the darkest part of this comic is the realization that they were both right
God I want to scream
Gah! The face, the hands - I’ve been stabbed in the heart AGAIN
I’m about to go out and buy this movie… Only to decide if I’m ready to watch it again. It still hurts to think about it.
His face says shock and hurt, but his hands say anger and vengeance. I think his facial expression is calculated, but his hands tell the truth.
I think part of the reason I like Sleepy Hollow and Elementary and Hannibal is that the people who created them clearly looked at popular shows that are exclusively about white dudes (in this case Supernatural, Sherlock, and Dexter), then looked up all the common complaints about those shows (features white men almost exclusively, almost no acknowledgement that the LGBT+ community exists beyond cheap jokes, long hiatuses for very little payoff, poor treatment of women and people of color, glorification and romanticizing of violent criminals), and threw them out the window while leaving in all the things that made those shows popular
So you still have a badass pop horror/urban fantasy show where people fight demons, but there’s a diverse cast where even if one of the women does die, it doesn’t kill off 90% of the female representation on the show.
You still have a modernized Sherlock Holmes, but with a diverse cast, a Sherlock (and head writer) who doesn’t openly despise women, you get a new episode every week with a hiatus of no longer than a year, actual gay and trans* people showing up occasionally, while still preserving the proven formula of the crime procedural.
And you still have a show that explores the inner workings of a serial killer, except there’s multiple women and people of color in the cast, the violence is intentionally left ungendered, the serial killer is purposely made unsympathetic (even if people will stretch to their limit to sympathize with a white male serial killer), and there’s very little chance that it will, after eight seasons, leave you with a poorly-prepared poop sandwich of a finale that makes you wish you never wasted your time watching the show in the first place.
And the thing is, those shows were almost immediately smash hits, because they are literally delivering exactly what people are asking for.
It’s frankly sickening how many notes that “John is so fragile and brave/Mary doesn’t deserve the name ‘Watson’” post has gotten. Ewwwww, stop being gross, people.
Fragile? John? Teetering on the edge of a homicidal rampage-fragile, maybe. A delicate flower? Emphatically no.
Seriously, everyone focuses on “Sherlock’s Emotional Journey” this season, but the revelation of “John the Violence Junkie” is at least as important to S3. It’s not adrenaline that he craves, it’s violence; he’s not a sky diver or a fast driver, he’s a thug. We finally, really understand Mycroft’s “You aren’t haunted by the war, you miss it” comment, thanks to Sherlock’s elaboration: John was a doctor who went to war, because he wanted war. He first claims, in the very first ep, to have seen enough of “injuries, violent deaths, trouble” to last a lifetime, then breathes “Oh God, yes” to the offer of more, as if he’s been offered a blow job. He practically vibrates with excitement after his meeting with Mycroft as he checks his gun and watches out the window, gasping for a reason to use it. He shoots a man, shoots to kill (according to Sherlock) without knowing if he needs to, exhibiting “nerves of steel” and the morality of a psychopath as he laughs about it after, when he’d only known Sherlock for a day. Not “very loyal, very fast” but aching for death and destruction and seeing the opportunity with Sherlock. Mycroft knew from the beginning.
This season he’s on the prowl, spoiling for a fight, a healer who “knows how to sprain,” a grieving friend who beats the shit out of that unresisting friend when he realizes he’s been lied to and played, an angry husband who warns his wife that his anger is going to come out on occasion, that his control over it will slip—which is terrifying. But most of all, he’s a man who’s finally faced what he is—thoroughly dangerous and completely self-deluded. His tantrum at 221B is as much about not wanting to deal with that knowledge as it is about the revelation of Mary’s past, because they’re insisting that he look at it and acknowledge it, and they’re right to. At least one man has died because John Watson has lived an unexamined life, believing himself to be one of the angels as well as being on their side. Sherlock and Mary know better; they know themselves, and they know John, and now John does, too. He’s not better than them, he IS them, and that’s why he can forgive.
But a significant portion of fandom seems to be refusing to see that, even after the show itself makes it clear. Yes, John can be caring—when he’s not actively hurting people or itching to hurt people. Mary can be, too, and is, many times—it’s not an act, any more than John’s kindness is an act. They’re both complex, flawed, scary, dangerous people (and Sherlock is, too) and it’s both great and terrifying that they’ve found each other. John won’t have to hide who he is from Mary or from himself, now that he understands himself as well as Mary. What normal woman would see the whole truth about John Watson, the violence inside him, and not run screaming (if she was smart)? John gets that, and he appreciates that Mary knows and still loves him, that she can because of who she is. He’s determined now to do that for her (and for Sherlock), too. He can be at peace with who he is and who they all are, which is…scary, but amounts to a happy ending for this trio.
The measured, memorized speech. The prolonged eye contact. The defensive body position partly behind Jane. The GIANT STEP BACKWARD!
This is one untruth that the God of Lies just couldn’t stomach.
Mr. Hiddleston, I salute you.
Loki probably, in his heart, wants to be worthy, and the way he achieves that worthiness… the way he achieves his redemption, his salvation, is to ultimately sacrifice himself for Thor, and for Jane. He goes down with the ship. I hope it’s a very cathartic and moving moment, by saving his brother’s life and avenging his mother’s death.
A hand on or arm around the shoulder is not an act of kindness or camaraderie for Tony, it’s an act of control. Steve just sees through it better than Tony did.
Basically that entire scene is a cockfight, which is why I think it’s so great, and very true to character. But to Tony, affection is rarely anything more than posturing and dominance, a power play. Luckily for them both, Steve sees right through that shit.
I may be nitpicking, but I can’t quite agree with your second sentence here. For one thing, it insinuates that this is affection. It’s not. It’s 100% not. To this point in the film, they haven’t said a single nice thing to each other. Steve hardly even bothers to disguise his disgust with Tony, and Tony is antagonistic with him right off the bat. This moment is Tony pushing it over the edge, as much as shoving Steve would’ve been.
Tony was trained by Obadiah to respond this way specifically in arguments and specifically to overpower. In the first image, Tony wants to change the direction of the company that Obadiah thinks is rightfully his (there’s one before that at the press conference too that I missed in this photoset). In the second, Obadiah’s asking for the miniaturized arc reactor technology in exchange for Tony not being locked out of the company—Tony doesn’t know the implications of that at this point in the film, but Obadiah sure does. In the third, Obadiah’s telling him he’s the one who filed the injunction against him. In the fourth… well, Obadiah is openly villainous here.
It is a purely hostile move, and one that Tony doesn’t use with people he likes. Watch scenes where he and Rhodey or Pepper disagree. He is emotionally manipulative, definitely, but they’re not power plays in the same sense. The affection he shows his actual friends are ploys for attention (and he’s as fine with negative attention as he is with positive attention). Dominance is not something he’s looking for with everyone. I mean, with Obadiah he either became submissive or escaped the situation. With Pepper and Rhodey, he is the manchild and they are the grown-ups—that’s not really a position of dominance.
The point of this post was that Tony responding to Steve by trying to take dominance in the way that Obadiah used to take dominance over him is extremely specific and extremely negative, not just a general way that Tony shows affection.
jesus fucking christ shitty stony shippers did not even see the same fucking movie as the rest of us
He says the same thing, but in such a different tone. From ferally excited reckless boy to wry, dutiful, calm king.
cries because of character development
cries because of hair length development
'do u believe in lief after loev' by Caden Lovelace
im so mad because this is going to get picked up as like. a post-post-modern masterpiece. academics will shit themselves for this
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