Jesus, this isn’t just about Johnlock for us, can’t people see that? The Final Problem literally made no sense. Nothing in this series did. Having a flowing, reasonable narrative like every other season but still no canon Johnlock would’ve made sense in the end. I wouldn’t have liked that, but at least the show would’ve been quality. But instead we got Mary as a plot device, Molly Hooper humiliated, a psycho sister who acts like Jigsaw, bleeding portraits, John beating the shit out of Sherlock, 12 broken Thatcher busts, continuity errors, cameramen in shots, Mycroft doing legwork, actors floating in and out between cuts, characters surviving grenade explosions, Sherlock ignoring John chained in a well, those chains miraculously disappearing, Sherlock having no memory of two other children in his life, slow-motion bullets, an Umbrella-Sword-Gun, and a low-budget final episode. You cannot argue that this isn’t true. You may have liked the series, but that doesn’t change the fact all these unrealistic things happened. I am way beyond confused. There was obviously always a possibility of no Johnlock, that’s why we called ourselves a conspiracy – you think we didn’t know we were the underdogs in that fight? Anyone messaging me or reblogging my posts to say “You just didn’t like series 4 because there’s no Johnlock” or “You’re the only people out there who don’t like TFP” can pull their heads out of their asses at any time and see this series was so incredibly different than anything we’ve seen them do so far, making it obvious why so many people don’t like it. This was an award-winning show. You think that’s going to continue? Because as it stands with these three episodes there’s no way this is going to live up to its name, and the absence of Johnlock has nothing to do with it.
30.1.16 - Officially my first post as a studyblr! This week has been incredibly slow. After finishing such a stressful week of finals last week, I figured I could use seven days of rest! Highlight of the week was visiting the glass houses of Crathes Castle with my mother, who came to stay at the start of the week. I’m also pretty pleased with my first full spread of my 2016 bullet journal! I definitely use @studyrose and @studytildawn as my bullet journal inspiration, they’re just so gorgeous!
Diana didn’t stop the first bullet that killed her sister when the Germans invaded Themyscira because she didn’t know what a bullet was. Like it was a great contrast to the slow motion of the bullet and Diana just looking at it curiously and doing nothing but stare.
But then next on bullet that comes flying her way in slow motion (when she crosses no man’s land) she just freaking smashes it to pieces. It reminds me of Steve’s quote “My dad used to always say if you had a problem you could nothing or you could do something. And I already tried nothing.”
Can we please talk about the visuals for Wonder Woman. The color palette. The fight scenes. The Aerial shots. The use of slow motion. Bullets exploding into sparks upon contact with Diana’s bracelets. The glow of her lasso of truth. The splinters exploding in all directions when she annihilates a pillar. I swear Patty Jenkins and this movie will be the death of me
Author’s Note: Hope you enjoy ! Some Loki smut for
all you dirties. Sorry it took so long, by the way.
Warning: smut, NSFW, slightly
dominant reader, then Loki, oral on a man
Request: I! Can you write a Loki
imagine about him protecting her from an enemy? I got this idea from a person’s
LOKI SMUT PLEASE
You were surprised when Thor brought
Loki to fight with the rest of the team. Not that it was a bad thing. You found
yourself incredible attracted to the god, but kept your feelings to yourself.
He was cold and sarcastic and you knew that he would never be interested in a
measly human like you. His dislike for the human race wasn’t necessarily a
The mission involved a large group
of super soldiers created by HYDRA and aliens. You didn’t even want to
rationalize how these two groups decided to work together. Instead, you focused
on helping beat them and keeping civilians safe.
The fight was long. You all had
underestimated how many enemies you would have and the team was definitely on
the smaller side in comparison. You shot your gun to as many HYDRA and alien
bodies as you could. If anyone crossed your path, you would shoot. You were
grateful for thinking of bringing extra ammunition.
You were too preoccupies shooting at
whatever was in front of you that you completely forgot to cover your back. You
were an agent, you were trained for missions like this and when you heard a
bullet shoot and whiz past your ear, you cursed yourself for being so stupid.
“Shit,” you said, turning
and shooting at the soldier that shot at you. You fired your gun at him and you
watched him go down. Another soldier showed up after him ad you tried to fire,
but you were out of rounds. Your heart leaped to your chest as you tried to
reload your gun as fast as possible.
You weren’t quick enough and the
bullet shot out of the man’s gun in slow motion. The bullet approached you and
your limbs felt like cement and you couldn’t even move. You knew that there was
no way that bullet wouldn’t hit you.
Until you saw it curve. You
questioned gravity, physics, everything you could think of. You couldn’t
understand how exactly a bullet
curved in mid air, back towards the soldier that shot it. You looked around and
were surprised to find Loki making his way towards you.
You glanced at you as he continued
to fight, using his magic, and you were slightly confused. He looked upset, but
he didn’t say anything, so neither did you. You turned around, finished
reloading your gun, and continued to fight
After hours, you were done. The
fight was finished and you were grateful the team only suffered minor injuries.
You all got lucky this time.
On the way back to the Avengers
base, you kept glancing at Loki, who kept staring at you, his brows still
furrowed and he looked very upset. You wanted to talk to him, but you felt
awkward and you didn’t exactly know what to say to him.
You all arrived to the base and you
all started walking towards your rooms.
You saw Loki walk with Thor towards
their temporary room and you jogged after them.
“Hey, wait up!” you called
and they both turned to face you.
You smiled at him. “Thanks,
Thor. Um, I was hoping I could talk to Loki.”
You glanced at the blue eyed god and
he was staring at you intently. Thor clapped him in the shoulder and continued
making his way to his room, Loki staying behind.
“yes?” he spoke, his voice
clear and smooth.
You turned towards him and blushed. “Um,
I wanted to thank you…for saving me.”
His stoic expression didn’t change.
“Is that all?”
You didn’t want this to be the first
and last conversation with the man, so you quickly thought of something to say.
“Why’d you do it?”
He smirked at you, a devious look in
his eyes and you felt yourself grow even more attracted to him.
“Because I didn’t want anything
to happen to you,” he said and you were surprised at how sweet his words
“Not before I did this,”
he continued and you felt his lips slam against your own. Your entire body grew
warm and you quickly kissed him back, tangling your hands in his hair.
You pulled away to take a shuddering
breath in. “You like me?”
“No, I kiss everyone I
meet,” he answered, smirking at you.
“I hope that’s a lie,” you
said and he shrugged, raising an eyebrow at you.
“And why is that?”
“Because I wanted to thank you
the proper way,” you said, gaining some confidence now that you knew he
was attracted to you.
You grabbed his hand and pulled him
into the nearest room in the hall. The room was empty and you assumed it was a
vacant one. You turned towards him once more once you locked the door behind
you and he let you push him on the bed.
He could have easily overpowered
you, but he didn’t, clearly enjoying watching you in control. You crawled on
top of him, straddling his slim hips and leaned down to kiss him again. The
kisses became increasingly passionate and you felt a familiar heat pool in your
You came back up, taking off your
shirt and he leaned upwards, too, following your example. His lean body was
perfect in your eyes and you felt your excitement grow.
You gently ran your fingertips over
his skin and you could have sworn you felt him shudder.
“Sit on the edge of the
bed,” you said, standing up from your position and proceeded to take off
your pants. “And take your pants off.”
He seemed amused at how dominant you
were being, but didn’t question your desires. You took your bra off, staying in
your panties and turned to find him sitting there in all his glory, completely
naked. You were pleased to find him completely erect and felt proud of yourself
for making him that excited.
You kneeled next to him and he
looked at you, slightly confused. Apparently, no one had done this for him
One of your hands wrapped around his
member and you felt him twitch. You started pumping your hand, up and down, and
smirked at Loki, who’s eyebrows were furrowed once again and he was biting his
lips. His bright blue eyes looked almost black and his pupils were dilated
“Really, Loki, thank you for
saving me,” you said, in the most seductive tone you could manage.
“You have nothing to thank me
for,” he groaned out.
“Of course I do, Loki,”
you responded and leaned upwards to take his dick into your mouth. You heard
him groan quietly and felt his hands go to your hair to hold you in place. You
started to suck gently on it, slowly increasing your speed until he was
groaning uncontrollably. You felt empowered that you had made the always
in-control Loki into the moaning mess he currently was.
You penis started twitching and you
knew he was close, so you released him with a ‘pop’. You leaned back and
smirked at him once he focused his eyes on you. He stood abruptly and picked
you up roughly, bending you over the table in the room. You felt his hand rub
against your cunt through your soaked underwear and you let out a moan. You
felt him move the material aside and he quickly entered you from behind.
The sudden intrusion and his size
made you groan in slight pain, but you got used to the feeling quickly and when
he started thrusting, you moaned in pleasure. One of his hands gripped your
waist tightly and the other reached around to rub your clit. The explosion of
pleasure in your lower regions made your vision go black and your orgasm came
over you unexpectedly.
He continued to thrust, dragging
your pleasure further and you felt him groan as he came.
He stepped away from you, his penis
sliding out of your wetness. You turned to face him and he was smirking, the
devious look in his eye once again. He gave your body a once over.
This episode was written by Steven Moffat (uh so idk there might be connections who knows ;) ) and directed by Rachel Talalay, who also directed Sherlock’s The Six Thatchers.
We open with Missy wearing a fascinator style hat, resembling one Mary wore in The Abominable Bride. She also carries an umbrella, which she later uses as a weapon, just like Mycroft in The Final Problem.
Missy saying, “So what does he call you? Pets?”- compare with Moriarty teasing Sherlock with “but then people do get so sentimental about their pets” in front of John in The Great Game.
The Doctor nonchalantly watching Missy and co via a security camera is set up like Sherlock watching his ‘experiment’ in The Hounds of Baskerville, and Eurus watching everything in The Final Problem. We even have Missy using an earpiece like all our leads do in The Final Problem.
There’s a glitch effect and then a character appears via the screen- just like Moriarty’s introduction in The Final Problem and his ‘Miss Me?’ message from His Last Vow. @studyinpink also pointed out that the ‘blue’ character who makes his entrance like this is played by Oliver Lansley, who also played David in The Sign of Three!
Bill is shot in slow motion with a similar effect to the bullet slowing down as it heads towards Sherlock in The Six Thatchers. She also slowly looks down at the wound just like Sherlock does in His Last Vow.
Bill and Sherlock are seen wandering through the same corridors location of Sherlock’s mind palace in His Last Vow- the same location has been used in the previous series of Doctor Who, too.
The Doctor and Missy’s exchange:“Hope?” “Faith”= notably, we have the symbolic character of Faith in The Lying Detective, and Mycroft saying “I’m afraid we’re going to have to give her hope” in The Final Problem.
The victims progressively upgrading are attached to IV drips, just like TD12 being distributed in The Lying Detective.
Bill lies on a mortuary table just like Sherlock does in His Last Vow.
The doctor ‘upgrading’ Bill says “Hello. Back with us?”, looming into view like Mycroft does when he says “And there he is,” as Sherlock “”wakes up””” in The Abominable Bride.
The hospital windows have a black metal grate on them that look very like the ceiling window used when Sherlock is trapped in the facade Musgrave room in The Final Problem.
The Master says to Bill: “Would you like some tea? […] Good tea? Bad tea?”= in A Study in Pink, there is “a good bottle and a bad bottle.” As Bill chooses good tea, The Master follows on to say: “A positive attitude will help with the horror to come.” Bill asks “What horror?” and the reply is: “Mainly the tea.” This conversation becomes meaningful when viewed on a meta level- Sherlock explicitly draws attention to tea being symbolic in The Lying Detective, when Wiggins asks “Is cup of tea code?” We know in The Private Life of Sherlock Holmes, Watson being Holmes’ “glass of tea” refers to his love for him. In Sherlock, we see tea being used on a meta level to symbolise love- Sherlock catches the tea in The Lying Detective, he doesn’t want this love to be destroyed. But, Doctor Who tells us there is horror in this tea= series 4 gives us a serving of bad tea, mainly through The Final Problem. The love story is hacked and (temporarily) “spoiled”- see:Deciphering Mycroft at the MoviesThe serving of proper ‘good tea’ is coming, in my opinion. ;) Also on a cheeky note lol, Bill watching a slowed down Doctor via a tv screen to me symbolised the wait for more Sherlock- and yet the optimistic Bill still insists “Don’t change the channel.” ;)
Operation Exodus= compare with the also Biblical-named ‘Lazarus’ plan in The Empty Hearse.
Thank you for reading and bring on the finale! <3 xxx
Hei! First of all, I just wanted to say that I love your tumblr! I'm curious about your thoughts regarding the relationship between Diana and Steve, and how you think it will play out in the movie?
Thanks! That’s so nice of you.
Diana and Steve have a pretty interesting dynamic in the comics and previous animated forms and they’ll surely have an interesting relationship here. Steve has always been key to Diana’s feminist portrayal, and that’s why it matters that he’s here. How he behaves in the movie will be very important, and so far, it seems like they got him just right.
What matters to me, and what they seem to be doing in this movie, is that it’s a relationship based on mutual respect. I was never interested in a relationship in which Steve belittles her but then realizes “Wow! Maybe women AREN’T useless!” or just hits on her the whole time. People portray Steve like that a lot, and I just don’t see Diana ever falling in love with someone like that.
Instead, what we seem to be getting is a Steve that respects her from the get go. That was made clear from the clip we heard about (but was not released) in which he doesn’t want to sleep next to her because it’s not polite to assume she’d be okay with it. She teases him for this, of course, but his initial action is still important.
We also do see Steve protecting Diana in the trailers, but it’s never in a condescending “You need some help, baby?” kind of way. In the second trailer, right after that slow motion bullet scene, Steve pushes Diana to the ground. At this point, he likely knows nothing about her, other than the fact that she saved him, and he just helped her without thinking about it or asking for thanks. We also have seen the scene in the alley where Steve tells her “stand back.” when the man draws the gun. He knows more about her at this point, and knows she can handle herself, but he still tries to protect her, not out of misogyny, I just think he’s a protective guy. He cares about her and he’s the kind of guy who doesn’t hesitate to put himself between someone else and a gun.
The way he reacts when Diana blocks the bullet in the alley scene is also very important. “Or maybe not.” Just the way Chris delivers the line is perfect. It could have been this really annoying moment of “Boy was I wrong about you, lady!” but he says it like he’s genuinely amazed at what she just did, and like he’s realizing exactly how much she can help them in this war. It was perfect.
Steve will undoubtedly have some misogyny in this movie. I mean frankly, we all have our own misogyny that we have to work through, let alone a guy from the early 1900s. But I really don’t think it’s going to be over the top like some people portray Steve. It’ll be more internalized, and it’s something we’ll see him work through as the movie goes on. Again, it would make no sense if they made him some huge misogynist when Diana is meant to fall in love with him. He should respect women, and he clearly does based on the trailers.
Anyway, IDK if you were expecting this long winded answer, but I have a lot of thoughts on Diana and Steve. It’s a very important relationship for this movie to get right.
“ (Y/N) RUN!!!”, Peter screamed at me. “ I DON’T EXACTLY HAVE SUPERSPEED”, I scream back, trying to maneuver my way through the gunshots. “ WELL HURRY UP AND TRY, GET OUT OF HERE”
I start running to the nearest exit I see open and the next thing I know, I’m on the ground with a bullet to the thigh. A major artery, and I’m bleeding real bad. With the scream I let out you would’ve thought I was Sean with his voice. Everything happened in slow motion, more bullets came flying another pushing itself into my shoulder. Yet another scream came out, but I screamed until my throat was raw.
“ (Y/N) NO!!!!”, Peter screamed but I could barely hear him, everything was dulling out. Slowly everything is starting to blur. Last thing I feel is a gush of wind and someone picking me up. Then I blacked out.
Slowly, I could feel myself becoming conscious. As i began to really wake up, I became aware of my surrounding. I feel a pressure pushing down on one side of the bed, so I open my eyes and see Peter knocked out. He looks like he had been crying. I use my other hand to reach over and shake him awake, only to have him jump and scream a little. “ Pete babe where am I?” I asked him. “ You are in the hospital, you took two bullets in two bad places” He said to me. I know he wanted to say more but he was nervous. “ Baby what’s wrong?” I asked him, only for him to take a shaky sigh. It took him a while to answer. But I knew he was just building up courage. “ (Y/N) let’s run away together, away from the war and live a life of our own. Where we aren’t threatened everyday because of what we are.”, he said. Leaving me in shock but deep down I knew he was right. It took me a while to answer back and I knew that worried him. Taking a deep breathe I started to answer but he cut me off “ Please doll I love you, come with me” “ Peter you dumbass… Yes I’ll go with you”
Summary: The reader is going through a rough patch, denying that there is something wrong. Dean and Sam are worried to the core, Dean even more so because of an awful suspicion and his hidden feeling for the reader. Is Dean going to be able to fix what is seemingly not broken?
Characters: Dean Winchester x Reader, Sam Winchester (friend and brother)
Warnings: mental health problems, depression, self loathing, swearing, death wish, self-harm, please, please, please say away from this if this triggers you
A/N: This is not going to only be a 2 parter, because I’ll make a small series out of this, if you wanna be tagged in every new Part message me (Taglists are at the borrow, you can be added to those too). It has been a long time since I’ve posted, sorry
who has ever fired a gun, knows what it’s like to pull the trigger for the
first time. In theory, you have seen it all, in the movies and reports and you
have read all about it too. But for some things in life, it doesn’t matter how
prepared you are, because the actually thing, will be scary and different
time you pulled the trigger of a gun, was in that particular night you lost
everything out of your old life. This thing, standing over your little brother
back then, it was not human, you knew that, but the only thought you had was: Shoot! Shoot! For the love of god, shoot! With
the voice of your father, still screaming for you to run, echoing in your head.
the first time you pulled the trigger of a gun, shooting whatever was hurting
your brother. You couldn’t remember much of it, or you didn’t want to, whatever
it was, you didn’t really care either. But you did remember bits and pieces.
still smell the blood, when you closed your eyes.
horrified face, of your little brother, lying in his own blood, you’d see
whenever you went to sleep.
of your father’s voice, screaming for you, at you, or just out of sheer pain,
would always be the only thing you’d hear, once silence fell.
course, you remembered the feeling, of pulling a trigger for the first time.
The ringing in your ears, because how were you supposed to cover them, paired
with the blurry feeling right after.
It was all
moving in slow motion, the bullets having no impact, even though you’d pull the
trigger over and over and over again. The tears, which were starting to stream
down your face, the ones you wouldn’t notice, until you were far away from home
thing you’d remember the most, was that you weren’t able to hear a thing.
Temporarily deafened, through the gunshots, you weren’t able to hear your own
screams and sobs. It was somewhat like having cotton stuffed in your ears;
everything seemed muted and muffled, voices and cars, birds and the wind.
now, everything muffled and seemingly blurry. Just that this time, it wasn’t
the gunshots; this time it was your own mind, muffling the voice, screaming at
you. Dean’s voice, screaming at you in terror? No, not in terror, in fear? No,
in something else than that.
voice didn’t seem to come through, the only voice getting to you, was your
fathers, as everything around you went dark. You didn’t understand what he was
saying, even though it seemed so alluring, you just couldn’t make out the
Read ‘Mary saved Sherlock’s life’ as 100% symbolic, and it works.
Here’s how i interpret all this hogwash. Mary’s reveal as a murderous assassin back in HLV was symbolic of the revelation that the promise of heterosexual domestic bliss is a lie. John and Mary’s shotgun marriage had moved, within a month, to the “This was a fucking huge mistake” stage. The show hinted heavily at their failing marriage as HLV opened, then symbolized this very relatable experience in a more dramatic way than how it generally unfolds in real life; the reveal that Mary was, in understated terms, not who John thought she was.
The villain reveal also guaranteed Mary’s departure, and John’s eventual freedom. Which opened John up for a relationship with Sherlock. If Mary hadn’t been revealed for what she was (good at crimey/evil tasks), she possibly wouldn’t have been “helping them on cases”. In TST, Sherlock used her impressive CV to justify inviting Mary to help on a case. If her secret was still safe, she wouldn’t have ended up shot while out on a case. If Mary hadn’t been revealed for what she was, or in fact, not even been what she was, then John might have stayed with her. Forever.
To John, Mary Watson represents heteronormativity as a prison, but AGRA is the discovery that heteronormativity is a deadly lie and an empty promise.
Sherlock’s apparently unavoidable ‘death in Samarra’ is a major theme that comes to a climax in TST. The inevitability of Sherlock’s death is symbolic of the persecution and death of gay people, of gay characters in stories (i see him as symbolically trying to outrun the bury-your-gays trope). The world wants him dead. Well, not really, it’s not personal. They just don’t want him to remain alive. He could be anyone, it doesn’t matter. Because history says he’s gay and therefore he should be dead, especially before he experiences anything resembling happiness.
So when Mary takes the bullet, she dies for him. That is to say, she dies instead of him. The slow-mo bullet was the death that has been coming for Sherlock all his life, and Mary jumping in front of it was heteronormativity dying, and the gay surviving.
We interpret the death in Samarra story to mean that Sherlock will always be running from death because the question is asked, ‘can Samarra be avoided?’. But I think the reason we hear the monologue at this moment in TST is that… Sherlock escaped his fate, because Mary died instead. Not for him, instead of him. [Remembering that Sherlock’s death is a metaphor for heartbreak. To quote Dale Pike, “love is murder"]
The suppression of the love story symbolically destroys Sherlock and John, gradually and painfully. S4 was the climax of the love story’s death, with heteronormativity victorious and Mary [the napoleon of het] narrating and literally dictating the terms of the relationship that would be “canon”, from beyond the grave - her posthumous revenge.