Whaaaat
benedictervention:

mostly-benedict:

mostly-benedict:

Hey guys, look ^ : SherKhan.
OR

Alt:


Ok, with today’s announcement that Benedict will be voicing Shere Khan in Andy Serkis’ upcoming film ‘The Jungle Book’, this is just so much funnier. Now Benedict will have played Sherlock, Khan, and Shere Khan!^.^

Perfect!

benedictervention:

mostly-benedict:

mostly-benedict:

Hey guys, look ^ : SherKhan.

OR

image

Alt:

image

Ok, with today’s announcement that Benedict will be voicing Shere Khan in Andy Serkis’ upcoming film ‘The Jungle Book’, this is just so much funnier. Now Benedict will have played Sherlock, Khan, and Shere Khan!^.^

Perfect!

221beemine:

cartopathy:

221beemine:

cumberbear:

fuckyeahfightlock:

So I honestly can’t believe I’ve never seen anyone talking about the art direction of this scene. If I’m repeating something, Ah,well. But I’ve honestly never seen it pointed out that this is the very first time we see Mary, and there are three important things here:
Mary reaches for John’s hand. John takes it, of course—he is used to being offered comfort for his loss, by now—but he is not reaching out to her for comfort in his sadness. She is inserting herself into his grief. Reflexively, he lets her.
We only see the back of her. It’s unusual to introduce a major protagonist any other way than by showing their face pretty much immediately. A major antagonist, however…a baddie…well, they often are introduced in a cloud of cigarette smoke, from a distance, in the shadows, as a mysterious voice on a phone, or in some other way that doesn’t tell us right away who they are. Our first glimpse of Mary gives us only the most vague information about her. Obviously a woman, obviously someone John is close to, as he holds her hand. Other than that…who is she? We don’t know.
Finally, it’s no mistake she is wearing a long, grey coat which flares slightly from the waist, and a blue scarf. But they are paler shades of those colours than Sherlock’s coat and scarf were, because Mary is but a pale imitation of the person we are used to seeing standing beside John Watson (even once, when they were handcuffed together, holding John Watson’s hand in a manner similar to what we see here). Her coat and scarf look cheap, “less than,” and her denim jeans are “less” than Sherlock Holmes’s designer trousers. Her dark hat is a visual echo of Sherlock’s dark hair. This whole shot is set up not only to remind us that Sherlock used to stand here at John Watson’s side, but also that This is some lesser, fake, replacement-Sherlock standing at John Watson’s side, and whether consciously or unconsciously, John has chosen a pale imitation indeed.

I love this, it’s brilliant. Just want to add… the black hat, I’ve never even noticed this before but it completely blocks out every part of her head/face, you can’t even see her hair. To me it’s like a nod to the ‘real’ Mary, the assassin who we see in HLV dressed all in black with a gun to Sherlock. That’s what people do when they do bad things, they dress to disguise and hide themselves so as not to be recognisable. They’ve put her in that staple ‘bad guy’ hat (when they so easily could have had her in something lighter/less threatening) right from the very start. They’re telling us from the first second we see her that she’s not to be trusted. Just brilliant.

So good. All these little hints—even the first time I saw the promo shot of her from before S3, in her purple dress with the black jewels, I thought “what a film noir femme fatale”—the black jewelry really had an impact on character design. Imagine if she had been decked in pearls instead on the night of the engagement scene? These little touches add so much.
If I have any predictions about S4 or the Christmas special, it’s that Mary is going to be dressed in a lot of red, her other major defining color. Gray, red, that smoky purple, black—these are her mystery/assassin colors; blue is in scenes where she is strongly aligned with John (reading the blog/shaving scene; planning the wedding with John and Sherlock).

I like too that it’s the same view of her that Sherlock gets when he walks in on her in CAM’s office. It’s like, when she finally turns around in that scene, she is finally turning around in this scene to look at us. To reveal herself. But here she doesn’t turn around, because here she is still disguised. That means that Mart Morstan, the woman John married, is not in any way the real person who is here. With John she is completely disguised. We don’t see her, we don’t even see a glimpse of who she is with John.We don’t see a glimpse of who she really is until she shoots Sherlock.

Reblogging with caps for @cartopathy’s observation.

221beemine:

cartopathy:

221beemine:

cumberbear:

fuckyeahfightlock:

So I honestly can’t believe I’ve never seen anyone talking about the art direction of this scene. If I’m repeating something, Ah,well. But I’ve honestly never seen it pointed out that this is the very first time we see Mary, and there are three important things here:

Mary reaches for John’s hand. John takes it, of course—he is used to being offered comfort for his loss, by now—but he is not reaching out to her for comfort in his sadness. She is inserting herself into his grief. Reflexively, he lets her.

We only see the back of her. It’s unusual to introduce a major protagonist any other way than by showing their face pretty much immediately. A major antagonist, however…a baddie…well, they often are introduced in a cloud of cigarette smoke, from a distance, in the shadows, as a mysterious voice on a phone, or in some other way that doesn’t tell us right away who they are. Our first glimpse of Mary gives us only the most vague information about her. Obviously a woman, obviously someone John is close to, as he holds her hand. Other than that…who is she? We don’t know.

Finally, it’s no mistake she is wearing a long, grey coat which flares slightly from the waist, and a blue scarf. But they are paler shades of those colours than Sherlock’s coat and scarf were, because Mary is but a pale imitation of the person we are used to seeing standing beside John Watson (even once, when they were handcuffed together, holding John Watson’s hand in a manner similar to what we see here). Her coat and scarf look cheap, “less than,” and her denim jeans are “less” than Sherlock Holmes’s designer trousers. Her dark hat is a visual echo of Sherlock’s dark hair. This whole shot is set up not only to remind us that Sherlock used to stand here at John Watson’s side, but also that This is some lesser, fake, replacement-Sherlock standing at John Watson’s side, and whether consciously or unconsciously, John has chosen a pale imitation indeed.

I love this, it’s brilliant. Just want to add… the black hat, I’ve never even noticed this before but it completely blocks out every part of her head/face, you can’t even see her hair. To me it’s like a nod to the ‘real’ Mary, the assassin who we see in HLV dressed all in black with a gun to Sherlock. That’s what people do when they do bad things, they dress to disguise and hide themselves so as not to be recognisable. They’ve put her in that staple ‘bad guy’ hat (when they so easily could have had her in something lighter/less threatening) right from the very start. They’re telling us from the first second we see her that she’s not to be trusted. Just brilliant.

So good. All these little hints—even the first time I saw the promo shot of her from before S3, in her purple dress with the black jewels, I thought “what a film noir femme fatale”—the black jewelry really had an impact on character design. Imagine if she had been decked in pearls instead on the night of the engagement scene? These little touches add so much.

If I have any predictions about S4 or the Christmas special, it’s that Mary is going to be dressed in a lot of red, her other major defining color. Gray, red, that smoky purple, black—these are her mystery/assassin colors; blue is in scenes where she is strongly aligned with John (reading the blog/shaving scene; planning the wedding with John and Sherlock).

I like too that it’s the same view of her that Sherlock gets when he walks in on her in CAM’s office. It’s like, when she finally turns around in that scene, she is finally turning around in this scene to look at us. To reveal herself.

But here she doesn’t turn around, because here she is still disguised. That means that Mart Morstan, the woman John married, is not in any way the real person who is here.

With John she is completely disguised. We don’t see her, we don’t even see a glimpse of who she is with John.

We don’t see a glimpse of who she really is until she shoots Sherlock.

Reblogging with caps for @cartopathy’s observation.

goddamnfanfiction:

Fine Print

Holmes needs glasses, but he’s too much of a stubborn arse to go get his eyes checked. Watson is used to bullying him for his own good. The glasses have unexpected but not unwelcome consequences for everyone.

Battle Stratagem for the Domesticated…

mid0nz:

Exactly How Eloquent is Dust?

Let’s look at some parallels. The second from the top gif is one of the first sites we’re shown when John enters 221b for the first time in two years. The beautiful dust dances around in the left of the frame. One of the last deductions John saw Sherlock do before the Fall was the “dust is eloquent” scene and that was the last time John heard mention of Mrs. Hudson’s dusting. The motes are reminders, then of Sherlock’s brilliance— something John holds onto. But more importantly, this is the position John stood in when he affirmed to Sherlock that he believed in him. “Nobody could fake being such an annoying dick all of the time.” John returns to 221b, his unwavering belief in Sherlock reaffirmed. Look at how “I know you’re for real” gif overlays the 221b dust scene?! Notice how the light from the street illuminates John’s face when he says “real” and how that light beams into 221b when John returns? Sunlight is steadfast. LOVELY.

Now let’s think of the dust in Jack the Ripper’s room. Lestrade asks Sherlock what happened to John. Sherlock replies: “Not really in the picture any more.” Then the cement from the ceiling falls. The first time we saw dust moving about in Hearse it was when John had to admit that Sherlock wasn’t in the picture anymore. This dust is deep.

A third time we see dancing dust on the left is when Sherlock recalls the Ripper room. Visually something cool is happening. The frame from the Ripper is overlayed onto the scene in 221b. The rectangular light from the Ripper room highlights Sherlock’s face, bringing our eyes to his. It’s not just the look it frames— it’s the fact that Sherlock is sniffing. His nose wrinkles as he inhales. If you listen closely to the soundtrack, you can clearly hear Sherlock’s snuffles. But. He’s not smelling anything in 221b (unless John hasn’t washed!) He’s remembering a smell. What scent is it then?

AN EVERGREEN TREE. AND SMOKE.

Right before Sherlock remembers the Ripper dust in 221b, John asked him who tried to incinerate him in the bonfire. Sherlock is frustrated because he doesn’t know the answer and then BAM— the Ripper dust scene comes to his mind.

Wait, what? 

Sherlock remembers the scent of burning trees at the bonfire and associates it with the burnt pine or spruce smell of Jack the Ripper’s costume! The falling dust then makes him think of the trains that rattled Jack’s room and voila! That’s how you get the underground deduction. John is a conductor of light. 

So. Look at the final image. That’s:

  1. John saying he knows Sherlock’s for real.
  2. The dust of 221b when John returns to tell Mrs. Hudson he’s moving on.
  3. The dust Sherlock sees right after he’s told Lestrade that John’s not in the picture any more.
  4. Sherlock remembering that dust because he associates it both with the terror of losing John and three puzzles he has yet to completely solve. (Who tried to kill John; The Ripper case; and the Rat of Sumatra underground network case.)

That, my friends, is parallelism. THAT is eloquent dust.

multifandom-madnesss:

While researching #tjlc for my Sherlock essay, I discovered that no one had written something like “Johnlock 101” yet - so I did! Thanks to merlenhiver for breaking her beta hiatus for me!

[read on wordpress] [read on AO3 ]

*

Foreword

TJLC: Johnlock is…

BBC Sherlock - Hands

[original screen caps by 221caps​ made black and white by drunkcrimesolving]

really thought John was holding a sausage…

jade-homestuck-harley:

essayofthoughts:

indigoumbrella:

essayofthoughts:

indigoumbrella:

huffpostarts:

In The Not So Distant Future, Glow-In-The-Dark Trees Could Replace Street Lights

Is that… is that even healthy?

There are sea organisms and fungi which glow in the dark and there’s fireflies and jellyfish which glow in the dark. It doesn’t do them any harm nor does it do the people around them any harm. I would say its pretty healthy, as well as it would mean more photosynthesis happening in cities which mean cleaner air.

I was just curious about how they were doing it and for some reason I didn’t think to click the link. But thanks! It makes more sense now. I was afraid it was some kind of chemical thing.

nah just genetic modification using existing bioluminescent genes. Genetics is really cool, and so is bioluminescence. I mean they’ve already made pigs glow using jellyfish genes and pigs are waaay more complicated than trees iirc. So they’re actually (i think) less likely to muck it up with trees.

In which case

GLOWY

FORESTS

GLOWY

TREES

GLOWY

EVERYTHING

(I like glowy things)

All hail the mighty glow tree

"Afraid it was some chemical thing" BAAHAHAHAHAHAHSHSSHHSHSHSHDKCKDJFKD laughed the chemist

In asip, mike stamford is the one that brings up the flatmate idea, and the second that the words "flat share" come out of his mouth, he gets that smug smile that only intensifies when sherlock and john meet, and that makes me very happy :)

anigrrrl2:

You mean…

image

"Jesus, John is an absolutely perfect boyfriend for Sherlock. What divine providence that we should run into each other."

Followed by…

"I knew these two would hit it off. They’re flirting so hard they’re going to burst blood vessels."

And finally…

"Ah yes, I have done my good deed for the day. These two are going to get married. I can’t wait to be acknowledged in the vows…"

Your day is coming, Mike. Just hang on. 

(x)

Matchmaker, matchmaker, make me a match…

ohgodbenny:

Tom be like

image

(x)

Meanwhile the cumbercollectives

image

maximumbuttitude:

stunningpicture:

In very rare circumstances it is possible to see a full 360 degree rainbow from an airplane

target locked. firing lesbian ray

maximumbuttitude:

stunningpicture:

In very rare circumstances it is possible to see a full 360 degree rainbow from an airplane

target locked. firing lesbian ray