set-meta

anonymous asked:

Hi hun, I saw you post earlier that Sherlock had apparently made sure his furniture was child-proofed for Rosie at the end of TFP. Can you show me some examples because everything in the flat looks the same to me with the exception of John's chair?

Sure Nonny!

So when the flat is apparently destroyed everything except their chairs and that rug and everything else, Sherlock replaces a lot of the “cornered” furniture with rounded furniture:

A. That’s not their original breakfast table and chairs. They’re now a rounded set with a little shelf under them.

B, C, and D. Same with the long table, the chair at the end of the couch, and the stack of magazines. The sitting room table is now a small rounded one, the chair now has fully padded arms, and the stack of magazines have been replaced with rounded dressers, which Sherlock probably now keeps his military porn stash the magazines:

(E) used to be a hard-edged metal table, and (F) used to be a shelf with a lot of breakables on it.

And (G) used to be a very wobbly-looking side table. It’s been replaced with the sturdy one we see in TFP:

Plus, I believe the bookshelves are also less-cluttered as well, and those glass cases we see in the above image no longer have breakables in them

Sherlock literally changed the common area of the flat so he could be a better parent for Rosie.

Stab me.

Look, I’m not a fan of parentlock in this arc, but good god this is EXACTLY how I imagined Sherlock as a parent. And if we’re going with the John’s TAB theory, this is exactly how John imagines Sherlock as a parent too.

I keep seeing that “At the moment, nothing” line turned into something romantic or Magnus being the best boyfriend ever (bc he’s so worried about Alec that’s why he’s upset etc) and…I mean he is worried absolutely, but full stop Magnus is allowed to be imperfect and human and that means despite understanding why Alec is freaking out and yelling at him, he can still find it all just too much and slam down those walls – his instinctive reaction whenever he’s emotionally stressed or wounded.

Like, Magnus has a heart he’s guarded fiercely for over a century. His refusal to let Alec risk his life isn’t just about it being for Alec’s sake. It’s also about Magnus because he’s falling in love with him, he only just got him, and he’s really not ready to watch a man he’d hoped would end his 100+ years of being lonely and unloved throw himself into the fire 48 hours later. And yeah, that’s a little selfish but also it’s okay for him to be selfish.

The ‘Yuri on Ice’ track and Episode 9

I keep thinking about next week’s episode and the upcoming separation of Yuuri and Victor and how I firmly believe that will be a good thing, as I mentioned before. I was listening to the series’ soundtrack, as I do, and it got me thinking about the music ‘Yuri on Ice’, the one Yuuri skates to.

So I think it’s been discussed before and we all can agree on how that music reflects Yuuri’s journey throughout the entire series. Well, there’s been a part of the music that has always intrigued me when put in this perspective. The moment between minute 1:42 and 2:35, which I now believe is meant to reflect episode 9. 

What happens at 1:42 is that the violin stops, and we’re left alone with the piano playing abruptly much softer and slower than it did a moment before. Victor has told us in episode 5 through his inner monologue that the violin represents him. The moment the violin comes into the music is the moment Victor points out as representing the time when he came into Yuuri’s life to be his coach. And it makes sense, from then on the music is joyous and building towards a constant triumphant crescendo when all of a sudden it suddenly stops at 1:42 and the violin goes silent.

This is Victor leaving. This is Yuuri facing his own feelings and learning to skate alone for the time being. While the piano starts very soft here, it slowly builds back towards the faster rhythm and happier tune of before, which will likely be Yuuri finding his inner strength and resolve, and managing to skate and place for the Grand Prix even without Victor being physically there with him. Just as the piano is gaining momentum and strength again, the violin comes back at 2:35, and after that the music goes back to building towards the triumphant end it was going towards before, with the piano and violin finishing the music together.

So Victor and Yuuri will, of course, reunite, and they will be stronger together than they were before they separated. This will be a good a thing. I’m looking forward to all the further development they will have.

10

9x01 ”I Think I’m Going To Like It Here” // 9x23 “Do You Believe in Miracles
Welcoming Death Like An Old Friend

Posted as part of the Series “Of Blood, Bone and Darkness”:
A Carver Era Rewatch Hiatus Meta-Series

There really isn’t a lot to say here as I think the gifs make the parallels pretty clear, but I just need to express how well done and heartbreakingly the events of the first episode of S9 are revisited in the last episode of S9. Especially the way the dialogue is shot between Sam and Dean. From the holding on to each other, right to the pat on the cheek for the final goodbye - it’s all there. Only with the roles reversed…

101, of course, looks much the same when you flip it on its head.

(please note, this isn’t my observation, just my graphic. Others have already pointed this out, on reddit [x] and here on tumblr [x])

The Café Set Returneth

Well, that was quick.

Ok, so I already talked about the café parallels in 12.09 and 12.08 between Cas and Mary and how the colors in the room reflect the characters. (This post is pic heavy) Although at that time, I called the set a diner.

Now that we have further pics from 12.10, I’m beginning to sense a pattern and now I want to track this set and see if it’s anywhere else in the show or just in S12. The set seems to reflect the color motif of a central character in the scene.

@mittensmorgul @awed-frog @elizabethrobertajones This looks like something that might be up your alleys. You may be better at elaborating on it than I can.

I’m operating under the idea that all three of the café’s we’ve seen are the same set with different dressings. I’ve seen this kind of thing done before. I’ve even helped do it sort of. Blocking windows is annoying but it happens all the time. Here are the most recent pics of the café set. They even brought Mary’s tile back. She’s… sort of here. 

If anyone is wondering. The little sign there says: The Wrights Spot. There is actually a deco diner with that name in real life but I don’t know much about it outside of a quick Google search.

Note the number of windows up there. All the windows on the sides are no longer visible. The only windows are covered by pink curtains and the window on the door has blinds on it.

Below the cut are the photos of the set with Cas and Mary and some further thoughts.

Keep reading

The first time the warden asks Zevran about love, he snaps at them, he’s the son of a whore and an assassin what room is there in those things for love? He’s angry with them for bringing the subject up, and angrier at himself for snapping at them. But he doesn’t apologize because maybe it’s better for both of them if this stays just skin-deep. 

The first time the warden takes Zevran’s hand in theirs as they’re walking he stops moving and just looks down at their fingers laced between his, and refuses to admit to himself how right that feels. He pulls his hand away, muttering how they should stay focused because the roads are never safe. He proceeds to ignore the way his hand feels empty now, it almost aches from the absence of the warden’s. 

The first time Leliana giggles and mentions the dreamy, puppy-dog-eyed way he looks at the warden when they aren’t looking at him, he brushes it off with a laugh and makes some comment how he was just checking out their ass. Leliana says she doesn’t believe him, and he doesn’t blame her cos it’s not like he actually believes that lie himself. 

The first time Zevran notices the warden pursuing a romantic involvement with another member of their party, he tells himself over and over again, that he’s not jealous and would never dream of claiming the warden as his alone. When in reality, the thought of someone else in their tent makes his chest feel like its in a vice. And that feeling doesn’t go away until he confronts them about it and the warden chooses him. 

The first time Zevran overhears Wynne telling the warden “he seems to have only one thing on his mind” he’s shocked at how he wants to interrupt her, tell her that’s a lie, he doesn’t just have sex on his mind when it comes to the warden, he has everything and nothing all at once and it scares the living shit out of him. But he holds his tongue and buries those thoughts. 

The first time Zevran refuses the warden’s offer of joining them in their tent, it’s because he’s realized that he’s in love with them and his mind is a mess. They give him his space, but that’s not what he really wants. He doesn’t know what he wants and has never been so confused. 

The first time Zevran admits that he loves the warden, it’s not exactly in those words, he’s not sure if he can ever say them. But that doesn’t really matter, not to him and not to his dear warden, because they know, they’ve always known and would never force those words from his mouth. 

5

Haven’t written any meta in a while, so…

I think it’s pretty obvious that this entire flight scene is a metaphor for falling in love, but especially the part with the thorn bush.  Marianne tries to go through it alone first, alluding to when she tried to find happiness with Roland, but she couldn’t make it because he (his love) was never really there with her.  But Bog is there for her, both in the flesh as well as the heart, and it’s only through his support and her trust in him that they both make it through the dark and dangerous thorns to the cave ahead.  A private place hidden away from the rest of the world, meant for only the two of them to share.  There they expose their true selves to each other.  Beneath their rough exteriors are two souls as gentle and beautiful as those hanging glow-worms.  

a thing I am Emotional about tonight: so yurio is high key motivated by spite. like him being so fuckin’ pissed off at losing to jj motivates him to do better at both the rostelecom cup and the gpf and being pissed off at yuuri for maybe retiring motivates him to skate the hell out of his free skate and claim a narrow victory

the thing that is REALLY hecking me up rn is how yurio, bc he is smol and angry and 15, kind of just…. assumes that same strategy works on other people? which is how you get him yelling at yuuri in the bathroom after sochi – bc someone coming up to yurio, yelling at him, telling him to retire, that he’s a loser – that would absolutely motivate yurio to kick ass. same thing with the onsen on ice competition, honestly. yurio wanted to win (and being mad at victor for forgetting his promise was pretty motivating), but winning bc yuuri had an anxiety attack isn’t fair. yurio doesn’t just want to win, he wants to be better than the best.

which brings me to: the beach scene in barcelona in episode 10. there is some fascinating meta out there about victor the hero vs. victor the person and how yurio, who is pretty motivated generally by agape despite his claims otherwise, relates to both of those personas. but his lashing out at yuuri (”you’ll see the ring he gave you is garbage”) seemed a little… idk intense? yurio talks big but he does care for yuuri a lot and is, in his own fiesty tomcat way, protective of him. so I think maybe part of the reason yurio is so harsh to victor is more of the same – because victor-the-hero is gone, but victor-the-person had better not fuck it up with yuuri. yurio is so contrary – telling yurio his partner isn’t worthy of him would only make yurio double down. and he knows by now that yelling and spite doesn’t work for yuuri (hence katsudon piroshki) and it doesn’t really work for victor either – but he’s just so mad at them both, and the only way he can think to express it to them is by yelling.

and then: “this place reminds me of hasetsu”, yurio says. not st. petersburg, the place he lives and trains, the place victor said the gulls in hasetsu reminded him of. hasetsu, the place that means yuuri. it feels like something of an apology, I think – for the things he said about yuuri, for lashing out, even though he feels it was necessary. an olive branch that puts them back on more equal footing.

Set pics... possible BIG spoiler

Cast and crew released some set pics today. I think they are filming 5x13… and there was a slip up! Possible big spoiler was released by accident. Read at your own risk! I’ve added my speculations too. :) Cause that’s how I roll.

So… this is what Stephen posted.

Keep reading

slifykins  asked:

Hello! I love you tumblr and your insights - there are so good and well explained :D I was wondering if you could provide any insight on Priest Seto's theme being on the Japanese OST? I have only seen the English Dub and I think it has a different soundtrack. Many thanks!

Thank you for the kind words.

In the same way the dub heavily tampered with the script, it switched out the soundtrack entirely.

As a storytelling device, animation can offer a plethora of advantages: color palette, camera movement, voice acting, sound design, and music. A crafty director will utilize all these things, conveying information and guiding our emotions beyond just the words being said to us. (A pool of us already guessed the ending theme, “To Believe in Something,” was about the relationship between Seto and Atem. Now we have this line from Yugi thoroughly endorsing that: “I thought the Pharaoh would never return. But you never stopped believing.” The optimism of the song should be telling.) I don’t doubt that the use of Set’s theme during the film’s final scene was significant.

This is what Seto Kaiba knows of his past self, an ancient throughline imprinted on his ether:

Reading the manga, I’ve always taken the impression it isn’t that Seto disbelieves in magic and his ancient past—it’s that he doesn’t want to believe. It’s a fiery desperate denial. Think of when Isis first confronts Seto at the museum and just how over-the-top his reaction is. It isn’t some scoff like, “Sure, whatever you say crazy lady…”

In the manga, Seto is one of the first integral characters to recognize there’s two Yugis. It’s telling how upset he becomes when Yugi removes the Puzzle during the pier duel with a possessed Jou. By the time of the film, in the face of Atem’s disappearance, Seto’s denial of magic has peeled away entirely.

What is the use of Set’s theme telling us? It’d probably help if I studied music, so take what I think with a grain of salt. On its own, the arrangement is aerial, sweeping, and hopeful. And this tells me this is a bright ending, not a dark one. But there’s more here too. A parallel is drawn. Priest Set was a true friend to the Pharaoh, and Seto Kaiba is the same to Atem. Atem trusted Priest Set to be Pharaoh, and three-thousand years later in a new landscape Atem called Seto his equal. It’s not about servitude. Rough and genuine and all kinds of unconventional, the bond between these two souls is eternal. Call it profound rivalry, call it friendship, call it by some other name, but it’s eternal. (This post has reached critical levels of sap.)

The arrangement used in the dub for the final scene is something more grand, with a sense of wonder as Seto ventures into a strange new otherworld. Ignoring artistic integrity for a moment I actually don’t mind it, but it does strip away a more intimate context.

Thank you for the ask.

@goodfemalecharacters replied to your post

now I want someone to orchestrate the great meta scavenger hunt :p

Round one: 

(50 points) bring me a parallel between…

9x05 & 6x11

Any theme/characters, you just have to find an interesting connection. Bonus points for originality/effort.

You have a week <3

Sherlolly Appreciation Week 2017

Get excited Sherlollians – a new appreciation week is on its way! It is later this year so that there is plenty of time after the Molly Hooper appreciation week and 221B Con for us to create our contributions for each day! I want to see all the GIF sets, photo edits, meta, fan art, and fan fiction pieces you can come up with!!!!!!!!

There were several people who asked for the themes early this year so here they are!

Keep an eye out for the tag: ‘sherlollyweek2017’. I will post any updates or news about the appreciation week under this tag! Can’t wait to see what you lovelies come up with!

Even the Pen | That | Set P

Chapter Meta

Urie’s Character and His Destruction | @linkspooky

Urie’s Situation and How It Will Impact His Character | @bloodycarnations

Scarecrow | @inthesweetmadness

More On Scarecrow | @littlemissymonster

Maybe Scarecrow Isn’t Hide | @hidewari, @kisathemistress

Saiko’s and Urie’s Mindset | @echo-from-the-void

Emphasize of Urie’s mouth | @sol-atre, @kingkishou

How Did Uta Know About Juuzou? | @tinyghoulproblem

Amon: Tarot Card 8, Strength | @littlemissymonster

RC Suppressants and PTSD Reactions | @kanekikenunot

Urie and Kaneki Parallels | @kingkishou

Scarecrow: His Name and Mythological Role | @kingkishou

Donato’s timeline and the Leadership of the Clowns | @midnight-in-town, @hysyartmaskstudio

Miscellaneous Meta

Saiko Will Join Kaneki’s Side | @kanekikenunot

Seidou’s Pain Endurance at the Stomach Area | @echo-from-the-void

Similarities Between Juuzou and Arima | @echo-from-the-void

The Thing About the King | @hysyartmaskstudio

Tooru Investigating His Own Crimes | @echo-from-the-void

Can Ghouls Be Hurt by Glass? | @echo-from-the-void, @kingkishou

Amon: One Eyed King of Clowns | @linkspooky

Tatara and Houji Sidelined | @joystar, @silverbulletsama

Touka’s Role in the Current Arc | @midnight-in-town

Furuta’s Character Compared to a Mary Sue | @yomo-fucker

8

By hitting himself in the wound, Kylo was accentuating the pain and using the pain to focus himself; using the adrenalin/endorphin rush to make himself stronger; feeding off of the anger caused by the pain and bringing the Dark Side to bear more strongly against his opponents.