I’ve always had mixed feelings about the “Quest for Camelot” movie. Kayley’s design is cute and practical, and I’m surprised I haven’t seen more cosplays of her. The premise of the cartoon was overall pretty neat, but suffered from campiness and that scene-chewing two-headed dragon. The male love interest was also cool and maybe the only blind action character I’ve seen in fantasy, but… his face looks like a meme.
Just wanted to point out something neat about the camera focus in Len and Mick scenes from 2x08
I only noticed it after looking over my gifs from the episode, but there’s no point that I can find where the camera is focused on both of them at the same time. This is in contrast to season one where they’d often be in the same shot together, standing next to one another and both in focus, or even facing one another but close enough to share most of the camera’s focus, even if they’re disagreeing.
Some examples from old gifs of mine:
(also see this gifset and honestly most interactions between them in season 1)
Conversely, in this episode, they’re either facing each other with only one of them in the shot, or else together in a shot but with the camera’s focus shifting between them. Some examples of that focus shift:
And I just think it’s neat. It shows through the camera’s lens that it’s sort of “one or the other” with them now and not “both” anymore. It’s a cool visual storytelling tool.
I think they call it the “End Dress.” It’s really, really beautiful. I think Trisha wanted to get an ocean sense. Someone said to me that it was very “Ophelia”. With the flowers and the hair, it does look like I’m drowning. -Natalie Portman
I remember asking Trisha why she chose the specific fabric and color for that dress. She looked at me in bewilderment, and very gently explained that the color-this beautiful azure blue-and the rippled fabric matched the ethereal and melancholy landscape of the Naboo lake retreat at Lake Como, where Padmé and Anakin fell in love. This is where Padmé had wanted to escape with Anakin, and the funeral gown symbolizes her spiritual return to that lake. - Rick McCallum
So you know that scene when Credence gets back late and gets beaten
And he makes up shit that he went to find a new place for the salems next meeting
I am sure some dirty dealings (aka hot smut with graves) went on in the scene we dont see. as
a) when do we see Credence smiling except when he is in this scene? we have no indication of anything else really making Credence feel anything good besides that of when he is with Graves
b) did anyone notice that (and im not just saying this because i am hoping i mean i genuinely noticed ) that his collar and general dress is not as neat as other scenes? and his hair isnt smoothed down…
….there we go Im juust going to leave that their for your filthy minds to work out want went on there then
“Queerbaiting thrives in misogynistic scenarios where two men and their friendship is prioritized over the feelings of female characters, even when those female characters are at the heart of their conversation. While it may seem romantic on the surface, what’s actually happening is Irene, Mary and even random bus woman are used as no more than buffers to keep anything specifically romantic happening between the two men, making the scene a neat little cocktail of misogyny and homophobia.”
If @green-violin-bow or anyone else wants to play with these **very rough draft** musings sparked by the clock/watch discussion of recent days, please have at ‘em. My time to edit them and be on here between now and TLD is super limited so I figured I throw them on here in essentially scribble form.
This is an associative wander through a narrative ark rather than detail or theory based and I haven’t had time to tidy them in a neat sequence or link them to scenes or even eps. But something in here might be of use to someone so I’m leaving it here in case any of you want to pull a loose thread in it and run with it.
So based on TST with a through-line that occurred for this purpose primarily in THoB and of course TGG.
Clocks. Watches. The 5 pips that mean death. Tick tock. Tick tock. A posthumous game driven by Moriarty. A game Sherlock loves. Marked by Intellectual arrogance.
Where Staying alive is so… boring. And Caring is not an advantage.
How do you win that game? What is timeless? What defeats death by being stronger? By outlasting it? Making you willing to die to show it? Love. Intellectual arrogance will not win. But emotional self doubt conquered will. (See Sherlock’s embarrassment in the balloon scene in TST. A sign he is already learning how to feel his emotions. Have we ever seen him embarrassed in front of company quite like that?) Caring will win and proven to be an advantage.
The game ends when the ticking stops. The game will end when Sherlock - who will either be dying or figuratively die by falling into insanity - wins by being emotionally vulnerable and stops being clever.
When the ticking stops, it means time will stop.
Just like it did the first time he and John met. Because Love exists outside of time.
There is a road Sherlock fears they are locked to. Where you can’t escape death. Random rolls of the dice won’t save you.
But that very same intricate web of apparent randomness and human interaction that might be more like predestination than we want to admit is also what also brought he and John together. It’s what caused John and Stamford to cross paths that fateful day and go for a drink. The very same day Sherlock said he was in need of a flat mate. That’s important. And when they met, time froze. John handed out his phone to Sherlock and the world turned around them. Everything in this story is a consequence of that moment.
In opposition to Moriarty for John, staying alive is not boring. Instead, John Watson lives if Sherlock lives. So this is not just Sherlock’s game. They both have to win.
Sherlock has to stop loving the game and love someone else more. This is about becoming human. And this is where we enter hard core Moffat territory. Where caring is what makes you human and not a Dalek or a Cyberman. (Who both have the capacity for sentiment absent. They are literally - though by different means - both the un-human. Their capacity to feel compassion is removed.) There is a paradox that he returns to again and again & is the central theme he explores in DW - it’s been there since the very start more than 50 years ago. That the very weakness of caring is what makes you strong. It’s how you hope. It’s how you know you are alive. And it’s not an easy lesson. It takes real courage to not give your hope over to hate and violence. He sees great similarity in Sherlock and the Doctor and I think he is pushing Sherlock down a path the Doctor would recognize.
Sherlock is the god who falls to earth. It’s not the falling (in love) that kills you, it’s the landing when no one catches you. He didn’t let John catch him at Bart’s. He self sacrificed instead. They both paid a terrible price and he keeps doing it over and over with this vow. He’s not letting John in. He keeps on swallowing his feelings and putting on masks and stepping into battle. And John doesn’t get a say. It’s always Sherlock’s way. Sherlock has to be the one in control. It’s as if he doesn’t want to let John reciprocate.
But we know he has to meet his demons - whatever in his past he is running from. And face it. His mind cannot save him from emotional hurt. He has to emotionally fall. That’s how he will win.
Because - again, Moffat - endings are sad but they are beginnings and beginnings are happy. Life is finite. If you get the chance to love you should always take it. Even though love makes you so terribly vulnerable. But that is the most human thing in the world. It’s how you really live. By loving. Even though you will hurt. It’s what makes you strong and brave and heroic even if you are very ordinary.
Drugs don’t keep the skeletons rattling in the closet Sherlock has locked his emotions away in. In spite of himself this self made man is being changed by John. And the more human he becomes the more he hurts. He is still running and something is coming and he fears he can’t escape death.
But they are on a path that he can’t see because he keeps using his head and it makes him blind to this deep mystery: Put him and John in any moment in time and they are always together. Together they exist outside of time. Because love is not killed by death. To accept that you have to accept that what you love will die. And you love anyway. You defy death. But love doesn’t cease. It’s what makes it hurt. And it’s also what makes you heroic. It’s what makes them heroes. Their togetherness. It’s how these characters exist timelessly.
The tick tock is persistent because the moment it ceases is the moment the game is won. Moriarty is exploiting Sherlock’s weakness - his attempt to not be human. But Moriarty will be beaten by Sherlock changing. By doing something he doesn’t want to do - to rely on emotions rather than his mind. He in essence will return to the moment he and John met and this time round he’ll let him in. Fully. Vulnerably. Not smart. Or clever. But emotionally open.
I suspect Smith will push him beyond his vulnerability in THoB to a place of deeper fear - where his deepest hurts and his rational collapse meet. Where reason will not save him.
Will John be there? I think we know the answer to that. Because at the end of TAB John was not only at reichenbach, Sherlock reassured him they could both be there in a fantastical future time he imagined. Together, they exist outside of time. Deep down Sherlock knows this. But he has to be brave. He has to believe it in the real world. He has to believe he is worthy of it.
Sherlock is worried about what to do about John. He needs a plan. But I suspect it won’t work. That’s not the winning hand. The clever plan. Instead, he has to let John see his darkest fears and take the risk that John will be there with him.
Time is going to stop. The tick tock needs to be replaced by a heart beat.
He’s done it before. Restarted his heart by acting out of love for John. Beat the game. But John didn’t see it. John doesn’t yet know. And Sherlock has to overcome his emotional self doubt. He has to take a risk of his feelings. His mind cannot save him. Not this time.
Mycroft will likely be proved gravely wrong. The game is over when Sherlock and his sentiment speak as one. Mycroft - full of intellectual arrogance - thinks it’s a disadvantage but it’s not. It’s not at all. He is probably trying to protect Sherlock but it is driving him to his death. Whether by drugs or the game or suicide. Tick tock. This is a bet. It’s highly self destructive and dysfunctional and Sherlock in his unconscious mind knows it.
Mycroft for all his power and desire for power will likely lose the game. Because ironically sentiment is what keeps him from letting Sherlock live emotionally. It’s self defeating. This protectiveness is doing as much harm as good. If Sherlock could feel then Mycroft needn’t be so worried. But he is asking John to protect him while encouraging Sherlock not to care. Not to succumb to sentiment. To not be human. Sherlock’s salvation must mean making a choice Mycroft wouldn’t. To stop running. Stop spinning plates. To stop and feel. It will send him to hell but he will survive. And he won’t be alone. He doesn’t have to be alone. We know it. That’s what puts the world to rights and we are all fairly certain that now the audience is catching on. Something about this whole story is off. When John Watson saves a life this time the audience must be willing him on knowing what we didn’t know in ASiP why he will do it. They are both so flawed but the audience will now be rooting for them like never before - for the game to end and the story be made right.
Each in their own way Mofftiss have a mature view of love that is marked by the presence of loss and not-having. It’s why TPLoSH can be bittersweet yet still beautiful. Because love is not voided because you don’t run off into a happy ever after. Wilder gave Holmes real depth of feeling. Tragic maybe but still beautiful. It made him a more whole character. The missing link is Watson. What if Watson hadn’t been so damn presumptuous and let Holmes tell his story. What if Watson had understood and seen the depth of feeling that Holmes was hiding.
The ticking clock is going to stop. Because the apex of the canon for Mofftiss is Garridebs. It is the moment in canon where time stops. Where in the middle of a shoot out, fearing death, they look into each other’s eyes and there is no wall. No facade. It is John seeing an open Sherlock. Scared. Vulnerable. Forgetting himself and showing he cares. And John really knows. Even if the wall goes back up there is a heart in there that is vulnerable. That was all he ever needed. It is so powerful he knows that every wound is worth it because the feeling is mutual. Shared. They are not the same person. But he forgives Sherlock’s hard shell in that moment. He doesn’t resent him. He celebrates it.
I think we are getting a fix it fic. In which we find out why Sherlock made himself the way he did under Mycroft’s misguided protection. Why that harsh cold exterior is really there. And John will know too. And John will understand just how much pain is being kept at bay.
I think John flinching at Ajay’s story is perhaps a premonition of what is coming. It was a warning shot. Not of Mary’s demise but of Sherlock’s secret demons. John will have to be brave too. He may need to be the dragon slayer this time.
It’s inevitable. Whatever the detail, this path is set. It’s not about death. It’s love. That is how they win. And it will hurt like hell. But they have to do it. Together. It’s why even now with the skull we are again getting the opening of the study in scarlet. The world changed the day they met. It is as romantic with a big capital R as it gets. It was never the cases or the detecting. It’s them. Two of them.
Perhaps this time it will be John’s way. Sherlock is always playing Mycroft’s way or Moriarty’s way. Pick a side. They need to be on the same side. And it will hurt to do it. To admit just how much it scares them. How much they need to be needed. How much they want to be wanted. No more jokes. No more laughing to avoid the pain. But when they get there. Time will stop. And we will know this was the whole point. Right from the very start. Their origin story. The reliable version. Without the evasion. The depth of their humanity and connection plain for all to see.
The darker this gets the more I trust Moffat to offer real deep substantial redemption and hope. It won’t be trite. He is unafraid of admitting that love is hard. Scary. Love is not cheap for him. Or Gatiss. That’s where Sherlock and doctor who collide - the story of what it means to be a man by a subversive set of rules. It’s the emotional growth story of the anti-bro.
Sherlock and John love one another. They always have. Always will. We can argue about the finer details. But that’s never been in question. It’s a timeless story. Til the end of time. Love wins. It has to win. Otherwise what is the point of this story?
To win, it can’t be desperately unspoken anymore. Not this time. This time I believe that, all theory aside, this is a story in which Sherlock gets what he needs. And so does John.
As long as the clock is ticking it hasn’t happened yet.
there are a lot of reasons i would recommend Katekyo! Hitman Reborn as an anime or manga:
main character Tsuna realizes he’s a main character and does his absolute best to avoid being a main character and fails miserably
hibari, as the most broken af tank i have ever witnessed on a good guys’ team and yet he also spends half his time trying to kill his own allies because he’ll fight LITERALLY EVERYTHING THAT BREATHES except small children and animals
and then the Rainbow Arc happens and that entire scene with him switching sides and then fighting Xanxas AND THEN LOSING ON PURPOSE LMFAO what a piece of shit i love him
eventually in the manga you get an explanation for why the fuck there are talking babies with guns, and even though the excuse is weird, at least there’s a fucking reason
cool fight scenes and neat powers, including a goddamn floating hedgehog ARMY WITH SPIKES
yamamoto. just yamamoto.
mukuro the owl
that one time Squalo brings them a giant fish for absolutely no reason
the Nobody Wants Fran Apocalypse
that time future Hibari trolled the SHIT out of everyone fighting the Phantom Knight, trust me that entire sequence was glorious writing and im still in love with it
if you want a story about mafiosos doing things that have absolutely nothing to do with the mafia
the foreshadowing in the manga especially was fascinating in hindsight. just everything that happens with irie shoichi. a+ writing
Enma Kozato, the most precious child to ever exist
Mod note: Aside from the Dreamy scene, all these videos came from one person, listed as Teresa Gonzalez on Youtube. This user has almost all the Rumbelle scenes for s1–s3 in a nice neat playlist, which is oh-so-nice of them. Please consider leaving thank-you comments if you watch on Youtube.