hope. And they deserve to see themselves being worth every single effort to help them.

I’m actually livid after that episode. My expectations were at rock bottom and they somehow made it worse.

There was so much potential with the AU concept and they literally picked all the worst possible elements and went with that. 

may-darling  asked:

Hey Em! I haven't seen the Sherlock episode yet but lots of my friends were pretty upset about it. And although I was a true Sherlockian the last couple of years I am less and less inclined to buy this season. I will probably watch this last episode but the way I currently read it, it didn't save the rest of the season for me like i hope. In my opinion they got to lost in the grandeur of a high budget. In the end they cared more about a spectacle than a truly good story. (1/2)

(2/2) I also still feel slightly uncomfortable about episode two who I think was a bit foreshadowing for episode 3? Maybe? Were they needed to make EVERY. SINGLE. CHARACTER. HETERO. In the last couple of minutes. My queer ace heart was not particularly pleased about it. Also: This season was fucking dark as shit and it left me feel weird. Not only because of hella depressing themes but overall the vibe of the OOC characters.

In a way, Sherlock has always, for me, been a lot about the look o the thing as much as the story. There are just some really beautiful iconic shots that will stay with me; there are lines of dialogue that stay with me too. In these latest episodes, we had “it is what it is” and “soldiers today”, both of which I thought were really nice touches. the stories that they were involved in… the killing off of Mary, the dark Saw-esque “shall we play a game”… I wasn’t so moved by them as I was by those lines of dialogue. One of the reasons I loved Sherlock at the beginning was its sheer style. In that last episode, though, style diverged too far away from substance, for me. The plot just didn’t hang together imo and the last act was so rushed as to be jarring.

Also, I agree that in hindsight, the decision to suddenly take a dive into Mycroft’s sexual proclivities in the second (and arguably the start of the third) episode feels fairly deliberate, given how sexuality was brought up in the TFP. Mycroft is firmly placed on the side of the heteros, just so we know he’s good - in much the same way as Irene was self-professed gay and definitely a villain, until she fell in love with a man and her character began to edge upwards on the moral spectrum. The overt text of Sherlock tells us that the straights are on the good side, and the gays are on the bad. And that is not a fun thing. Do not like.

Sherlock has always been kind of dark - the Reichenbach Fall wrecked me for weeks, honestly, I cried and cried - but I agree with you that this was a different kind of dark. I didn’t cry, I just felt hollow. It wasn’t a fun kind of horrible, like Jim Moriarty; it disturbed me, it made me want to look away. I can only speak from my own perspective here and I completely appreciate that other viewers might have thoroughly enjoyed the darkness. But given the claustrophobia and pointlessness of the “case” of the episode, I just ended up wanting to turn it off.

remember that time i made an rpg on the tumblr.com and when some people didn’t get into my rpg they, in no particular order:

  • hacked three of my email accounts
  • made a blog dedicated to try and ‘expose’ my rpg for ‘only letting in friends’
  • used that blog to send rumors to rpt blogs incessantly in the hopes of getting us shut down
  • wrote call out posts about me without any real information
  • threatened to leak personal information they got from hacking my emails
  • photoshopped fake asks to make it look like i said things i didn’t

and not once did i ever say anything as rude as “if you want a spot in the group, you’re going to have to do some serious independent research. read the roleplays, read novels, STUDY PSYCHOLOGY, study humans as a whole, most importantly join a DIFFERENT writing focused group that has more lenient standards and learn by doing. i am giving you a minimum of five months of time to independently study before i check in again. and do not ask any preexisting members for help. they’ve helped you enough.

like honestly i nearly got doxxed bc someone didn’t get into my rpg on the tumblr.com and then now a year later we have not learned our lessons and this bitch wants to act like they’re some kind of roleplaying headmaster FAM IT IS NOT THAT DEEP GO OUTSIDE PET A DOG 


Never have I been so fucking disappointed to be right.

But it was nothing more than I expected.

I have thoughts about the ep that have nothing to do with johnlock, but out of respect for everyone who held such high hopes (and I’m sorry, I really am, I was so hoping to be proven wrong) I won’t voice them tonight.

We deserved better.

If anyone asked me 5 things I would change about Elementary (no one asked its fine idc) I would say:
1. Joan never sleeps with Mycrosoft
2. Joan never touches Licrosofg beyond a handshake
3. Joan smacks midoft in the face when he tells her of his “”“"sacrifice”“”“ for Sherlock in 2x23
4. Joan gets the credit for solving cases at least 60% of the time
5. For every episode Sherlock is allowed to Emote Joan gets to Emote for two episodes
5.55. Joan never sleeps with middofoft and hates his guts for many justifiable reasons and calls him out for being a f*cking dick
5.59. Joan gets to Emote about every single trauma this show has put her through except Andrew’s death cuz Andrew Lives