almost home
noise dept.
$LAYYYTER
Stranger Things
Andulka
PUT YOUR BEARD IN MY MOUTH
taylor price
Peter Solarz
let's talk about Bridgerton tea, my ask is open
izzy's playlists!
Not today Justin
JBB: An Artblog!
Jules of Nature
🪼
ojovivo
hello vonnie
todays bird
oozey mess
styofa doing anything
roma★
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@melody-clark
Sherlock BBC Johnlock experts?
I have a podcast called Fan Flak. I’m of the opinion that Dracula 2019 doesn’t exist. I think it’s a cover for Sherlock series 5. Id like to find one more person who is still Sherlock positive, who is open to the theory, to be a guest on my podcast. Interested? Message me. TY!
#his kink at full power
I mean
I HAVE BEEN PATIENTLY WAITING FOR THIS PHOTOSET.
Sherlock’s military kink brings me so much joy, I can’t even explain my level of inner porn.
Sherlock’s military kink, you say? As in:
And then:
YES, yes, this, exactly this!
Not even secretly aroused. Sherlock just wants to be in the middle of a giant military guy pile. Is it so much to ask?
My absolute favorite thing about that Baskerville scene is that John does’t even LOOK at that dude when he says ‘that’s an order’ - as in, ‘I’m so fucking in charge that I don’t even need to acknowledge you as I demand things from you AND YOU WILL GIVE ME WHAT I WANT.’
UNF.
Bless this.
And 2 of the only cast photos. Yes, that’s a box full of stakes.
Look at these amazing graphics for Dracula 2019 lol
John let his head fall back against the wall, the hand that was still wrapped around Sherlock’s, squeezing desperately. He didn’t know what to do with himself. He was everywhere all at once, coming apart under Sherlock’s mouth. He was thankful for the wall at his back because his legs were as soft as butter beneath him, trembling and weak. ♡
Commission for holmesianpose ! Based on chapter 8 of her great story “Thirst”, which you guys can find here :)
These are the promo pics from and info about “Dracula” ...
On top of this, the cast isn’t allowed to talk about what project they’re doing.
We expected Johnlock before, we got gothic horror ... and now ...
To those continually bitching about America, please note that mass shootings and the rest represent an attack AGAINST my country. Americans are the ones who are dying.
FAVORITE FREEBATCH/TFBC MOMENTS
Lustful Martin
Touchy Martin
Pining Ben
“getting closer”
“notice me”
“offended”
“i’m fine, i’m fine”
“please notice me”
“alright, i’m not crying inside”
“pining in the distance”
Staring at each other when the other can’t see
Synchronized
This
Ben about Martin
Martin about Ben
“whether we like it or not…”
Looking like a couple
Ben waiting for Martin
Being silly
In a very platonic…
Woops my thumb slipped and hit “reblog.”
Always reblog!! ❤️❤️ I miss these two so much
Never not reblog 💜💜💜
Oh God this is like the Freebatch masterpost
whered you go
Still here
Happy Valentine’s Day
<3 <3 <3 <3
i love one (1) man
Looking Closer at How The Abominable Bride Foreshadowed and Can Be Used to Chronologically Decode Series 4:
In series 2, Sherlock’s fatal mistake wasn’t taking the fall, it was not telling John about it. Instead of letting him in, Sherlock pushed him further and further away for John’s safety, because he thought the two of them would never be able to be together while Moriarty was alive. And after Sherlock heard John absently confess his love for him at Battersea in ASIB he knew he had to do everything he could to destroy Moriarty. Sherlock learns his lesson in TAB after being haunted by his mistake and nearly destroying his relationship with John… at the waterfall scene, Sherlock decides he has to let John in to finally defeat his ghost. This solidifies Sherlock’s emotional journey through series 4 –– and even with John telling a false account of how Mary died and us not being able to see the unfiltered John and Sherlock, we can see how his decisions have changed behind the true events of series 4.
In the opening act of TAB, Sherlock says the following right before he begins the investigation into Emelia Ricoletti, “The stage is set, the curtain rises. We are ready to begin.” This is, in part, a reference to Sherlock imagining the investigation to begin with; prior to this line, he’s already been warned about Moriarty’s return and imagines John and Mary very unhappy in their marriage together, while also letting his own insecurities and internal biases slip into the narrative he’s constructed. He’s setting the stage for what comes next. John and Mary are busy arguing about John always being away from her. Mary even snides about how John doesn’t do anything in their investigations, when John is the key to saving Sherlock by the end of the episode. In HLV, Sherlock lied for Mary and made up an account of his own death where Mary called emergency services (when it was actually Magnussen) and shot him in a non-lethal way (again, he died) in order to urge John to forgive her so she wouldn’t hurt them. Mary was still too dangerous and in Sherlock’s mind, possibly Moriarty’s spy, so Sherlock needed to get her back into a false sense of security before he and John could make their next move against her and her agenda. In reality, John has not actually forgiven Mary, and he clearly tried to read the flash drive.
In TAB though, Sherlock is imagining a John that has on the surface, actually done what Sherlock urged him to do for his own safety, but Sherlock still knows their marriage can’t last. Later in the episode, Sherlock’s investigation into Mrs. Ricoletti will lead to Mary heading to a showdown seemingly putting her in danger and leave Sherlock partially responsible (and John mad, because Sherlock is insecure about his John actually caring for Mary, which he doesn’t). In TAB, Mary also shares elements with Sir Eustace –– the man who couldn’t escape his past and was killed, causing Sherlock to break a vow. In his dream, as Sherlock is recollecting the past and trying to estimate the future, Sherlock knows that Mary’s past is going to come back to haunt them. The question is merely when, and if it has to do with harming him and John (subconsciously, Sherlock has already made the connection between Mary and Moriarty).
In TRF, Sherlock texts Moriarty, “Come and play. Bart’s hospital roof. SH” and puts on his emotionless mask in order to get John to leave so he can fake his own death. In this confrontation, Moriarty also fakes his own death with his body never being recovered. In TST, Sherlock texts Mary the following right before the showdown with Vivian Norbury, “The curtain rises. The last act. It’s not over. SH”, similar to what Sherlock said in TAB. Sherlock also texts John, saying, “London Aquarium. Come immediately.” Sherlock also said that specific curtain phrase in TGG –– when he received the bomb threat from a woman being held hostage in relation to Moriarty’s game, indicated by the pair of shoes left under their flat from Sherlock’s first ever investigation. When John asks what he means, Sherlock says, “I’ve been expecting this for some time.” In series 4, that line being echoed again is meant to instill two things; that what’s about to happen at the aquarium is setting the stage for something, and that Mary is once again linked to Moriarty’s great game.
In TST and throughout series 4, John is sharing a false account of what precipitated and followed Mary’s murder. John in HLV says he’s chosen his words very carefully when he tells Mary, “The problems of the past are your business. The problems of your future are my privilege,” leaving a double meaning in his vague threat. John isn’t an idiot, and he hasn’t actually forgive Mary or wants to be with her. When Magnussen brings up how Mary is responsible for “so many dead people,” he simply looks resigned, because he already has an idea. And when Sherlock shoots Magnussen to assure Mary’s cover and thus John’s safety, John thinks he’s done it for Mary, “Give my love to Mary. Tell her she’s safe now,” because he thinks both of them are sociopaths and have feelings for each other –– something that goes completely unaddressed on a surface level in series 4. Despite this, John lets his own insecurities about the perfect relationship he imagines Mary and Sherlock having slip out (as well as Janine and Irene Adler). As the author, John exists in every detail and characterization of series 4. But he still has to clean up the story as much as possible.
John as the author is covering up his complicity in Mary’s disappearance. In TST after the two of them receive the texts, they sitcom argue over which one of them is going to go and who’s going to watch the baby. In this narration of events, John is practically pushing Mary out the door; he doesn’t think or care about the danger it involves, he doesn’t insist on both of them waiting together until they can leave (“You know that’s not going to happen”, putting the blame on her impatience), and he doesn’t even ask Sherlock what exactly the two of them are running into. He says to Mary, “If there’s more to this case, you need to see it.” This appears to be a reference to the case of the six thatchers, but what John is really talking about here is Mary becoming a client in HLV –– this is about her, and her past causing her the problems of her future. But in this version of events, John doesn’t seem so eager to share them as his privilege, instead not caring about the risk (a sharp contrast to Sherlock imagining John being angry at him in TAB), conveniently arriving after the death has already happened, late because of a conversation that only Mary (and possibly Molly, by proxy) could attest to having. In TAB, Sherlock says sometimes to solve an old case (Moriarty), one must investigate another. In TST, in order solve an old case (Moriarty’s return), he must investigate a new one (Mary).
Sherlock’s text to John in TST is a 180 degree turn from his letting John walk out the door in TRF, because they were working on taking Mary down together. Sherlock is communicating with John this time about the threat left in Moriarty’s absence. When you look at both the texts he sent to Mary and John, Mary’s is vague in a threatening way, while he’s explicitly contacting John for help. That’s because Sherlock is letting John in this time. But because Mary (and Moriarty, as much as he’s in denial about it) are both still around, Sherlock can’t tell John how he feels. While the two of them are coordinating, like John first suggested back in TRF to no avail, John is still in the dark about other things, and so are we, at least about the context literal plot events. But those texts are conveniently ambiguous if there were ever to be an investigation into Mary’s murder, no one else can attest to John and Mary receiving the texts together, and an aquarium would be a public place to confront Mary, even if she’s a crack shot. There was a confrontation at the aquarium, but it wasn’t between Mary and John’s self-insert writer character. It was between John and Mary.
Vivian Norbury was an invented fall man. Sherlock was an alibi by goading the villain of the week into murdering Mary. John is lying about what happened. These are all things we can surmise from looking at how the stage was constructed; but what we can also specifically tell about the true events of series 4 is that the confrontation at the aquarium was a set up, and a direct followthrough of the lesson Sherlock learned to trust John in TAB. We can also tell that John followed through on his own promise to Mary; but because Mary and Moriarty are still out there, they still haunt John and Sherlock, Mary still stands guard over their silence at the end of TFP. Unlike in Sherlock’s dream, John was not able to avoid Samarra in his story. Similar to Moriarty faking his death to destroy John and Sherlock’s relationship, Mary faked her own to do something similar, both of them lulling the two into a false sense of security –– because if she were really gone, John and Sherlock would become who they really are. But instead, it doesn’t matter.
In TAB, Sherlock says he will have to go very deep into “myself” or rather, through his dream, in order to solve the old case of Moriarty. In series 4, in order to solve the case of Moriarty’s return and Mary, John filtered out what really happened from the public, putting himself in a crisis. In order to uncover the true events, we have to venture deep inside of John through his story.
See also: The Unfinished Act of Series 4, 10 Revealing Things From The Six ThatchersThat Haunt You Late At Night, 10 Revealing Things From The Lying Detective That Haunt You Late At Night, and 10 Revealing Things From The Final Problem That Haunt You Late At Night. (#gif warning #seizure warning)
Bonus: What more is there to say at this point? [Full text below the cut]
Keep reading
“Fireside kiss”
A second illustration for the fabulous Noctiluca scintillans by @alexaprilgarden. This is also my 1000th finished Sherlock inspired artwork (counting from when I started this blog in July 2011).
YESSSSS <3
Looking Closer at How The Abominable Bride Foreshadowed and Can Be Used to Chronologically Decode Series 4:
About ¼ of the way through TAB –– after the threat of the bride has already been introduced and John and Sherlock have been shown going through several cases –– Sherlock is deducing a case during his dream when he calls upon Watson’s assistance, only for Lestrade to say that Watson moved out months ago as Sherlock tries to brush the momen toff, signifying that he’s always thinking about and talking to John, even when he isn’t there (like John once asked in ASIB, “Do you just carry on talking when I’m away?” Sherlock replied, “I don’t know. How often are you away?”).
About ¼ of the way through TST –– after the threat of Moriarty’s post-humous revenge has already been introduced and John and Sherlock have gone through a montage of cases –– Sherlock is deducing one when he calls upon John’s assistance, only to see that John spitefully placed a balloon with a smiley face in place of his own position in the duo, signifying what John presents as his own feelings of inadequacy and resentment towards Sherlock.
Both Sherlock and John have had moments and feelings like this before: weighing how much they truly care about and matter to each other, parsing it off as largely in context of their professional relationship. But with the end of series 3, and John having already moved out as normal life seems to resume after Sherlock’s return, and the seeming salvation of John and Mary’s marriage, both John and Sherlock are telling a version of events imagining what that moment would be like when they finally realize that they can’t recapture what they had before, too much time has passed, too many feelings have bee hurt, and that both of them lost their chance to tell each other the truth, instead resigned to perpetually yearning for their early days as they subsume their feelings for each other.
See also: The Unfinished Act of Series 4, 10 Revealing Things From The Six Thatchers That Haunt You Late At Night, 10 Revealing Things From The Lying DetectiveThat Haunt You Late At Night, and 10 Revealing Things From The Final ProblemThat Haunt You Late At Night.
Bonus: Happy go lucky trio and marriage though:
My account was hacked
My interest on Tumblr is fannish - Sherlock and Beatles. After a series of incendiary posts by hackers on my account, I've had a ton of over the top political responses from one perspective or another appear in reply. I'm sick of ALL political extremes. I want responsible gun owners to have their guns, and I want both sides to stop threatening war on either side. You people - the anti-gun/anti-fa/pro-gun/anarchist extremist - threaten the responsible citizens of all kind.
Leave us all the hell alone.
