1. enjoytheelephant:

lestradebbc:


Sherlock AU: Captain John Watson is discharged from Her Majesty’s Armed Forces in November of 2011. Having virtually nothing to go back to, he volunteers for an experimental drug, the H.O.U.N.D. project. Starting January 29th, 2012, patient zero begins to have hallucinations, widely featuring a man presumed to be ‘Sherlock Holmes’ and their frankly ridiculous adventures. The project was ultimately deemed a failure.

pilot graphic 7/38

Woah. I’m seeing a modern-day ACD RPF here. John essentially becomes Arthur Conan Doyle.
During John’s long recovery from his H.O.U.N.D. ordeal, he has found writing down his “memories” of the detective to be therapeutic. After all, the stories seem to beg to be told. His books and stories sell well, he recovers his physical and mental health, and he builds for himself a good life. He’s a little surprised that his “fictional” detective has developed such a large fan base.
Eventually, he writes down the last of everything he remembers of his experience under the drug and says goodbye to this past chapter of his life by killing off his detective in a fall. After all, he’s developed other interests and there are many other things he would like to write about.
Unfortunately the public is in an uproar over his attempt to kill off his most successful character. They demand their detective back….

    enjoytheelephant:

    lestradebbc:

    Sherlock AU: Captain John Watson is discharged from Her Majesty’s Armed Forces in November of 2011. Having virtually nothing to go back to, he volunteers for an experimental drug, the H.O.U.N.D. project. Starting January 29th, 2012, patient zero begins to have hallucinations, widely featuring a man presumed to be ‘Sherlock Holmes’ and their frankly ridiculous adventures. The project was ultimately deemed a failure.

    pilot graphic 7/38

    Woah. I’m seeing a modern-day ACD RPF here. John essentially becomes Arthur Conan Doyle.

    During John’s long recovery from his H.O.U.N.D. ordeal, he has found writing down his “memories” of the detective to be therapeutic. After all, the stories seem to beg to be told. His books and stories sell well, he recovers his physical and mental health, and he builds for himself a good life. He’s a little surprised that his “fictional” detective has developed such a large fan base.

    Eventually, he writes down the last of everything he remembers of his experience under the drug and says goodbye to this past chapter of his life by killing off his detective in a fall. After all, he’s developed other interests and there are many other things he would like to write about.

    Unfortunately the public is in an uproar over his attempt to kill off his most successful character. They demand their detective back….

     
  2. taikova:

the tru baes i almost drew a sad thing but stopped myself

    taikova:

    the tru baes i almost drew a sad thing but stopped myself

     
  3. 11:21

    Notes: 17021

    Reblogged from stardust-rain

    Tags: Real LifeSwedenelectionneo-nazis

    stardust-rain:

    stardust-rain:

    sometimes tumblr’s US-centric social justice makes me so fucking frustrated. Right now sweden’s third biggest party are literally neo-nazis and our elections couldn’t even get onto trending tags today, goddamit.

    Okay, so the post is gaining notes and people are confused, so to explain what the hell is going on: 

    image

    Swedish elections held were on last Sunday, 14th September. We’ve had a right-leaning government the past eight years and after this there will be a change of power. The new party, Socialdemocrats (S) gained a total of 31% percent. The old party, Moderaterna (M) gained 21%. 

    Sverigedemokraterna (SD) gained a total of 12.9%. Their policy is racist, Islamophobic, anti-immigration, anti-refugee, anti-diversity, anti-LGBT+, and anti-feminist. Basically, they tick every box on the douchebag lottery.

    If you’re here to argue that they’re ~not actually~ Nazis: 1) Fuck you. 2) Fuck the horse the you rode in on. 3) I hope you get stepped on by a moose, you ignorant asswipe. 

    1.  they literally started as neo nazis. They have used a Neo-Nazi movement as campaign slogans,
    2. party members have assaulted immigrants with iron pipes (tw for racialised violence),
    3. worn Nazi symbols 
    4. supported and helped build Neo-Nazi group SvP.

    There’s probably more, but I don’t have links on hand. 

    They’ve been having rallies and demonstrations all over Sweden, and people have shown up just to turn their back on them and protest (this post explains it better). 

    In the 2010 elections, SD were pretty much considered no better than neo-Nazis and only got 5.7% votes - it put them in 6th place and was just enough to get them into parliament. In the elections before that, they got about 2.9%. In the past four years, they’ve grown exponentially in Sweden.

    They’ve also run extremely extensive PR campaigns, appealing to the youth, kicking out members “exposed” of being racist, (note: these members often end up in SvP) and picking up buzzwords from the Socialdemocrats’ ideology. 

    29% of votes they gained this year were from swing voters who previously voted M,  and the biggest gain have been in the south, in small towns and the countryside:

    image

    This is not something that’s just going on in Sweden. Europe has seen an influx of extreme-right parties over the last decade or so, often thinly disguised as a party that puts ‘traditional values’ and ‘national interest’ first.

    In Greece and Hungary they’ve already been in power. In Germany, Netherlands, Italy, Greece, Finland France and UK, extreme-right-wing parties have been voted into the EU. 

    Because here’s the thing: we’ve forgotten what it looks like. We’ve gotten to the point where we’ve turned Nazism into a cartoonish lampoon of goose-stepping, uniforms and moral lessons that “we’ll never be like them~”, ignoring the fact nationalism is not as cut-and-dry two ends of an extreme but exists on a scale.

    People have been apologising for SD’s actions for a while now because they’re not considered “extremist enough” to be neo-Nazis, because they don’t share the same beliefs, because they’ve “publicly denounced” SvP. 

    But the same people still get hurt. Still SD has the institutional and systematic power and privilege to oppress, degrade and humiliate people of colour, which they already have done. Stop making excuses for them. Stop making leeways for right-wing-extremists because that is how they gain tract. 

    Please spread this. 

     
  4.  
  5. 08:27

    Notes: 2610

    Reblogged from mid0nz

    Tags: BBC Sherlock221B Baker StreetACD

    mid0nz:

    The Annotated 221b

    1. The prop newspaper headline is “United We Stand" (Lookit how the camera zooms in on it!)
    2. Fernando and Humberto Campana “Blow Up” fruit bowl
    3. The safe (appears in ACD canon)
    4. A shadow box of labeled ammunition. (You can’t see it here but Sherlock has 2 .50 calibre browning machine gun cartridges over by John’s chair.)
    5. The seltzer bottle (a nod to the gasogene in ACD)
    6. Green decorative glass — hourglass shaped
    7. Samsung LE32B450 32-inch LCD HD TV 
    8. Tizio lamp (1972) designed by Richard Sapper
    9. Bronze hound statue like this one (x) (decidedly not gigantic)
    10. Romeo y Julietta and Monte Cristo cigar boxes
    11. Ali Miller tea service
    12. A skull
    13. A taxidermy box with bat and insects
    14. Lotto scratch cards
    15. Leatherman Charge AL Multitool and SH’s correspondence
    16. Qin Dynasty archer
    17. Glass on glass mirror (with Zoffany Navarre wallpaper from the Nureyev collection)
    18. Sherlock’s books! All the books! Click here for a full list)
    19. SAMTID Floor/reading lamp, Ikea
    20. Leather chair inspired by Le Grand Confort by Le Corbusier (1928)
    21. Chrome desk fan (like this x)
    22. Black coral (Go fake! Here’s why.)
    23. Touch table lamp with chrome base
    24. Lots of stuff on the desk you can’t see in this view. A lot of it is here (x) and here (x)
    25. Mid-century Danish modern chairs and table
    26. iPhone
    27. Cordless phone 

    Here are my annotations for:

    Here is my 221b Pinterest board where you can follow my progress as I hunt down every bleeding thing on the set.

     
  6. abundantlyqueer:

John wasn’t looking for a flat - not really, not in any way that went further than cursing the piles of files and dossiers and evidence boxes that were taking over the bedsit. He’d brought Sarah home a week ago, and she’d crossed the threshold, stopped, and backed up with a determined smile on her face.
"Let’s go to mine," she’d said crisply.
But he wasn’t looking for a flat, not really. He was following a lead, hoping the owner of a sandwich shop might remember the customer with the colored glasses and strange, whispery voice, when he saw the ‘for rent’ sign in the house next door. The rent was bound to be high - the location was fantastic, and there was a bit of wrought iron balcony outside the big upstairs windows that promised space and light inside. But the cases were coming steadily, he’d even turned down an uninteresting ‘follow the unfaithful wife’ job for the first time, confident there was something more worthwhile in the pending pile.
And besides, the dark painted door, with the brass numbers, seemed almost … familiar. Right. He felt proprietorial about it, somehow.
He stepped up and pressed the bell firmly. The business cards would look smart:
Captain John Watson MD 221b Baker Street London W1

    abundantlyqueer:

    John wasn’t looking for a flat - not really, not in any way that went further than cursing the piles of files and dossiers and evidence boxes that were taking over the bedsit. He’d brought Sarah home a week ago, and she’d crossed the threshold, stopped, and backed up with a determined smile on her face.

    "Let’s go to mine," she’d said crisply.

    But he wasn’t looking for a flat, not really. He was following a lead, hoping the owner of a sandwich shop might remember the customer with the colored glasses and strange, whispery voice, when he saw the ‘for rent’ sign in the house next door. The rent was bound to be high - the location was fantastic, and there was a bit of wrought iron balcony outside the big upstairs windows that promised space and light inside. But the cases were coming steadily, he’d even turned down an uninteresting ‘follow the unfaithful wife’ job for the first time, confident there was something more worthwhile in the pending pile.

    And besides, the dark painted door, with the brass numbers, seemed almost … familiar. Right. He felt proprietorial about it, somehow.

    He stepped up and pressed the bell firmly. The business cards would look smart:

    Captain John Watson MD
    221b Baker Street
    London W1

    (Source: bbcswilliam)

     
  7. jenwwalters:

    Marvel movies I want to see

     
  8. Anonymous said: Always thought that John's worry over Sherlock's name being smeared by the media in TRF was due to basic empathy, but just realized there's more to it-- He's seen it done before, with another good friend who was destroyed by the media, who became a complete recluse, whose only interaction with people now are getting death threats from them. He knows someone who has never recovered from being publicly torn to shreds the way like that, and doesn't want to see it happen again.

    anotherwellkeptsecret:

    OH. MY. GOD.

     
  9. piningjohn:

    image

    image

    So that’s the TWO images they decided to include, ONE AFTER THE OTHERr, in the video of the wedding photos on john’s blog. 

    Not that Molly is John’s foil, that Tom is Mary’s foil and that Lestrade is Sherlock’s one, but Tom is Mary’s foil and Lestrade is Sherlock’s one and Molly sure didn’t stay engaged to Tom. 

     
  10. sophiethefoof:

    Everyone is watching John and Mary’s first dance, except Molly. She’s watching Sherlock, “You look sad, when you think he can’t see you.” She knows he’s dying inside.

     
  11. 08:42

    Notes: 627

    Reblogged from doctorscienceknowsfandom

    Tags: Real LifeCapitalism

    image: Download

    (Source: questionall)

     
  12. monanotlisa:

    “I think they’re both wounded warriors who don’t bleed on other people. Cap has no one to bleed on. I think Sam knows how to handle people like that. … Sometimes when things are bad, trusting a stranger is the way to go.” - Chris Evans.

    (Source: sambuckys)

     
  13. image: Download

    doctorscienceknowsfandom:

rainewynd:

em-kellesvig:

thesmilingfish:

em-kellesvig:

thesmilingfish:

dorothyoz39:

thesmilingfish:

thesmilingfish:

Quite possibly the most unfriendly looking behind the scenes picture ever. 

I can’t find the link, but I remember reading something about Joe arguing with Mallozzi about Sheppard not knowing there was an all female SG team under his command was disrespectful to his character and that Sheppard would know who were on what teams and that it was a hit to his character all for a stupid joke. Turns out Joe F. was right because the ‘joke’ fell flat and left fans perplexed at Sheppard lack of knowledge.
I could be misremembering though, so hello world at large please feel free to correct me.

I remember reading exactly the same thing!
Reading about Atlantis is a constant reminder of how much Mallozzi and Co screwed up by ignoring Joe. This is just one example, killing Weir is probably the biggest of them…

Joe fought them over the killing off Elizabeth and Carson as well. Joe has said at conventions this was about the time that they stopped telling him things - and so probably it’s close to the end of them stopping listening to him as well. It’s frustrating because at that point Joe was a lot more invested in the show than the actual show runners who were already planning out SGU. 

Another problem Flanigan had with Mallozzi around this time was the issue of behind the scenes photographs. As you can see with this one, it has the MGM watermark. The actors’ contracts clearly stated that only MGM and SciFi had permission to take BTS photos and use them for promo purposes. 
Mallozzi, however, had started taking photos of his own of the cast and crew and was posting them on his personal blog without their permission, without recompense, for his own benefit and profit, and in direct violation of the actors’ contracts.
Naturally, the cast and crew were upset about Mallozzi using these photos to drive traffic to his personal blog but no one really wanted to call him on it given that Mallozzi and Paul Mullie were co-executive producers and had been since Season 2 (during Season 1, they were consulting producers with Michael Greenburg and N. John Smith as Executive producers). 
So cast and crew quietly asked Flanigan to speak to Mallozzi on their behalf. Whether they asked him because he was the union shop foreman, or the show’s star, or they thought he’d be the most persuasive is open to conjecture. They asked and Flanigan spoke to Mallozzi, who didn’t take it well at all.
He did stop taking photos on set without permission — he certainly never took another photo of Joe Flanigan — but when he did, and when he posted said photos to his blog, he made a point of saying (with truculent asides) that he had permission from the actors, that he wasn’t trying to profit from them, and (I’m paraphrasing here) wasn’t it sad that some people had to spoil the fun for everyone.
It was all downhill for Flanigan and Sheppard from there.
Yes, TPTB stopped listening to Flanigan, and Sheppard was not only disrespected as a character but virtually pushed aside throughout Season 5. Not just because of Universe but because Mallozzi held a grudge. It’s all there on his blog. I read it in real time and was appalled by Mallozzi’s childish behavior. 
Mallozzi violated the actors’ contracts, got called on it, and took it out on the one person who said something to him, even though Flanigan was speaking for them all. Sad.

Well, damn. I’d forgotten about that. Does it make me a bad person that I am gleeful that Mallozzi and co. have, for the most part, found zero work in the entertainment industry since SGU went off the air?
This just adds to the pissoffedness I had when I found out that Joe F. had a group of investors and was trying to negotiate with MGM to do SGA. From what I’ve pieced together it was probably around the same time that Devilin and Emmerich were in meetings for their own Stargate movie reboot - and MGM decided to go with two failed producers. (Seriously, they have more misses than hits in their catalog.) 
So now we’re sitting here with a dilemma. The reboot we never wanted. The reboot we were hoping for - with someone besides the old PTB at the helm. If the movie does badly does that put a kibosh on any more Stargate for the foreseeable future? If the movie does well does that mean we’ll just get more of the movies that completely ignore 17 years worth of television canon?
Someone smarter than me, which is pretty much anyone reading this, needs to explain to me what the best course of action is for fandom in general with this. Petitions aren’t going to do shit - I know that much. We’re pretty much guaranteed that MGM didn’t give the exclusive rights to the franchise to D&E - this is one of their biggest franchises and they’re going to hold on to it tightly. But what can we do to show MGM what we really want? It needs to be a concentrated effort and not spread out to include SG-1 and SGU because that’s just too much to ask for off the bat I would think. Specifics would be best I would imagine. But at the end of the day from MGM’s POV it’s all about the bottom line. Will it make money? That’s all they really care about. How do we go about, as a fandom, engaging the studio and revitalizing the fandom?
Wow. This reblogging of a picture because I was having private conversations with someone about “Whispers” really took off in a heavy yet delightfully unexpected way. 

The thing is: it doesn’t matter if an SGA reboots makes money. MGM believes it won’t. Wright and Cooper had no faith in it. Mallozzi and Pullie had no faith in it. They had no faith in the fans. 
"This is not the demographic we’re looking for." — Brad Wright, as he canceled SGA to make way for SGU.
They wanted the male 18-25 demo, the emo boy gamers in Mom’s basement. What they didn’t realize, what they still don’t realize, is that Mom’s the old school sci fi reader. Mom writes the fanfic. Mom has the money.
But they don’t know how to write to our demographic. They never did. They tried to put Amanda Tapping in a push-up bra and a tank top and she refused, thank whatever gods you chose. Because that’s how they write women: for men. For adolescent men. Not for women or people of color. 
So, no, they won’t listen to us. That’s why the petitions didn’t work. That’s why email campaigns won’t work. We’re not the demographic they want, even though we’re the demographic with the money to spend, with the ability to invest, and the interest to do so. Nearly two decades of time, energy, and money later, and they still don’t get that their fan base is mostly women, 25 and up. 
If they aren’t willing to hire female writers, listen to professional women storytellers, why the hell would they listen to us?

Which is just…ignoring the fact that the best shows, period, appeal to everyone. What makes Star Trek enduring, to me, is that it made you feel like you could dream to be any of the crew (and I’m not counting the reboot here). When SGA killed off Weir, they killed off a lot of my interest in the show because it said they didn’t want that character at all or anyone like her.

They don’t want us, because most of that stuff about being motivated by the bottom line and profits is just a cover story. What they really want is to do something that impresses their friends — and by “friends” I mean “powerful white men they *wish* were their friends”. It’s all, *all* about performing masculinity — and because our culture has a subtractive definition of masculinity, any interest by women automatically makes a thing (activity, art, posture, emotion, whatever) less masculine. So it’s *really important* to not just appeal to young men, but to drive away women, especially older women.
I have also heard it said that the reason the advertising industry focuses so relentlessly on males, especially younger males, is that they are suckers. They are more influenced by brands and ads than women are, and more likely to impulse buy.
Women are taught to shop — by our mothers, peers, and culture. It’s a skill we’re expected to practice and hone, to become canny consumers in a consumer culture. Because shopping skills are gendered feminine, being brand-loyal and impulsive becomes gendered masculine, which makes men even more prone to be suckers as consumers. And that means ads aimed at men are more likely to pay off.

    doctorscienceknowsfandom:

    rainewynd:

    em-kellesvig:

    thesmilingfish:

    em-kellesvig:

    thesmilingfish:

    dorothyoz39:

    thesmilingfish:

    thesmilingfish:

    Quite possibly the most unfriendly looking behind the scenes picture ever. 

    I can’t find the link, but I remember reading something about Joe arguing with Mallozzi about Sheppard not knowing there was an all female SG team under his command was disrespectful to his character and that Sheppard would know who were on what teams and that it was a hit to his character all for a stupid joke. Turns out Joe F. was right because the ‘joke’ fell flat and left fans perplexed at Sheppard lack of knowledge.

    I could be misremembering though, so hello world at large please feel free to correct me.

    I remember reading exactly the same thing!

    Reading about Atlantis is a constant reminder of how much Mallozzi and Co screwed up by ignoring Joe. This is just one example, killing Weir is probably the biggest of them…

    Joe fought them over the killing off Elizabeth and Carson as well. Joe has said at conventions this was about the time that they stopped telling him things - and so probably it’s close to the end of them stopping listening to him as well. It’s frustrating because at that point Joe was a lot more invested in the show than the actual show runners who were already planning out SGU. 

    Another problem Flanigan had with Mallozzi around this time was the issue of behind the scenes photographs. As you can see with this one, it has the MGM watermark. The actors’ contracts clearly stated that only MGM and SciFi had permission to take BTS photos and use them for promo purposes. 

    Mallozzi, however, had started taking photos of his own of the cast and crew and was posting them on his personal blog without their permission, without recompense, for his own benefit and profit, and in direct violation of the actors’ contracts.

    Naturally, the cast and crew were upset about Mallozzi using these photos to drive traffic to his personal blog but no one really wanted to call him on it given that Mallozzi and Paul Mullie were co-executive producers and had been since Season 2 (during Season 1, they were consulting producers with Michael Greenburg and N. John Smith as Executive producers). 

    So cast and crew quietly asked Flanigan to speak to Mallozzi on their behalf. Whether they asked him because he was the union shop foreman, or the show’s star, or they thought he’d be the most persuasive is open to conjecture. They asked and Flanigan spoke to Mallozzi, who didn’t take it well at all.

    He did stop taking photos on set without permission — he certainly never took another photo of Joe Flanigan — but when he did, and when he posted said photos to his blog, he made a point of saying (with truculent asides) that he had permission from the actors, that he wasn’t trying to profit from them, and (I’m paraphrasing here) wasn’t it sad that some people had to spoil the fun for everyone.

    It was all downhill for Flanigan and Sheppard from there.

    Yes, TPTB stopped listening to Flanigan, and Sheppard was not only disrespected as a character but virtually pushed aside throughout Season 5. Not just because of Universe but because Mallozzi held a grudge. It’s all there on his blog. I read it in real time and was appalled by Mallozzi’s childish behavior. 

    Mallozzi violated the actors’ contracts, got called on it, and took it out on the one person who said something to him, even though Flanigan was speaking for them all. Sad.

    Well, damn. I’d forgotten about that. Does it make me a bad person that I am gleeful that Mallozzi and co. have, for the most part, found zero work in the entertainment industry since SGU went off the air?

    This just adds to the pissoffedness I had when I found out that Joe F. had a group of investors and was trying to negotiate with MGM to do SGA. From what I’ve pieced together it was probably around the same time that Devilin and Emmerich were in meetings for their own Stargate movie reboot - and MGM decided to go with two failed producers. (Seriously, they have more misses than hits in their catalog.) 

    So now we’re sitting here with a dilemma. The reboot we never wanted. The reboot we were hoping for - with someone besides the old PTB at the helm. If the movie does badly does that put a kibosh on any more Stargate for the foreseeable future? If the movie does well does that mean we’ll just get more of the movies that completely ignore 17 years worth of television canon?

    Someone smarter than me, which is pretty much anyone reading this, needs to explain to me what the best course of action is for fandom in general with this. Petitions aren’t going to do shit - I know that much. We’re pretty much guaranteed that MGM didn’t give the exclusive rights to the franchise to D&E - this is one of their biggest franchises and they’re going to hold on to it tightly. But what can we do to show MGM what we really want? It needs to be a concentrated effort and not spread out to include SG-1 and SGU because that’s just too much to ask for off the bat I would think. Specifics would be best I would imagine. But at the end of the day from MGM’s POV it’s all about the bottom line. Will it make money? That’s all they really care about. How do we go about, as a fandom, engaging the studio and revitalizing the fandom?

    Wow. This reblogging of a picture because I was having private conversations with someone about “Whispers” really took off in a heavy yet delightfully unexpected way. 

    The thing is: it doesn’t matter if an SGA reboots makes money. MGM believes it won’t. Wright and Cooper had no faith in it. Mallozzi and Pullie had no faith in it. They had no faith in the fans. 

    "This is not the demographic we’re looking for." — Brad Wright, as he canceled SGA to make way for SGU.

    They wanted the male 18-25 demo, the emo boy gamers in Mom’s basement. What they didn’t realize, what they still don’t realize, is that Mom’s the old school sci fi reader. Mom writes the fanfic. Mom has the money.

    But they don’t know how to write to our demographic. They never did. They tried to put Amanda Tapping in a push-up bra and a tank top and she refused, thank whatever gods you chose. Because that’s how they write women: for men. For adolescent men. Not for women or people of color. 

    So, no, they won’t listen to us. That’s why the petitions didn’t work. That’s why email campaigns won’t work. We’re not the demographic they want, even though we’re the demographic with the money to spend, with the ability to invest, and the interest to do so. Nearly two decades of time, energy, and money later, and they still don’t get that their fan base is mostly women, 25 and up. 

    If they aren’t willing to hire female writers, listen to professional women storytellers, why the hell would they listen to us?

    Which is just…ignoring the fact that the best shows, period, appeal to everyone. What makes Star Trek enduring, to me, is that it made you feel like you could dream to be any of the crew (and I’m not counting the reboot here). When SGA killed off Weir, they killed off a lot of my interest in the show because it said they didn’t want that character at all or anyone like her.

    They don’t want us, because most of that stuff about being motivated by the bottom line and profits is just a cover story. What they really want is to do something that impresses their friends — and by “friends” I mean “powerful white men they *wish* were their friends”. It’s all, *all* about performing masculinity — and because our culture has a subtractive definition of masculinity, any interest by women automatically makes a thing (activity, art, posture, emotion, whatever) less masculine. So it’s *really important* to not just appeal to young men, but to drive away women, especially older women.

    I have also heard it said that the reason the advertising industry focuses so relentlessly on males, especially younger males, is that they are suckers. They are more influenced by brands and ads than women are, and more likely to impulse buy.

    Women are taught to shop — by our mothers, peers, and culture. It’s a skill we’re expected to practice and hone, to become canny consumers in a consumer culture. Because shopping skills are gendered feminine, being brand-loyal and impulsive becomes gendered masculine, which makes men even more prone to be suckers as consumers. And that means ads aimed at men are more likely to pay off.

     
  14. silentauroriamthereal:

    vaginal-diabetus:

    Once again… I can not with this scene.

    One of the more deliberate moments where the watcher witnesses the depth of Sherlock’s pining.  Sherlock is referring to John’d romanticism in relation to his blog.. which, let’s be clear, is a blog revolving around Sherlock.  John isn’t romanticizing crime, or murder, or the generality of cases…  he’s romanticizing Sherlock, his mind, his acuity, their time together, who Sherlock is specifically as a man and John responds to Sherlock’s identity by writing about it with great depth and affection.   

    Up until now Sherlock has been the primary recipient of John’s romantic attentions.  Not outright physical romance, but something with perhaps even far greater intimacy.  John accounting Sherlock with beautiful sincerity, and genuine respect, his words making Sherlock into something desirable.  (Which in turn, Sherlock returns that same level of romanticism in his best man’s speech.)

    Sherlock was probably content just having that from John.  Having love expressed through the safe medium of John’s blog.  Sherlock’s small hesitation and and averting his eyes so he’s not looking right at John, pursing his lips.  His tone and expression is a cocktail mix of regret, guilt over having these feelings in the middle of this event, and internalized longing.  

    //cries forever

    This^

    (Source: sherlocked-for-life)

     
    1. Ben: *casually calls Martin sweetheart*
    2. Martin: *grins, makes inside joke*
    3. Ben: *giggles like a schoolboy*
    4. Martin: *giggles like a schoolboy right back*
    5. tumblr: *incinerates*