Is everyone berating themselves for being shippers? Or feeling angry that they feel they’re meant to be berating themselves?

I’m used to that feeling, because shame is sort of my default position when it comes to fandom, not that I’m proud of that. Objectively I know that fandoms are fucking amazing. Fanwork as a whole is some of the most creative, engaging, accessible stuff there is, and the level of collaborative, creative dialogue around a shared universe anid shared characters is absolutely astounding. But it doesn’t take much to be reduced to shame about it. I think that’s unfortunate, but it’s a tough one to fight externally and internally.

I’m not sure what prompted the conversation to start with, but I presume it’s some fans’ level of passionate, vocal devotion and very specific demands. I’ve always been in the “please don’t look at us, pretend we don’t exist, let us do our own thing” camp, though I understand how problematic that is. I still don’t really know how to deal with the powers that be talking about us and engaging with us directly. It’s often very cool, but sometimes it has that dreaded chilling effect. Passionate engagement is very easy to get judgey about (and feel judged about).

I guess there are two ways to approach fannish activity (a lie: there are more than two. But for the moment, rhetorically two): prediction, and interpretation. You can engage in order to guess the outcome of a series, and then spill over into begging creators for your preferred solution, because otherwise the whole thing is literally ruined for you, or interpretation, knowing that your own take on things is variable, and what happens is pretty much always beloved fodder. Traditionally gen and het fandoms have taken the lead on the former (“will they or won’t they?”) and slash fandoms generally opted for the latter. It’s interesting to see a slash fandom genuinely shift into the former category. Maybe it’s a good sign, I don’t know.

That said: it’s a super annoying thing when you’re in the middle of telling a story and someone tells you how it has to end, or what you have to do, or what you have to include for them to still like your story. It just is. Especially for those of us who plan extensively, there’s no way to respond to that in a productive way. At that point the story is what it is, the writer has a vision, and she’s going to execute it they way she wants to. (Or: she should. don’t bow to pressure! Trust your inner vision!) If you want something different than what you think you’re going to get, go make your own. So that’s what we do: we make our own.

The final results of creative work are generally best when everyone goes with their heart and makes their own best story, not what someone else demands that they do. Trust your storyteller, avoid demanding that they conform to your expectations or desires, and if there’s a version of their story burning a hole in your soul, write it yourself. Only you can make your own dreams come true. A creator’s first job is to please themselves. I don’t have the stats on this, but my hunch is that when’s creator creates a story he loves, we love it too.

No actor, creator, and producer can shame me as much as I can shame myself. So I’m going to skip the shame spiral this time and construct some stories instead. There’s no end of stories.

rebelaachan: mildattraction: passionsofawriter: consultingt-rex: bennyslegs: “At Sherlock’s grave, before finally walking away, John’s quick-turn is how a lower ranking officer would leave the presence of a higher one after being dismissed. The whole time, consciously or unconsciously, John has viewed Sherlock as his superior officer, someone he needs to trust and take orders from in order to make their friendship/crime solving work.” (x) And that little nod he gives… its the kind a lower ranking officer would give when being dismissed. Its either a ‘Yes, sir.’ or a short nod. And so he’s being dismissed. He’s being dismissed from whatever life he had before Sherlock died. I don’t think John’s behaviour at Sherlock’s grave is indicative of him feeling that he’s literally outranked in their relationship. I don’t think John saw Sherlock as his superior officer in any way. Sherlock and John are (or, at this point, were) friends, they complement each other in very specific and I would argue entirely equal ways. What they have is a perfectly balanced, mutually beneficial partnership.  John might not be the genius Sherlock is, but he is an equal contributor in the context of their lives together, and he knows that he is. They are mutually invested in solving crimes. Granted, it’s easier to see that John is also invested in Sherlock himself, but I think the reverse is true as well. John is Sherlock’s emotional centre, his moral and ethical barometer, and his muse. I think it’s a mistake to see John as merely an assistant in any context. John does not merely take orders from Sherlock, and Sherlock frequently take orders from John when he’s at a loss. Sherlock has his expertise and John respects that; John also has his, and Sherlock will do what John tells him to do, even if he doesn’t entirely understand why.  Sherlock needs John as much as John needs Sherlock. They take care of each other in exactly the way each of them needs taking care of. They are in perfect balance, their own private harmony. That’s why no one else can come between them. Not girlfriends, not family, not holidays: nothing. They are two halves, and are entirely complete together. My interpretation of John’s behaviour at Sherlock’s grave is this: he’s using the most meaningful actions he can to demonstrate his utmost and unfailing respect for someone who is not a fake, is not a fraud, and did not do the things he is being accused of. He’s saying goodbye to someone who deserves a flypast and a twenty-one gun salute.
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rebelaachan: mildattraction: passionsofawriter: consultingt-rex: bennyslegs: “At Sherlock’s grave, before finally walking away, John’s quick-turn is how a lower ranking officer would leave the presence of a higher one after being dismissed. The whole time, consciously or unconsciously, John has viewed Sherlock as his superior officer, someone he needs to trust and take orders from in order to make their friendship/crime solving work.” (x) And that little nod he gives… its the kind a lower ranking officer would give when being dismissed. Its either a ‘Yes, sir.’ or a short nod. And so he’s being dismissed. He’s being dismissed from whatever life he had before Sherlock died. I don’t think John’s behaviour at Sherlock’s grave is indicative of him feeling that he’s literally outranked in their relationship. I don’t think John saw Sherlock as his superior officer in any way. Sherlock and John are (or, at this point, were) friends, they complement each other in very specific and I would argue entirely equal ways. What they have is a perfectly balanced, mutually beneficial partnership.  John might not be the genius Sherlock is, but he is an equal contributor in the context of their lives together, and he knows that he is. They are mutually invested in solving crimes. Granted, it’s easier to see that John is also invested in Sherlock himself, but I think the reverse is true as well. John is Sherlock’s emotional centre, his moral and ethical barometer, and his muse. I think it’s a mistake to see John as merely an assistant in any context. John does not merely take orders from Sherlock, and Sherlock frequently take orders from John when he’s at a loss. Sherlock has his expertise and John respects that; John also has his, and Sherlock will do what John tells him to do, even if he doesn’t entirely understand why.  Sherlock needs John as much as John needs Sherlock. They take care of each other in exactly the way each of them needs taking care of. They are in perfect balance, their own private harmony. That’s why no one else can come between them. Not girlfriends, not family, not holidays: nothing. They are two halves, and are entirely complete together. My interpretation of John’s behaviour at Sherlock’s grave is this: he’s using the most meaningful actions he can to demonstrate his utmost and unfailing respect for someone who is not a fake, is not a fraud, and did not do the things he is being accused of. He’s saying goodbye to someone who deserves a flypast and a twenty-one gun salute.
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rebelaachan:

mildattraction:

passionsofawriter:

consultingt-rex:

bennyslegs:

“At Sherlock’s grave, before finally walking away, John’s quick-turn is how a lower ranking officer would leave the presence of a higher one after being dismissed. The whole time, consciously or unconsciously, John has viewed Sherlock as his superior officer, someone he needs to trust and take orders from in order to make their friendship/crime solving work.” (x)

image

image

http://media.tumblr.com/tumblr_m73akvghZ41ro2e6z.jpg

And that little nod he gives… its the kind a lower ranking officer would give when being dismissed. Its either a ‘Yes, sir.’ or a short nod. And so he’s being dismissed. He’s being dismissed from whatever life he had before Sherlock died.

I don’t think John’s behaviour at Sherlock’s grave is indicative of him feeling that he’s literally outranked in their relationship. I don’t think John saw Sherlock as his superior officer in any way. Sherlock and John are (or, at this point, were) friends, they complement each other in very specific and I would argue entirely equal ways. What they have is a perfectly balanced, mutually beneficial partnership. 

John might not be the genius Sherlock is, but he is an equal contributor in the context of their lives together, and he knows that he is. They are mutually invested in solving crimes. Granted, it’s easier to see that John is also invested in Sherlock himself, but I think the reverse is true as well. John is Sherlock’s emotional centre, his moral and ethical barometer, and his muse. I think it’s a mistake to see John as merely an assistant in any context. John does not merely take orders from Sherlock, and Sherlock frequently take orders from John when he’s at a loss. Sherlock has his expertise and John respects that; John also has his, and Sherlock will do what John tells him to do, even if he doesn’t entirely understand why.

 Sherlock needs John as much as John needs Sherlock. They take care of each other in exactly the way each of them needs taking care of. They are in perfect balance, their own private harmony. That’s why no one else can come between them. Not girlfriends, not family, not holidays: nothing. They are two halves, and are entirely complete together.

My interpretation of John’s behaviour at Sherlock’s grave is this: he’s using the most meaningful actions he can to demonstrate his utmost and unfailing respect for someone who is not a fake, is not a fraud, and did not do the things he is being accused of. He’s saying goodbye to someone who deserves a flypast and a twenty-one gun salute.

(via 221tardisimpalaexpress)

Tumblr is full of The Real today.

I think it’s important that we respect pronouns and call people what they want to be called in all situations. Sure, Frumious Bandersnatch is a nice nickname, but we’ve been told straight out to use The Real. So I think we should do that. It’s only polite. 

It’s all about The Real today on the tumblr machine.

Go you, The Real. Go you.

Some Thoughts on Spoilers

Filming seems to be like some kind of lengthy religious holiday for a fandom. It’s a holiday where all the beloved players do something critically important, but they do it privately where we can’t watch.

Except sometimes we get to see a glimpse! A photo! A rumour! A line is overheard! We get wind of a potential new cast member! Break out the cake and fireworks! Speculate speculate speculate!

I can understand the appeal of set photos and spoilers. It is pretty exciting. A little window into an alternate universe opens, and we get a brief glance into places that don’t usually exist, but currently do. it’s like the wardrobe door to Narnia is open and you can feel the cold breeze. I can understand the desire to pass along spoilers and pictures. We haven’t seen Sherlock in ages, it would be nice to see him again. John Watson is currently doing things we’ve never seen him do, and saying things we’ve never heard him say, and both of these beloved characters are tantalizingly out of reach.

Wild speculation is fun. I enjoy speculation of the wild variety. I am a connoisseur of the outrageous supposition, quite honestly.

But somehow I’m not that comfortable speculating based on rumours and set photos. I love to post my pet theories when they’re based on actual aired canon, but it feels specious to predict how an episode will go based on so little evidence. I’m not good at prediction, for one, and I fully anticipate Mark Gatiss will surprise us completely, no matter how many rumours get told or pictures get snapped. I have absolutely nothing but confidence that what they’re off creating is going to be epic and amazing! I am deeply impatient, but my confidence in the end result outweighs my impatience.

For all we know, the powers that be might be seeding spoilers just to watch us twist ourselves into funny shapes. (Wouldn’t you, if you were them? I would.) Twisting into funny shapes is pretty entertaining, and it’s tempting to join in and twist, but I feel the gaps. Photos feel more certain and definite than they have any right to, and rumours are only rumours until we see the finished product.

I think I can guarantee that this will be a spoiler-free space for my part, at least until the first episode of the series airs. After that, all bets are off. Once I’ve seen it, I will take up far too many pixels in arguments and theories, and I will textbomb more animated gif sets than anyone on the planet could ever want me to. You have been warned. But until then, I’ll withhold any speculation.

Happy Sherlockmas, everyone! Welcome to the Wardrobe! It’s all happening in Wonderland, just on the other side of that tiny locked door. All we have to do is take a deep breath and wait.

The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
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The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
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The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
Zoom Info
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
Zoom Info
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
Zoom Info
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
Zoom Info
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
Zoom Info
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust. John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him. Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.  Righteous violence is kind of John’s thing.
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The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust.

John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him.

Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence. 

Righteous violence is kind of John’s thing.

(via heybuddyspaceman)

Source: sherlocked-for-life

I’m of two minds about seeing production photos.

It’s cool to see how stuff is built. And it’s exciting that they’re being built. And it’s really fantastic that the people who do all that magic are sharing the process with us via social media. All very cool!

But…

I mean, I realize 221b isn’t a real place, but it’s totally a real place and seeing it set up on a sound stage kind of makes me realize that it’s all fake. Of course it’s all fake, it’s a tv show, they build sets, they wear costumes, I know, I know, but my suspension of disbelief is perfect and complete, it’s my superpower, you see, so when I watch something it’s actually real and really happening as far as I’m concerned, so seeing the things that are totally real being not real but actually entirely fake is kind of…WAIL. That doesn’t actually make any sense, does it.

When I see the episodes, will I look at the smiley on the wall and think, I know how they made that? Or will I think: that’s where Sherlock fired John’s gun and made a smiley face because he was bored that time, and Mrs Hudson hasn’t plastered it over yet. Because everyone misses Sherlock, they’re leaving that paint and that frayed wallpaper where it is. Which will it be? 

You see my problem?

So it’s cool, but…yeah. I’m of two minds.

sherlockspeare: televice: thirdatarian: wholockbatch: Right, so I’ve seen loads of posts about how the lovely mirror we see in Sherlock isn’t actually there in the first episode. This is not entirely true, it is already there in A Study in Pink, they just haven’t put it up yet. what is even happening in this fandom anymore We’re just all so bored now This fandom is getting Sherlock’s observation skills, that’s all. Huh. No no, that suggests that it actually belongs to Sherlock rather than Mrs Hudson. He had just brought his stuff in, right? He brought in his things, made the place a bit of a mess, and then showed the flat off to John. So it makes sense that the mirror, if it belongs to Sherlock, wasn’t on the wall yet. Sherlock put the mirror up later. It’s his mirror. He wants to have a mirror about.  Maybe that’s where he likes to stand when he puts his curlers in.
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sherlockspeare: televice: thirdatarian: wholockbatch: Right, so I’ve seen loads of posts about how the lovely mirror we see in Sherlock isn’t actually there in the first episode. This is not entirely true, it is already there in A Study in Pink, they just haven’t put it up yet. what is even happening in this fandom anymore We’re just all so bored now This fandom is getting Sherlock’s observation skills, that’s all. Huh. No no, that suggests that it actually belongs to Sherlock rather than Mrs Hudson. He had just brought his stuff in, right? He brought in his things, made the place a bit of a mess, and then showed the flat off to John. So it makes sense that the mirror, if it belongs to Sherlock, wasn’t on the wall yet. Sherlock put the mirror up later. It’s his mirror. He wants to have a mirror about.  Maybe that’s where he likes to stand when he puts his curlers in.
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sherlockspeare:

televice:

thirdatarian:

wholockbatch:

Right, so I’ve seen loads of posts about how the lovely mirror we see in Sherlock isn’t actually there in the first episode. This is not entirely true, it is already there in A Study in Pink, they just haven’t put it up yet.

what is even happening in this fandom anymore

We’re just all so bored now

This fandom is getting Sherlock’s observation skills, that’s all.

Huh. No no, that suggests that it actually belongs to Sherlock rather than Mrs Hudson.

He had just brought his stuff in, right? He brought in his things, made the place a bit of a mess, and then showed the flat off to John. So it makes sense that the mirror, if it belongs to Sherlock, wasn’t on the wall yet. Sherlock put the mirror up later. It’s his mirror. He wants to have a mirror about. 

Maybe that’s where he likes to stand when he puts his curlers in.

(via supremecommandercrieff)

Source: cumberbum

threepatchpodcast: Happpy Birthday Sherlock! Episode 1 is here! Show notes and direct download information are available here at three-patch.com. Or subscribe via RSS. Emma Grant had a natter with me over skype for this podcast. I’m a bit scared to listen, but word on the street says she edited it to make me sound like less of a dolt. Thank god for editing, eh? TELL ME WHAT YOU THINK WILL YOU TELL ME IF IT’S SAFE FOR ME TO LISTEN TO
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threepatchpodcast:

Happpy Birthday Sherlock! Episode 1 is here! Show notes and direct download information are available here at three-patch.com. Or subscribe via RSS.

Emma Grant had a natter with me over skype for this podcast. I’m a bit scared to listen, but word on the street says she edited it to make me sound like less of a dolt. Thank god for editing, eh?

TELL ME WHAT YOU THINK WILL YOU

TELL ME IF IT’S SAFE FOR ME TO LISTEN TO

I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
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I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
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I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info
I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info
I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info
I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info
I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info
I have two competing favourite things about this scene. Wait, no, three: 1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he? 2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role! 3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts.  Have you considered how easy it would be to use the tube as a murder weapon? No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice. HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL. BORED. YOU KNOW WHAT HAPPENS WHEN I GET BORED. Too bad I didn’t bring your gun with me. Though I suppose that could go wrong. You need to top up your Oyster card. 
Zoom Info

I have two competing favourite things about this scene. Wait, no, three:

1) the fact that Sherlock comes in and stops in front of John to pose with a bloody harpoon. Look at me, John. Look at me. I’m covered in blood. Tell me I’m beautiful, John. Tell me I’m clever. Look at me, John, look look! He’s such a tart, isn’t he?

2) Martin Freeman clearly acts with every pore, with every gesture, look, available muscle, and feature, including, visible here in GIF 2, his hairline. Great acting, Martin Freeman’s hair. Very convincing. I’d like to nominate Martin Freeman’s hair for a BAFTA. It doesn’t say much, but look how expressive it is! Under-appreciated role!

3) The pure genius of the dialogue. “You went on the tube like that?” What I like about it is that obviously John already knew Sherlock took the tube, so they must have been texting along the way. About something other than why he took the tube, or John’s hair wouldn’t have had so much important work to do. I’d love to see those texts. 

Have you considered how easy it would be to use the tube as a murder weapon?

No one looks at anyone else on the tube. Every murderer in the city could take the tube at once, carrying their murder weapons in plain sight, and no one would notice.

HAD TO CHANGE TRAINS TWICE. VERY INEFFICIENT FORM OF TRAVEL.

BORED.

YOU KNOW WHAT HAPPENS WHEN I GET BORED.

Too bad I didn’t bring your gun with me.

Though I suppose that could go wrong.

You need to top up your Oyster card. 

(via trashyfiction)

Source: newfluffytown

I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
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I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info
I’m unarmed. (But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.) Sherlock Holmes. Always using his head.
Zoom Info

I’m unarmed.

(But my very fine brain is encased in this large and unsurprisingly hard skull you might want to watch out for.)

Sherlock Holmes. Always using his head.

(via supremecommandercrieff)

Source: alternatetypewriter

ivyblossom: valeria2067: cumbermums: pass me my phone. Bizarre Oh look!  It’s Sherlock (“what’s this “personal space” you’re talking about?”) and John (“WHY THIS ISN’T EXTREMELY INTIMATE OR ANYTHING FOR GOD’S SAKE OMG WHAT AM I DOING WHAT SORT OF RELATIONSHIP IS THIS GOING TO BE OMG THAT’S A NIPPLE ISN’T IT YES YES IT IS OH GOD WHAT HAS MY LIFE BECOME WHAT ARE YOU DOING TO ME YES I LIKE HANGING OUT WITH YOU I LIKE IT A LOT BUT WHAT DOES THAT MEAN HERE’S YOUR DAMN PHONE YOU ASSHOLE NOW I’M HAVING AN IDENTITY CRISIS JESUS CHRIST”). Really? Wow. Really!  A whole story, yes: well, there’s story for each of them in that scene, and at that point they’re in very very different places in their lives, and there’s no harmony between them, so they are divergent stories. I’ll start with Sherlock, because that’s simpler. Why does Sherlock even ask? I presume it was probably meant to show us that Sherlock has very different values around okay and not okay. He has no time or respect for conventions, particularly social ones. He doesn’t care about whether or not something he needs is deemed too intimate. If he wants something, he’ll just ask. We have the unaired pilot line about “transport”, and I think this scene also underscores how little attention and care Sherlock affords his body. He doesn’t appear to sexualize himself in any way; I suspect, if his phone were in a pocket on his lap, he would still ask John to fish around in there without a thought. It’s a nice demonstration of Sherlock’s absence of any sense of boundaries, but also in how completely he’s embraced John as part of his process. John is like another set of his own hands. I think that’s affectionate on his part. In sum: Sherlock needs his phone. So his phone will be got. John can get it. That’s largely it. John, however, is painfully aware of meaning and how prematurely and possibly inappropriately intimate Sherlock is with him, and he’s clearly conflicted about it. (In series one, at least.) On one hand, yeah, he doesn’t want to be pushed around, but I don’t think that’s the issue here. John agrees that the work comes first. He is in awe of Sherlock’s abilities, and very much values what it is Sherlock does, so he sees that he can be helpful and wants to be. He wants to help and protect Sherlock, and that’s what he does. What I find uniquely wonderful about John as a character and Martin Freeman’s performance as him is that it looks to me like there’s always a battle going on in him about what’s going on between them and how close he really should get. And it’s like you can almost see him thinking, well, that would be crossing a line, but…oh well. Fuck it. Here we go. So while Sherlock asks for things pretty much on the nose (he wants to spend the night in some woman’s bedroom with John, then he’ll just say so), and it’s John who parses out all the multiple meanings of things and decides how far he wants to go. This scene is one of those early moments. He could have said no. But he doesn’t. He says: okay. Yes. I will reach into your inner pocket and fish out your phone. I think he’s uncomfortable with this level of intimacy at this point, but he definitely doesn’t reject it. You can see at least the majority of the resolution of John’s conflict in series 2. He no longer agonizes about how intimate things get with Sherlock. And we know they get pretty damn intimate. They share a room in Hounds, and while John is a bit (a tiny bit) uncomfortable talking about it, he’s clearly not uncomfortable with the facts on the ground. In Scandal, this is the man who leans over, peers at Sherlock’s crotch, and asks him if he’s wearing pants. They share a level of intimacy that probably took John a while to get comfortable with. But he is so incredibly happy in series 2. Happy and largely at peace with the awkwardness of it all. Because it isn’t awkward for them, and that’s all that actually matters. I like to think, through the whole of series 2, that John is constantly gauging whether or not he’s about to be in an actual relationship with Sherlock, and what that would even mean. I’m a slasher so of course I would say that, but look: John’s last girlfriend is basically a female version of Sherlock (angular face, taller than him, dark hair, etc). But he ignores even her. That’s how it is with John: no one can compete with Sherlock for John’s attention, because Sherlock will always get it. You have to feel some sympathy for him: Sherlock completes him the way no one else ever will. What are you supposed to do with that? It’s complicated. (And I am a slasher, so I’ll just say it: I’m pretty convinced, given this progression of intimacy and John’s constant battle to adjust to it and not reject it, that if Sherlock crawled into his lap one afternoon and started making out with him, he would probably just go with it. In the first series I thought it was Sherlock who had fallen for John, but series 2 for me is all about John throwing in the towel and just saying, yeah, you know, whatever makes us happy. Life is fucking short.) There’s that beautiful moment in Reichenbach where Sherlock asks why John cares what people say, and we all know the answer. And John knows the answer, obviously, and he looks uncomfortable being asked so plainly. I love that part of John’s character, how he’s always gauging things, always trying to stay standing on this particular balance beam. And I don’t know that he’s completely sure about where he’s going to end up. But he’s okay with that. He ducks and weaves. He rearranges the universe to make it all make sense. He’s not a doormat. He’s very, very brave. He’s rewriting the rules of this friendship every ten minutes. The warzone isn’t just the streets of London: it’s Sherlock. The incoming projectiles really never stop. [This ask in reblobbable form, as requested by serissime, good idea.]
Zoom Info
ivyblossom: valeria2067: cumbermums: pass me my phone. Bizarre Oh look!  It’s Sherlock (“what’s this “personal space” you’re talking about?”) and John (“WHY THIS ISN’T EXTREMELY INTIMATE OR ANYTHING FOR GOD’S SAKE OMG WHAT AM I DOING WHAT SORT OF RELATIONSHIP IS THIS GOING TO BE OMG THAT’S A NIPPLE ISN’T IT YES YES IT IS OH GOD WHAT HAS MY LIFE BECOME WHAT ARE YOU DOING TO ME YES I LIKE HANGING OUT WITH YOU I LIKE IT A LOT BUT WHAT DOES THAT MEAN HERE’S YOUR DAMN PHONE YOU ASSHOLE NOW I’M HAVING AN IDENTITY CRISIS JESUS CHRIST”). Really? Wow. Really!  A whole story, yes: well, there’s story for each of them in that scene, and at that point they’re in very very different places in their lives, and there’s no harmony between them, so they are divergent stories. I’ll start with Sherlock, because that’s simpler. Why does Sherlock even ask? I presume it was probably meant to show us that Sherlock has very different values around okay and not okay. He has no time or respect for conventions, particularly social ones. He doesn’t care about whether or not something he needs is deemed too intimate. If he wants something, he’ll just ask. We have the unaired pilot line about “transport”, and I think this scene also underscores how little attention and care Sherlock affords his body. He doesn’t appear to sexualize himself in any way; I suspect, if his phone were in a pocket on his lap, he would still ask John to fish around in there without a thought. It’s a nice demonstration of Sherlock’s absence of any sense of boundaries, but also in how completely he’s embraced John as part of his process. John is like another set of his own hands. I think that’s affectionate on his part. In sum: Sherlock needs his phone. So his phone will be got. John can get it. That’s largely it. John, however, is painfully aware of meaning and how prematurely and possibly inappropriately intimate Sherlock is with him, and he’s clearly conflicted about it. (In series one, at least.) On one hand, yeah, he doesn’t want to be pushed around, but I don’t think that’s the issue here. John agrees that the work comes first. He is in awe of Sherlock’s abilities, and very much values what it is Sherlock does, so he sees that he can be helpful and wants to be. He wants to help and protect Sherlock, and that’s what he does. What I find uniquely wonderful about John as a character and Martin Freeman’s performance as him is that it looks to me like there’s always a battle going on in him about what’s going on between them and how close he really should get. And it’s like you can almost see him thinking, well, that would be crossing a line, but…oh well. Fuck it. Here we go. So while Sherlock asks for things pretty much on the nose (he wants to spend the night in some woman’s bedroom with John, then he’ll just say so), and it’s John who parses out all the multiple meanings of things and decides how far he wants to go. This scene is one of those early moments. He could have said no. But he doesn’t. He says: okay. Yes. I will reach into your inner pocket and fish out your phone. I think he’s uncomfortable with this level of intimacy at this point, but he definitely doesn’t reject it. You can see at least the majority of the resolution of John’s conflict in series 2. He no longer agonizes about how intimate things get with Sherlock. And we know they get pretty damn intimate. They share a room in Hounds, and while John is a bit (a tiny bit) uncomfortable talking about it, he’s clearly not uncomfortable with the facts on the ground. In Scandal, this is the man who leans over, peers at Sherlock’s crotch, and asks him if he’s wearing pants. They share a level of intimacy that probably took John a while to get comfortable with. But he is so incredibly happy in series 2. Happy and largely at peace with the awkwardness of it all. Because it isn’t awkward for them, and that’s all that actually matters. I like to think, through the whole of series 2, that John is constantly gauging whether or not he’s about to be in an actual relationship with Sherlock, and what that would even mean. I’m a slasher so of course I would say that, but look: John’s last girlfriend is basically a female version of Sherlock (angular face, taller than him, dark hair, etc). But he ignores even her. That’s how it is with John: no one can compete with Sherlock for John’s attention, because Sherlock will always get it. You have to feel some sympathy for him: Sherlock completes him the way no one else ever will. What are you supposed to do with that? It’s complicated. (And I am a slasher, so I’ll just say it: I’m pretty convinced, given this progression of intimacy and John’s constant battle to adjust to it and not reject it, that if Sherlock crawled into his lap one afternoon and started making out with him, he would probably just go with it. In the first series I thought it was Sherlock who had fallen for John, but series 2 for me is all about John throwing in the towel and just saying, yeah, you know, whatever makes us happy. Life is fucking short.) There’s that beautiful moment in Reichenbach where Sherlock asks why John cares what people say, and we all know the answer. And John knows the answer, obviously, and he looks uncomfortable being asked so plainly. I love that part of John’s character, how he’s always gauging things, always trying to stay standing on this particular balance beam. And I don’t know that he’s completely sure about where he’s going to end up. But he’s okay with that. He ducks and weaves. He rearranges the universe to make it all make sense. He’s not a doormat. He’s very, very brave. He’s rewriting the rules of this friendship every ten minutes. The warzone isn’t just the streets of London: it’s Sherlock. The incoming projectiles really never stop. [This ask in reblobbable form, as requested by serissime, good idea.]
Zoom Info
ivyblossom: valeria2067: cumbermums: pass me my phone. Bizarre Oh look!  It’s Sherlock (“what’s this “personal space” you’re talking about?”) and John (“WHY THIS ISN’T EXTREMELY INTIMATE OR ANYTHING FOR GOD’S SAKE OMG WHAT AM I DOING WHAT SORT OF RELATIONSHIP IS THIS GOING TO BE OMG THAT’S A NIPPLE ISN’T IT YES YES IT IS OH GOD WHAT HAS MY LIFE BECOME WHAT ARE YOU DOING TO ME YES I LIKE HANGING OUT WITH YOU I LIKE IT A LOT BUT WHAT DOES THAT MEAN HERE’S YOUR DAMN PHONE YOU ASSHOLE NOW I’M HAVING AN IDENTITY CRISIS JESUS CHRIST”). Really? Wow. Really!  A whole story, yes: well, there’s story for each of them in that scene, and at that point they’re in very very different places in their lives, and there’s no harmony between them, so they are divergent stories. I’ll start with Sherlock, because that’s simpler. Why does Sherlock even ask? I presume it was probably meant to show us that Sherlock has very different values around okay and not okay. He has no time or respect for conventions, particularly social ones. He doesn’t care about whether or not something he needs is deemed too intimate. If he wants something, he’ll just ask. We have the unaired pilot line about “transport”, and I think this scene also underscores how little attention and care Sherlock affords his body. He doesn’t appear to sexualize himself in any way; I suspect, if his phone were in a pocket on his lap, he would still ask John to fish around in there without a thought. It’s a nice demonstration of Sherlock’s absence of any sense of boundaries, but also in how completely he’s embraced John as part of his process. John is like another set of his own hands. I think that’s affectionate on his part. In sum: Sherlock needs his phone. So his phone will be got. John can get it. That’s largely it. John, however, is painfully aware of meaning and how prematurely and possibly inappropriately intimate Sherlock is with him, and he’s clearly conflicted about it. (In series one, at least.) On one hand, yeah, he doesn’t want to be pushed around, but I don’t think that’s the issue here. John agrees that the work comes first. He is in awe of Sherlock’s abilities, and very much values what it is Sherlock does, so he sees that he can be helpful and wants to be. He wants to help and protect Sherlock, and that’s what he does. What I find uniquely wonderful about John as a character and Martin Freeman’s performance as him is that it looks to me like there’s always a battle going on in him about what’s going on between them and how close he really should get. And it’s like you can almost see him thinking, well, that would be crossing a line, but…oh well. Fuck it. Here we go. So while Sherlock asks for things pretty much on the nose (he wants to spend the night in some woman’s bedroom with John, then he’ll just say so), and it’s John who parses out all the multiple meanings of things and decides how far he wants to go. This scene is one of those early moments. He could have said no. But he doesn’t. He says: okay. Yes. I will reach into your inner pocket and fish out your phone. I think he’s uncomfortable with this level of intimacy at this point, but he definitely doesn’t reject it. You can see at least the majority of the resolution of John’s conflict in series 2. He no longer agonizes about how intimate things get with Sherlock. And we know they get pretty damn intimate. They share a room in Hounds, and while John is a bit (a tiny bit) uncomfortable talking about it, he’s clearly not uncomfortable with the facts on the ground. In Scandal, this is the man who leans over, peers at Sherlock’s crotch, and asks him if he’s wearing pants. They share a level of intimacy that probably took John a while to get comfortable with. But he is so incredibly happy in series 2. Happy and largely at peace with the awkwardness of it all. Because it isn’t awkward for them, and that’s all that actually matters. I like to think, through the whole of series 2, that John is constantly gauging whether or not he’s about to be in an actual relationship with Sherlock, and what that would even mean. I’m a slasher so of course I would say that, but look: John’s last girlfriend is basically a female version of Sherlock (angular face, taller than him, dark hair, etc). But he ignores even her. That’s how it is with John: no one can compete with Sherlock for John’s attention, because Sherlock will always get it. You have to feel some sympathy for him: Sherlock completes him the way no one else ever will. What are you supposed to do with that? It’s complicated. (And I am a slasher, so I’ll just say it: I’m pretty convinced, given this progression of intimacy and John’s constant battle to adjust to it and not reject it, that if Sherlock crawled into his lap one afternoon and started making out with him, he would probably just go with it. In the first series I thought it was Sherlock who had fallen for John, but series 2 for me is all about John throwing in the towel and just saying, yeah, you know, whatever makes us happy. Life is fucking short.) There’s that beautiful moment in Reichenbach where Sherlock asks why John cares what people say, and we all know the answer. And John knows the answer, obviously, and he looks uncomfortable being asked so plainly. I love that part of John’s character, how he’s always gauging things, always trying to stay standing on this particular balance beam. And I don’t know that he’s completely sure about where he’s going to end up. But he’s okay with that. He ducks and weaves. He rearranges the universe to make it all make sense. He’s not a doormat. He’s very, very brave. He’s rewriting the rules of this friendship every ten minutes. The warzone isn’t just the streets of London: it’s Sherlock. The incoming projectiles really never stop. [This ask in reblobbable form, as requested by serissime, good idea.]
Zoom Info
ivyblossom: valeria2067: cumbermums: pass me my phone. Bizarre Oh look!  It’s Sherlock (“what’s this “personal space” you’re talking about?”) and John (“WHY THIS ISN’T EXTREMELY INTIMATE OR ANYTHING FOR GOD’S SAKE OMG WHAT AM I DOING WHAT SORT OF RELATIONSHIP IS THIS GOING TO BE OMG THAT’S A NIPPLE ISN’T IT YES YES IT IS OH GOD WHAT HAS MY LIFE BECOME WHAT ARE YOU DOING TO ME YES I LIKE HANGING OUT WITH YOU I LIKE IT A LOT BUT WHAT DOES THAT MEAN HERE’S YOUR DAMN PHONE YOU ASSHOLE NOW I’M HAVING AN IDENTITY CRISIS JESUS CHRIST”). Really? Wow. Really!  A whole story, yes: well, there’s story for each of them in that scene, and at that point they’re in very very different places in their lives, and there’s no harmony between them, so they are divergent stories. I’ll start with Sherlock, because that’s simpler. Why does Sherlock even ask? I presume it was probably meant to show us that Sherlock has very different values around okay and not okay. He has no time or respect for conventions, particularly social ones. He doesn’t care about whether or not something he needs is deemed too intimate. If he wants something, he’ll just ask. We have the unaired pilot line about “transport”, and I think this scene also underscores how little attention and care Sherlock affords his body. He doesn’t appear to sexualize himself in any way; I suspect, if his phone were in a pocket on his lap, he would still ask John to fish around in there without a thought. It’s a nice demonstration of Sherlock’s absence of any sense of boundaries, but also in how completely he’s embraced John as part of his process. John is like another set of his own hands. I think that’s affectionate on his part. In sum: Sherlock needs his phone. So his phone will be got. John can get it. That’s largely it. John, however, is painfully aware of meaning and how prematurely and possibly inappropriately intimate Sherlock is with him, and he’s clearly conflicted about it. (In series one, at least.) On one hand, yeah, he doesn’t want to be pushed around, but I don’t think that’s the issue here. John agrees that the work comes first. He is in awe of Sherlock’s abilities, and very much values what it is Sherlock does, so he sees that he can be helpful and wants to be. He wants to help and protect Sherlock, and that’s what he does. What I find uniquely wonderful about John as a character and Martin Freeman’s performance as him is that it looks to me like there’s always a battle going on in him about what’s going on between them and how close he really should get. And it’s like you can almost see him thinking, well, that would be crossing a line, but…oh well. Fuck it. Here we go. So while Sherlock asks for things pretty much on the nose (he wants to spend the night in some woman’s bedroom with John, then he’ll just say so), and it’s John who parses out all the multiple meanings of things and decides how far he wants to go. This scene is one of those early moments. He could have said no. But he doesn’t. He says: okay. Yes. I will reach into your inner pocket and fish out your phone. I think he’s uncomfortable with this level of intimacy at this point, but he definitely doesn’t reject it. You can see at least the majority of the resolution of John’s conflict in series 2. He no longer agonizes about how intimate things get with Sherlock. And we know they get pretty damn intimate. They share a room in Hounds, and while John is a bit (a tiny bit) uncomfortable talking about it, he’s clearly not uncomfortable with the facts on the ground. In Scandal, this is the man who leans over, peers at Sherlock’s crotch, and asks him if he’s wearing pants. They share a level of intimacy that probably took John a while to get comfortable with. But he is so incredibly happy in series 2. Happy and largely at peace with the awkwardness of it all. Because it isn’t awkward for them, and that’s all that actually matters. I like to think, through the whole of series 2, that John is constantly gauging whether or not he’s about to be in an actual relationship with Sherlock, and what that would even mean. I’m a slasher so of course I would say that, but look: John’s last girlfriend is basically a female version of Sherlock (angular face, taller than him, dark hair, etc). But he ignores even her. That’s how it is with John: no one can compete with Sherlock for John’s attention, because Sherlock will always get it. You have to feel some sympathy for him: Sherlock completes him the way no one else ever will. What are you supposed to do with that? It’s complicated. (And I am a slasher, so I’ll just say it: I’m pretty convinced, given this progression of intimacy and John’s constant battle to adjust to it and not reject it, that if Sherlock crawled into his lap one afternoon and started making out with him, he would probably just go with it. In the first series I thought it was Sherlock who had fallen for John, but series 2 for me is all about John throwing in the towel and just saying, yeah, you know, whatever makes us happy. Life is fucking short.) There’s that beautiful moment in Reichenbach where Sherlock asks why John cares what people say, and we all know the answer. And John knows the answer, obviously, and he looks uncomfortable being asked so plainly. I love that part of John’s character, how he’s always gauging things, always trying to stay standing on this particular balance beam. And I don’t know that he’s completely sure about where he’s going to end up. But he’s okay with that. He ducks and weaves. He rearranges the universe to make it all make sense. He’s not a doormat. He’s very, very brave. He’s rewriting the rules of this friendship every ten minutes. The warzone isn’t just the streets of London: it’s Sherlock. The incoming projectiles really never stop. [This ask in reblobbable form, as requested by serissime, good idea.]
Zoom Info

ivyblossom:

valeria2067:

cumbermums:

pass me my phone.

Bizarre

Oh look!  It’s Sherlock (“what’s this “personal space” you’re talking about?”) and John (“WHY THIS ISN’T EXTREMELY INTIMATE OR ANYTHING FOR GOD’S SAKE OMG WHAT AM I DOING WHAT SORT OF RELATIONSHIP IS THIS GOING TO BE OMG THAT’S A NIPPLE ISN’T IT YES YES IT IS OH GOD WHAT HAS MY LIFE BECOME WHAT ARE YOU DOING TO ME YES I LIKE HANGING OUT WITH YOU I LIKE IT A LOT BUT WHAT DOES THAT MEAN HERE’S YOUR DAMN PHONE YOU ASSHOLE NOW I’M HAVING AN IDENTITY CRISIS JESUS CHRIST”).

image

Really? Wow. Really! 

A whole story, yes: well, there’s story for each of them in that scene, and at that point they’re in very very different places in their lives, and there’s no harmony between them, so they are divergent stories.

I’ll start with Sherlock, because that’s simpler.

Why does Sherlock even ask? I presume it was probably meant to show us that Sherlock has very different values around okay and not okay. He has no time or respect for conventions, particularly social ones. He doesn’t care about whether or not something he needs is deemed too intimate. If he wants something, he’ll just ask.

We have the unaired pilot line about “transport”, and I think this scene also underscores how little attention and care Sherlock affords his body. He doesn’t appear to sexualize himself in any way; I suspect, if his phone were in a pocket on his lap, he would still ask John to fish around in there without a thought. It’s a nice demonstration of Sherlock’s absence of any sense of boundaries, but also in how completely he’s embraced John as part of his process. John is like another set of his own hands. I think that’s affectionate on his part. In sum: Sherlock needs his phone. So his phone will be got. John can get it. That’s largely it.

John, however, is painfully aware of meaning and how prematurely and possibly inappropriately intimate Sherlock is with him, and he’s clearly conflicted about it. (In series one, at least.) On one hand, yeah, he doesn’t want to be pushed around, but I don’t think that’s the issue here. John agrees that the work comes first. He is in awe of Sherlock’s abilities, and very much values what it is Sherlock does, so he sees that he can be helpful and wants to be. He wants to help and protect Sherlock, and that’s what he does.

What I find uniquely wonderful about John as a character and Martin Freeman’s performance as him is that it looks to me like there’s always a battle going on in him about what’s going on between them and how close he really should get. And it’s like you can almost see him thinking, well, that would be crossing a line, but…oh well. Fuck it. Here we go. So while Sherlock asks for things pretty much on the nose (he wants to spend the night in some woman’s bedroom with John, then he’ll just say so), and it’s John who parses out all the multiple meanings of things and decides how far he wants to go. This scene is one of those early moments. He could have said no. But he doesn’t. He says: okay. Yes. I will reach into your inner pocket and fish out your phone. I think he’s uncomfortable with this level of intimacy at this point, but he definitely doesn’t reject it.

You can see at least the majority of the resolution of John’s conflict in series 2. He no longer agonizes about how intimate things get with Sherlock. And we know they get pretty damn intimate. They share a room in Hounds, and while John is a bit (a tiny bit) uncomfortable talking about it, he’s clearly not uncomfortable with the facts on the ground. In Scandal, this is the man who leans over, peers at Sherlock’s crotch, and asks him if he’s wearing pants. They share a level of intimacy that probably took John a while to get comfortable with. But he is so incredibly happy in series 2. Happy and largely at peace with the awkwardness of it all. Because it isn’t awkward for them, and that’s all that actually matters.

I like to think, through the whole of series 2, that John is constantly gauging whether or not he’s about to be in an actual relationship with Sherlock, and what that would even mean. I’m a slasher so of course I would say that, but look: John’s last girlfriend is basically a female version of Sherlock (angular face, taller than him, dark hair, etc). But he ignores even her. That’s how it is with John: no one can compete with Sherlock for John’s attention, because Sherlock will always get it. You have to feel some sympathy for him: Sherlock completes him the way no one else ever will. What are you supposed to do with that? It’s complicated.

(And I am a slasher, so I’ll just say it: I’m pretty convinced, given this progression of intimacy and John’s constant battle to adjust to it and not reject it, that if Sherlock crawled into his lap one afternoon and started making out with him, he would probably just go with it. In the first series I thought it was Sherlock who had fallen for John, but series 2 for me is all about John throwing in the towel and just saying, yeah, you know, whatever makes us happy. Life is fucking short.)

There’s that beautiful moment in Reichenbach where Sherlock asks why John cares what people say, and we all know the answer. And John knows the answer, obviously, and he looks uncomfortable being asked so plainly. I love that part of John’s character, how he’s always gauging things, always trying to stay standing on this particular balance beam. And I don’t know that he’s completely sure about where he’s going to end up. But he’s okay with that. He ducks and weaves. He rearranges the universe to make it all make sense.

He’s not a doormat. He’s very, very brave. He’s rewriting the rules of this friendship every ten minutes. The warzone isn’t just the streets of London: it’s Sherlock. The incoming projectiles really never stop.

[This ask in reblobbable form, as requested by serissime, good idea.]

Source: herrholmes

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