swishy coat

surviving (and maybe even thriving) in the sherlock fandom after s4

…OR, maybe even kind of sort of learning how to enjoy oneself again while being a johnlocker.

This is a post for people who are on the fence / still turned off by s4 / still struggling with how to frame it for themselves. 

In light of the upcoming fic writers’ retreat, in anticipation of (I hope) having a conversation or two about this very topic, and in partial response to comments that my good fandom friends have dropped recently about their struggles with feeling like they don’t want to engage with the show or the fandom after s4, I’ve been thinking about how to continue on as a johnlocker, and why I feel more motivated than ever to find a way to have a relationship with the show (albeit a substantially altered one than before), and what fandom engagement means to me. 

It probably doesn’t look like it, because I’ve participated full throttle in all kinds of conversations about the show since s4, but I do get why s4 was entirely offputting for a lot of people. While I strongly suspect that mofftiss are doing something interesting and unusual with s4, that whatever-it-is came at a heavy price: a series that looks like a hot fucking mess and actively does things that one should never do (i.e., constantly throwing into question the reality status of the story one is telling) if one wants to avoid frustrating the shit out of one’s audience. 

What’s worse, the series was promoted with a promise of FINALLY answering the question of who Sherlock loves, without delivering on that promise in a way that was in any way definitive (John? Molly? Irene? Chips?) or satisfying (JOHN???). We got a scene that was really close to the kind of thing we’ve always wanted to see, at the end of The Lying Detective, an episode that also brought us an interaction between John and Sherlock that was so awful, it singlehandedly ruined the show for a lot of people. 

Even though I love the shit out of talking about the puzzle of s4, I love it because I love how smart everyone in the fandom is, and how much I’ve learned about Doyle, and the many many intertexts the show engages with. I love how stunningly great people here are with teasing complex arguments out of this hot mess. 

I don’t love that we got this weird thing to figure out instead of actual story. I don’t love that for some reason a major plot point was John and Sherlock detonating their relationship even more profoundly than they had before. I still think that the more skillful thing to do would have been to make a puzzle for viewers to figure out, but make it actually enjoyable to watch. (Personally, I did enjoy TLD, but I’m a sucker for Nick Hurran’s direction, I thought Ben and Martin performed incredibly, and I have a high tolerance for creepy shit and violence, so.)

SO: WHAT TO DO?

I’ve been thinking about a few of the strategies I’ve put in place / fallen back on for approaching all of this. I don’t know if any of this is helpful but here it is, for what it’s worth.

Acknowledge that the showrunners are human people and human people make good choices and bad choices and questionable choices

Before s4 aired, I wrote about the fact that mofftiss had set up a highwire act with extraordinarily high stakes, as of the end of s3. This meant they could pull off an astounding feat of storytelling, or they could fall. Instead they sort of burned down the circus tent and re-encoded all the elephants…not what any of us were expecting. I mean, surprises in storytelling can be great, but this was like hey everyone, suddenly the show is going to be performed in Esperanto instead of English, have fun with that.

Questionable at best.

To sum up: good choices resulted in the following:

Ben and Martin in s1 and 2 creating this beautiful dynamic together, eyesex and all the subtext and a tragic love story with mistakes and denial and pining and hope. s3, which bumped up the subtext to the point of ridiculousness. And TAB, which doubled down on that subtext EVEN HARDER. The purple shirt of sex and the swishy coat of alone protects me and a stalwart and broken John who is finally strong enough to partner his Sherlock and enough sexual and romantic tension to drown the population of the earth planet and a Mary Morstan who is actually Moran and there’s always two of us and hey did I mention romance yet?

We got all that, and then we got–this s4 thing.

Let me tell you about writers (speaking as one). They shit the bed all the time. They make weird choices. They have strange ideas. They fail to stick the landing. When that happens, it’s their tragedy. It doesn’t have to be yours. 

Maybe this story isn’t done yet. I don’t think it is. I’m willing and able to reserve judgement, but this post is for those of you who aren’t, or can’t. 

You can still like the parts of the show that you liked before. You weren’t wrong for liking what worked for you before. You would not be wrong now, for still liking those bits. All the shitty choices the showrunners could make, did make, and might still make, do not make you wrong for liking the bits you liked.

You can still like the parts of the show that you liked before. 

Need permission for that? Here it is: BECAUSE MAY SHEPARD SAYS SO. I’ll make you a certificate if you want. 

Need more specific help? Here’s another idea:

Get selfish. Get really, really selfish.

Remember that you are here for you. You came here, probably, because thinking about John and Sherlock together is something you enjoyed. Back immediately after s4 aired, and I was still stuck firmly in the wtf zone, I had to have a talk with myself about this. 

I asked myself what I liked about the show. Why John and Sherlock, together, were so crunchy and beautiful to me. It came down to one thing: the fact that I read the show as a love story. 

I’m here for my own entertainment. This is my happy place. This is where I come when my regular writing is stuck or I want to try to hack out a new part of my skill set. I get a lot out of thinking about John and Sherlock, as characters.

I still read the show as a love story, and I will continue to do so.

That means, in light of s4, doing a lot more reading in to the little moments than I used to have to. It means cherry picking a lot harder. It means ignoring vast swaths of what we actually saw onscreen. (The fact that this is the current state of meta too helps a whole heck of a lot.) 

Playing the what if game a lot harder than I have previously has become the rule of the day. 

What if John and Sherlock are in love? They are. For me, they are, and they always will be. Will they be in canon? Get yourself to a place where this question doesn’t matter, where your personal happiness doesn’t hang on this. We’re several months on after s4. It’s time to give your head a shake and remember that John and Sherlock love each other and will always find their way back to each other, because we say so. 

If you don’t believe this, try because May Shepard says so. I’ll say it until you believe it, too: John and Sherlock are in love. The show is a love story.

I will read the show as a love story, regardless of whether it wants me to. Hey show, get ready for some sweet sweet interpretation. I hope you’re in the mood.

Still not convinced? Try this thought experiment:

Put Some Distance Between You and S4

So a few nights back I was chatting with @laughing-at-the-darkness​ (who is the best, go follow her immediately), and I jokingly said that what we need in this fandom is a reset, like the kind of perspective you can only get ten years after a television show has finished airing. 

Try this on for size:

The year is 2027. You’re looking for some good content to watch. You remember hearing, dimly, about the fact that, a while back, BBC made a Sherlock Holmes adaptation with some pretty famous actors. 

You read about it a bit first. Ah yes: the adaptation that everyone was raving about, but that did a weird thing in its fourth series. Bearing this in mind, you decide to watch. 

You’re charmed by series 1-3, and the one-off Victorian special. You decide to watch s4, bearing in mind what you know about it, that it seemed to go off the rails relative to everything that had come before. You watch, prepared to laugh along at Mary’s bullet tango and the way she just won’t seem to go away and Sherlock has a sister who is also an X-Man? What???? 

You watch it. You shrug. You carry on thinking that s1-3 and TAB are great, like you were prepared to do. 

We know what we know now: that s4 is a difficult part of canon, a stumbling block for a lot of us. If you can accept that, then you can move forward, liking the parts you like, and leaving the parts you don’t.

Moving On

I still personally have some questions about how to deal with s4 as a fic writer. There are so many potential interpretations–how does one go about sorting through the detritus? A lot of people don’t want to / can’t bring themselves to rewatch, so how much can I assume they do and don’t remember about the episodes? But these are mostly logistical issues, and solvable with some rational decision making. (I did start a fic a while back based on TST, but I wasn’t ready to finish it, and I don’t think people wanted that type of fix it in that particular moment.) s4 changed the stakes for a lot of people, so writing fic now is all about writing to a different emotional register, I think. I’m personally having fun with that, while sorting through the implications for the wips I started before s4 aired. I’m hoping we can talk about some of these issues, as writers, and as fans, but that’s a post for another day.

In any case, I’m here, John and Sherlock are in love, and I hope this is helpful in some way. I don’t want anyone to lose the thing that used to give them enjoyment, nor (on a more selfish note) do I want to see people still leaving the fandom if they don’t have to. 

OTP time

I’m still pumped about Johnlock. Just in case you’re wondering. Still excited! Still enthused! Still in love! The tall, arrogant bloke in the swishy coat and the curls, over-analyzing and deducing and giggling at crime scenes, together with the short, angry one hurrying after him. The two of them against the rest of the world: never gets old. It’s fate, whether or not fate exists– they’re it. Absolutely 110% superior to any other ship in BBC Sherlock, and most ships in general, as far as The Dynamic™ is concerned. I’m not shy about that. It’s the best. I still believe that, and I still love them both madly.

If you asked me if and/or how Series 3 and 4 figure into this… they don’t, really. It’s not because I think the second half of the show ruined The Dynamic™ somehow. I think it’s that S3-4 wasn’t really about the two of them alone but certain things that happened to them. You know, life. The thing that always happens to everyone, but is ultimately not that important. Not what you remember. At least, not what I remember.

I don’t think there’s anything canon John or Sherlock can really do to turn me off it. I suppose if they stopped caring (but it’s impossible), or if their relationship became something that was genuinely dragging them down (but that’s impossible too), I would rethink things. Maybe. But it’s not the sort of thing I have doubts about, or require proof for. The show never needed to ‘prove’ to me John or Sherlock loved each other, past S1 at least, and certainly S2. I like to think I’m responsive to reality and change my mind as the facts change, but I don’t stop shipping my OTP no matter what. I’m not really doing it to be stubborn, though I am also stubborn, haha. John and Sherlock are going to be okay. They just… fit.

Why?

  • John admires and adores Sherlock but still sees his flaws and is super clear on his asshole bits, loves him anyway
  • John really is Sherlock’s conductor of light, his inspiration and his guide
  • John absolutely trusts him (maybe even too much), with his life and beyond
  • Sherlock straight up can’t live without John (but it’s mutual) even though they can survive alone
  • #SherlockLives means #JohnWatsonLives
  • They save each other, over and over again
  • They hurt each other, but always learn and grow from the experience, so the forgiveness is meaningful
  • They hold both themselves and each other to a higher standard
  • At the same time, they learn to accept each other absolutely, and this allows them to accept themselves
  • All their main interests align and balance: if Sherlock’s John’s Commander, Sherlock’s John’s Nurse
  • They don’t have to choose between what they care about and each other, because the guiding forces in their lives are intertwined
  • They’re both assholes with a childlike, inappropriate sense of humor
  • Sherlock makes the tea but John fetches his pens. It’s true love.
3

“The Doctor’s favourite picture”
Twelve and Clara visit the art gallery because he wants to show her his favourite picture :)

Not one of my cosplays (I’m still thinking about which one to do next) but an edit of one of my favourite cosplayers @superwholockiancosplay
His cosplays are ‘fantastic’! (Seriously, you should check out his page.)
Not only his cosplays but I’m also in love with his personal style (the first person I’ve ever seen who has kind of the same style as I do :’))

@superwholockiancosplay Keep going mate, you’re doing a great job!

(Oh and btw, the two pictures under the official edit are just two earlier versions before I 'framed’ it. I thought that I could still post it because you can’t have a good closer look at it in the first pic.)

Have a nice day!

WHAT PROBABLY HAPPENED BEHIND THE SCENES IN ANGEL

*spike and angel are arguing, as usual*

Gunn: WOULD YOU TWO JUST FUCK ALREADY

*they both look shocked and slightly horrified, as they do*

Spike: Me? And him? Me and him? Fuck? Never again! Nope not happening!

Angel: Yeah, Gunn. Seriously, the last thing we need is for Angelus to show up again!

*beat*

Spike: Wait, what. Are you saying

Angel:*horrified silence. probably blushing and sputtering the dumb nerd*

Spike: ANGEL?

Angel: SHUT UP SPIKE WE HAVE A DEMON TO KILL *parades out of the room in his very swishy coat*

Gunn: *has been laughing his ass off the whole time*

Spike: What? What the fuck just happened wh

inner-muse  asked:

Hello! I just read your meta about Harry Potter and pro-Templar arguments in Dragon Age and I thought it was really interesting. One thing that wasn't addressed, though, was demons and the possibility of possession. Obviously this still doesn't justify the abuse and corruption that run rampant in Circles, at all. But it's a key difference between magic in Harry Potter and magic in Thedas. A wizard might lose control of their magic and set the barn on fire; a mage might lose their free will (1/2)

(2/2) to a literal incarnation of sin and darkness, which would then proceed to set the barn on fire, and also the house, and then slaughter the entire village just for fun. I’m not condoning the way mages are treated at all – obviously locking them up and abusing them is NOT how you prevent abominations – but it seems to me that the parallel breaks down a little with that extra wrinkle.


Hi. :)


Okay but, for a start, analogies are never quite perfect. If they were, they wouldn’t be an analogy. They’d be the same thing. I did point out in that post that the two magical systems don’t align perfectly. I also referenced other magical-type stories, because the point wasn’t Harry Potter per se.


I talked about the Harry Potter books largely because they are familiar. It’s this big, popular series that most people will at least recognise. Many people will have read the books and seen the films; many will have written fic or meta, or drawn fanart for it; many have attachments to particular characters.


Many people will know that ‘getting your Hogwarts letter’ is a not-uncommon fantasy for someone working their way through the series. Because this is a series about children going to boarding school, it puts faces to parts of the horrors of the Circle system that are not substantially addressed by the Dragon Age games.


It’s not that your actual mage companions have not suffered in the Circle: they have. But they are, obviously, survivors of the system. They’re the people who have either found a way to live within Chantry rules (Wynne and Vivienne) or who have escaped entirely (Finn and Anders). The people who didn’t make it, the dead and the Tranquil, are only seen in glimpses – characters with thin backstories, the occasional Codex entry, a body in a corner. Child mages are only rarely seen, and never for long. You can infer what they suffer, but you don’t see it.


Now imagine eleven-year-old Hermione Granger, torn from her parent’s arms by force and flung into a cell; told her gifts are a sin and warned by her fellow mages to be less bright and good at magic because that’s one of the things that gets you killed. Imagine Neville Longbottom made Tranquil because people mistook his lack of self-confidence for weakness and no one cared to find out how strong and smart he was.


It’s one thing to justify atrocities committed against ‘mages’. It’s another thing entirely to have little Ron Weasley, whose face you can probably see in your mind’s eye, flogged for impertinence.


My point was that, if these images fill you with horror, it’s because you know better.


Thedas is a dystopian shithole of a place. I mean – it’s got lovely scenery and cool swishy coats and longbows, but socially it’s the fucking worst. Literacy rates seem to be low, there’s no indication that they have anything resembling a free press, both the Chantry and the Qunari practise forced conversion and if you dig around in the Codex entries a bit you find out that there are probably more dodgy cover ups in their history than there are legitimately researched historical events.


Your average Thedosian is probably relying on things said to them by Chantry officials for information. Most never meet mages, and many will even lose contact with their own children once their magic manifests. Consequently, a lot of characters will talk about Circles and Templars as though they are necessary. A lot of Codex entries, written by either Chantry people or people raised with a Chantry education, will talk about them as though they are necessary. They will do it with conviction, because they believe it. They can see all the problems and they’ve been told there’s only one solution. Lacking education, experience, exposure to magic, or the time to sit down and work through the problem they honestly can’t see another way. It can be really hard to see past cultural blinders.


But we aren’t Thedosians. If you’ve read Harry Potter then you have another system for teaching magical kids how to control their powers in your head right now. If you’re a fantasy fan in general you probably have dozens. It doesn’t have to be Harry Potter. In fact, it shouldn’t literally be Harry Potter, both because that world has its own problems and because, no, the magical systems don’t align perfectly and wingardium leviosa won’t mean much to a Thedosian mage. But you’ve got the building blocks for something better in your head already.


When someone says Templars and Circles are necessary, I don’t just doubt their compassion; I doubt their imagination.


It’s not like this is my radical reinterpretation of the text, either. ‘This is bullshit’ is written all over the games. Only the Chantry and the Qunari treat their mages as though they’re murderous monsters that need to be tightly controlled lest they go on a rampage. The Dalish, Chasind and Avvar have quite different ways of looking at magic.


Even many Chantry lands retain traditional magical practices that are wildly different from the ‘Circle’ norm. Tevinter is a Chantry land, but magic is of deep cultural importance there – so important that they broke away from the Orlesian Chantry because neither nation could accept the other’s view of magic. And while Tevinter is rife with social ills, it has not fallen to demons. Rivain maintains its seers, and seems to be ignoring the Chantry as much as it is able. Nevarra has its Mortalitasi – who summon spirits and wield political power. Note that Cassandra, who has otherwise believed in the Chantry and its Circles, is completely unsurprised by the fact that her mage uncle was allowed to raise her because he is a Mortalitasi; meanwhile, bog-standard Circle mage Wynne isn’t allowed to keep her own son.


It’s threaded through all the stories: these things are done for political reasons, not out of necessity. They are a means of keeping powerful people in their comfy cushioned chairs, and of making sure that the very particular cultural beliefs of Orlais remain dominant. But because the stories primarily take place in Chantry lands, it’s something you have to look for.


The thing is – if you’re opposed to the Circles you’ve already got that. You already know. But to illustrate what I mean – look at what you wrote. Look at the words you chose. ‘Abominations’; ‘a literal incarnation of sin and darkness’. Why did you use those words? Those are Chantry words. They are words that were made up to justify abuse and slaughter.


An ‘abomination’ is any possessed mage. Take a look at the text from this war table mission:


Sigrid Guldsdotten is a very, shall we say, interesting choice of recruit, Inquisitor. Commander Cullen has had a great deal to say on the matter. Still, we’ve had interest from scholars and mages beside themselves at the chance to speak with a “stable” abomination. (Especially since the Chantry is too weak to forbid it with any force.) I believe that Guldsdotten, with a guide and some guards for her own protection, would be a valuable guest to send to select lectures and salons.
Ambassador Montilyet

You cannot be serious.

Commander Cullen


Josephine
Say the word, Inquisitor, and I will send our new Avvar mage on a brisk tour of cultural exchange.

Cullen
This is madness. If you must, have this Avvar abomination meet with our own scholars. In a small room. Far from anything. With a templar present.

– A Cultured Exchange


Note that Cullen, Chantry educated Templar, is particularly forceful on this point: she is an abomination, she is dangerous, and he is expecting that it will be ‘necessary’ to have a Templar murder her. In fact, there’s nothing abominable about Sigrid at all. Avvar mages are possessed by spirits as part of their apprenticeship. It’s even normal for them to stay possessed if they fail that apprenticeship because the Avvar consider ‘possessed by a benevolent spirit’ to be the safest state for a mage of limited ability. Sigrid is different only because she didn’t fail: she just loves her spirit friend and wants it to stay.


If you follow through on Josie’s suggestion, it turns out that Sigrid is pure, unadulterated awesome and even impresses the hell out of the ultimate magical snob – a Tevinter magister.


Now of course I appreciate that some mages are possessed by hostile spirits. That’s horrible for everyone involved. But even then – look at the word. ‘Abomination’ is a licence to kill, even though we know it is possible to rescue possessed mages from their demons. Cullen wants a Templar present to kill her, not save her.


Sin and darkness – sin particularly. That’s a Chantry story. An idea of spirits as the Maker’s first children. As rebellious children who are attacking living beings because the Maker loves the living better:


As the spirits grew in power, however, some of them became contemptuous of the living. These were the spirits that saw the darkest parts of the dreamers. Their lands were places of torment and horror, and they knew that the living were strongly drawn to places that mirrored those dark parts of themselves. These spirits questioned the Maker’s wisdom and proclaimed the living inferior. They learned from the darkness they saw and became the first demons.

Rage, hunger, sloth, desire, pride: These are the dark parts of the soul that give demons their power, the hooks they use to claw their way into the world of the living. It was demons that whispered into the minds of men, convincing them to turn from the Maker and worship false gods. They seek to possess all life as their due, forging kingdoms of nightmare in the Fade in the hopes of one day storming the walls of heaven itself.

– The Maker’s First Children


All right. But do we have any serious reason to believe that this is true? Justice has no story about the Maker or hating mortals:


Anders: I apologize, Justice. I didn’t mean to suggest you would become a demon.
Justice: I should certainly hope not.
Anders: I just wondered what relation there is between spirits and demons. Demons are a worry to any mage.
Justice: I do not know what makes demons as they are. Such evil angers me, but I do not understand it.
Anders: Well, I hope you never come to understand.
Justice: I as well, mage. More than you could possibly know

Justice Dialogue


He just doesn’t know what happens to the spirits who become demons. To him it’s like a plague: some people catch it and some don’t. He worries that he might catch it, at least in part because he doesn’t completely understand how to avoid it. Or look at this, between Cole and Solas:


Cole: Is there a way to save more spirits, Solas?
Solas: Not until the Veil is healed. The rifts draw spirits through, and the shock makes demons of them.
Cole: Pushing through makes you be yourself. You can hold onto the you.
Cole: Being pulled through means you don’t have enough you. You become what batters you, bruises your being.
Solas: Yes, exactly. Deliberately crossing the Veil requires that a spirit form will, personality.
Solas: That concept of self gives a spirit the chance to maintain its nature.
Solas: Wrenched into this world unwillingly by the rifts, spirits suffer the same fate as my friend.
Cole: Then we will help them.

Cole Dialogue


Demons aren’t incarnations of sin and darkness. They’re people in pain. Why it happens is going to vary from spirit to spirit – Solas’s friend was quite literally enslaved, and if that’s not a good reason to go on a rampage I don’t know what is – but it’s worth remembering that whenever you see a demon you’re looking at someone who is screaming. That scream isn’t all they are, but it’s all they can be right now.


Look, obviously I’ve played the games too. So I’ve killed a lot of ‘demons’ and ‘abominations’. I’m not wagging my finger at people for playing. It makes sense, because even as the Warden/Hawke/Inquisitor you are a person with limited access to knowledge and finite abilities. It’s an RPG. You play like you live in the world.


But as players, we are outside the world. We get all the histories, all the dialogue, the supplementary materials from books and comics and films (if we want them :) ). Had Thedas not spent the last 800 or so years coming up with reasons why it was okay to slaughter possessed mages or demons on sight rather than working out what the fuck is going on with them, maybe we wouldn’t have to kill so damn many of them.


If a thing is said often enough, and with enough belief behind it, it can sound true. But that doesn’t mean that it is true.


We play games that are set primarily in Chantry-ruled lands. They have language to justify every horrible thing they do. When we play these games we are immersed in that language. When we read Harry Potter we are immersed in their language: Muggles and wizards and purebloods and ‘Mudbloods’ and all the shit that goes with that. But just because the characters say it a lot doesn’t mean we should think as they do.


If you’ve read Harry Potter, you can think up a better system to teach mages than the Circles. And it troubles me when people defend an abusive system when the only ‘evidence’ we have of it actually working comes from heavily biased in-universe sources.

eliza saying that clarke’s dressed in her s1 clothes in the CoL because its how she sees herself is cracking me up cause that basically means everyone in the CoL is dressed how they see themselves so

clarke: clean and well dressed
lexa: war paint, large swishy coat, TWO swords,

I keep seeing posts about a NurseyDex Pride and Prejudice AU? Which is basically one of my most favorite things ever, so of course I had to write it.

I give you: Pucks and Prejudice!

  • The Poindexters are a modest family of five living in Samwell: Bitty, Dex, Holster, Lardo, and Tango, all of whom are already out and about in society
  • All is well, until one day wealthy, eligible bachelor Jack Zimmermann moves into the Haus with his (equally eligible) brothers, Whiskey and Shitty
  • They bring along with them Shitty’s best friend, Derek Nurse, and his brother, Ransom
  • Misadventures and marriage proposals ensue!
  • Nursey and Dex as Darcy and Lizzy. Nursey as a wealthy, awkward aristocrat with the most fake ‘chill’ you’ve ever seen and Dex as a middle-class spitfire with a comeback for every word Nursey breathes. (Not a whole lot changes?!)
  • Bitty and Jack as Jane and Bingley. Bitty as a literal ray of sunshine and Jack, who always tries his best and just wants everyone to get along. And, of course, there’s the whole “long-distance” fiasco, which Nursey involves himself in to distract him from his own stuff
  • Chowder and Caitlin as Collins and Charlotte, but with a happy ending! Friends-of-friends meeting accidentally one night and hitting it off beautifully, then working together to make sure Dex and Nursey get over themselves in time to get over each other
  • Shitty, thoroughly fed up with the convoluted, antequated nonsense that is “courting,” meeting Lardo, who wears pants more than dresses, generally shocks everyone she meets in some way or another, and has never once considered searching for a husband. 
  • Ransom, who can sense almost immediately that something’s up with Nursey, meeting Holster, who’s playing piano at a ball, and throwing all of his energy and focus there instead. Holster doing the exact same thing because have you ever seen a person that smart and that talented at everything at the same time?? (“When did they stop hating each other?” “They stopped?!”)
  • Tango, the youngest, off on his own and always asking questions. Some say he’s precocious, others say he’s annoying, but Whiskey finds him fascinating. He’s certainly a change from quiet, stoic Jack and rambunctious Shitty running around the house all day.
  • Enter Foxtrot/Chad Wickham the lax bro. (Bonus points if both Dex and Tango start crushing on him!)
  • Finally, the Gardiners. I like March and April, but you could also use Georgia and her wife, Ollie and Wicks… You could easily make them Patater, as well!
  • A little more about Nursey: 
  • He had suggested Jack move back to Providence because he and Bitty were so good at hiding their relationship from everyone that Nursey thought it was nonexistent
  • Jack’s thinking he just didn’t notice the signs and that Bitty is too nice to tell him directly
  • Foxtrot/Chad the lax bro Wickham almost reeling in poor tiny Tango (since Whiskey hadn’t made his move yet) and Nursey convincing him to keep quiet and leave town
  • “Surely, you must know it was all for you”
  • Further thoughts for your consideration:
    • Nursey owning a marble bust of himself
    • Shitty running his “I’m sorry forgive me” speech by Nursey; Nursey pretending to be Lardo
    • “Do you dance?” “Not if I can help it”
    • Everyone in swishy Regency coats. (LARDO in a swishy Regency coat. Lardo in SHITTY’S swishy Regency coat,)
    • “I love you, most ardently” (that entire speech is such Nursey material ugh)
  • Just… P&P AU, y'all!

okay but Lexa in CoL is a game changer seriously what a smug show-off with a smirky smirk and top notch eyebrow game and unnecessary sword twirling solely to impress her gf and swishy coat and dark clothes and dark make up and tall and dark and dangerous vibe I mean. guys. Lexa is not just a stoic reserved shy smol bean she’s also a confident charming charismatic babe who owns a motorcycle and too many leather jackets I now need 1000+ fics reflecting that brand new information

On stage with Rupert Graves and Jonathan Aris

Aaaah so I’m finally home after our coach got stranded in Ghent because of the strike in Calais yesterday, but it did gave me extra time to write everything down.

Okay let’s start with saying I was very scared to go to this con and meet Rupert himself. I thought Rupert would never have met a cosplayer before. I had a feeling the other actors might, but Rupert? He doesn’t do many events ao I figured this would be his first convention. There aren’t that many Lestrade cosplayers out there, so I was genuinely scared he would be uncomfortable or weird him out with the idea of someone attempting to look like him. 

I met him twice on the first day, although both meetings were very casual. Day two was when it got interesting:

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GOT3 with bonus Willow headcanons!

(I already made a post queued for tomorrow on autisticstevenstone for the GOT3. Short version, all ND, NB, queer, and poly. Will include the bits I put there at the start of each bit!)

The GOT3 met in grad school in Kanto, where Willow was mentoring them. They started out fighting like, well, Meowth and Growlithe, but after Willow assigned them to two weeks of field work together, they eventually realised that despite the arguments, they actually worked amazingly well together. Also, you know, they weren’t actually all that bad.

Became firm friends over the course of grad school. By the time they were approaching graduation, Blanche and Candela had started dating, although Spark was a pretty constant part of their lives, and soon after they graduated, they invited him to join the relationship. Willow is their very enthusiastic cheerleader.

The teams came about during the course of grad school, originally as a jokey way to get others to support their views. When they started working on the GO project after graduation, they decided to turn it into an official competition.

Constantly bemused by their team members’ fighting, particularly Blanche and Candela (who often make a point to snuggle in front of warring Valor/Mystic trainers to get them to chill a bit).

The GOT3 are in their mid-late 20s, Willow is in his early 50s.

Individual stuff under the cut!

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Disney's Frozen as written by Steven Moffat

Anna is an attractive young woman who lives with her troubled psychotic sister Elsa in the kingdom of Arendale. Elsa has isolated herself because she wants to keep Anna safe she’s a Grade-A bitch.

Fortunately Elsa’s coronation sees the arrival of a handsome newcomer, Hans who seems to offer Anna the affection she craves who is an unrepentant arsehole. At their first meeting he lists the five main reasons no-one could ever love her and performs a solo, “Love Is A Door I’ll Slam Shut In Your Face”. Anna is immediately smitten.

Elsa realizes her sister has found a man no woman could resist. “He may be arrogant and emotionally manipulative, but don’t you ever give up on him,” she tells Anna tenderly. “The days to come will be so worth it.” She gives their wedding her full blessing, and skips off to the garden to siphon off some more of her brains.

Elsa even goes so far as to offer Hans the kingdom, but he turns it down. It’s too much responsibility. All this commitment and duty is anathema to the modern man-child. In fact, marriage is too much for him. It’s nice having someone he can drop in on who hero-worships him, but this mutual respect malarkey is tough. Even Anna’s sudden penchant for sexual innuendo can’t make up for the drag of everyday life with her. So Hans takes off on a series of wild adventures! He wipes out the local trolls in a heroic act of genocide, but there’s something wrong. He’s lonely. So lonely.

All that changes on the day he meets Kristoff, an adamantly heterosexual young man who compliments him on his swishy frock coat, in a way that is 100% straight. Finally, Hans has found someone worth staying in one place for. Finally, he’s found someone whose unwavering  loyalty makes them worth loving. (In a totally straight way. No homo!) He returns to Arendale and moves into a cute hipster log cabin with Kristoff. A teary-eyed Anna thanks Kristoff for looking after “their” Hans better than she ever could. Because friendship is deeper and more meaningful than marriage, always. Just as she has reached this conclusion, however, she is kidnapped by mysterious ethnic baddies wearing burkas and wielding samurai swords. (What do you mean those are from different cultures? They look cool, shut up!) Hans and Kristoff embark on a noble quest to save her. They succeed, murder the baddies in broad daylight, and walk away without being held to account. Anna exits stage right, off to be sassy and feisty somewhere far away. She sends the occasional postcard to Hans and he has poignant moments, because she’s probably still crying over him and her tears make him feel validated as a human being.

Queen Elsa stays on the throne, but Hans tells her how to rule her kingdom and everyone knows it. She flirts with him at royal functions and pardons him for every indiscretion. It is heavily implied they once had a sexual relationship.

The epic saga ends with Hans jumping off a glacier to protect Kristoff. It’s incredibly tragic but don’t worry! The ice loves Hans so much it becomes sentient and saves him.

The End.

@reshopgoufa​ you’re obsessed with aesthetic, tell me you understand.

Okay, I love love LOVE Lexa’s swishy regal coat, with the high furry collar and the 3 feet long flowing train, but! I’ve always been super curious about what Lexa’s aesthetic might have been like during summer. They’re on the East Coast, and from what I understand summers there can get h o t. We’ve only seen Lexa wearing long sleeved shirts and that heavy huge coat, but that attire would be too impractical in a hot, muggy day. Dressed like that she would get a heatstroke after 20 minutes. So now I’m stuck thinking about Heda’s summer clothes and how amazing she would look in them.

*whispers* pls someone draw Lexa in the summer version of her swishy coat. 

archiveofourown.org
The Coat (that was also a blanket. And a metaphor)

John is cold. Sherlock has a large swishy coat. Burrowing himself into that large swishy coat (and, as a result, Sherlock) leads to a great deal of realization for one John Watson.