Text

3 Things that make me soooo happy:

1. Books!

2. Hanging out with people who I happen to care about

3. The opening music to “American Horror Story”

Photoset

chiefsatsuma:

You have to love the emphasis he gives that. I agree with him.
Actually, just lose the first two words of that last sentence.
Much better.
#Sexybatch

(Source: doomslock, via benedictcumberbatchsgirlfriend)

Text

benedictcumberbatchsgirlfriend:

sherolck:

benedictcumberbatchsgirlfriend:

sherolck:

ive literally been suspicious of mary since she figured out that skip code

and when Sherlock deduced her in teh as a ‘liar’ and has a ‘secret tattoo’

actually if you loook closely those are two separate deductions. “secret” and “tattoo” also appear separately

you’re rightimageIt’s abit suspicious that those two words are so close together and infront of all the other deductions, it’s literally the first thing you read

Photo
benedictervention:

cumberbatchweb:

First poster for @imitationgame/@imitationgameuk with Benedict Cumberbatch Courtesy of Blackbear Pictures

Yay!

benedictervention:

cumberbatchweb:

First poster for @imitationgame/@imitationgameuk with Benedict Cumberbatch
Courtesy of Blackbear Pictures

Yay!

Photo
tea-books-lover:

twentysomethingvagabond:

laurendestefano:

New fall blanket! I couldn’t find the lamp I wanted, but the same image can be found on a few other things.

L O V E  I T

Wow! I want it!

I wants it 

tea-books-lover:

twentysomethingvagabond:

laurendestefano:

New fall blanket! I couldn’t find the lamp I wanted, but the same image can be found on a few other things.

L O V E  I T

Wow! I want it!

I wants it 

(via pagesfullofstars)

Photo
sixpenceee:

THE TULIP STAIRCASE GHOST
In 1966, retired clergyman Rev. Ralph Hardy was taking a picture of the spiral staircase (known as the “Tulip Staircase”) in the Queen’s House section of the National Maritime Museum in Greenwich, England, when he captured this image. Experts analyzed the original negative and verified that it had not been tampered with or manipulated in any way.
This photo served as proof that the many ghostly encounters at the Queen’s House were real. Footsteps, slamming doors, and the chanting voices of children are often heard around the staircase. Visitors to the museum have even been pinched by unseen fingers during their tour!
Full body apparitions have been seen on many occasions; one such apparition appears to be mopping up blood from the bottom of the stairs. Historians say that 300 years ago, a maid was thrown from the top of the stairs and fell 50 feet to her death, which might explain the ghostly clean-up crew.
SOURCE & SOURCE

sixpenceee:

THE TULIP STAIRCASE GHOST

In 1966, retired clergyman Rev. Ralph Hardy was taking a picture of the spiral staircase (known as the “Tulip Staircase”) in the Queen’s House section of the National Maritime Museum in Greenwich, England, when he captured this image. Experts analyzed the original negative and verified that it had not been tampered with or manipulated in any way.

This photo served as proof that the many ghostly encounters at the Queen’s House were real. Footsteps, slamming doors, and the chanting voices of children are often heard around the staircase. Visitors to the museum have even been pinched by unseen fingers during their tour!

Full body apparitions have been seen on many occasions; one such apparition appears to be mopping up blood from the bottom of the stairs. Historians say that 300 years ago, a maid was thrown from the top of the stairs and fell 50 feet to her death, which might explain the ghostly clean-up crew.

SOURCE & SOURCE

(via sixpenceee)

Photoset

Jensen pretending to be grumpy when he’s actually amazed by his fans (ღ˘⌣˘ღ)

(Source: dailyackles, via towriteloveonherfingertips)

Photoset

feardamonkey:

Yup. Sounds about right.

(Via. http://on.cc.com/1o5ckce )

*laughs forever*

(via towriteloveonherfingertips)

Photo
221boners:

lipstick-and-shotguns:

winchesterslady:

adorablepinephelps:

I just really love this one

maybe its a new version of the mirror erised

Why you have to go there……?


IT’S WORSE WHEN YOU REALIZED THE ONE ‘IN THE MIRROR’ HAS THE SAME HAIRSTYLE AND LOOKS THE SAME AS HE DID WHEN HE ‘DIED’.
HE NEVER AGED„,


Damnit I was just beginning to get over these characters, and then I read something like this 

221boners:

lipstick-and-shotguns:

winchesterslady:

adorablepinephelps:

I just really love this one

maybe its a new version of the mirror erised

Why you have to go there……?

IT’S WORSE WHEN YOU REALIZED THE ONE ‘IN THE MIRROR’ HAS THE SAME HAIRSTYLE AND LOOKS THE SAME AS HE DID WHEN HE ‘DIED’.

HE NEVER AGED„,

Damnit I was just beginning to get over these characters, and then I read something like this 

(Source: winchestersaints, via towriteloveonherfingertips)

Photoset

5sos-writing:

This really needed to be reblogged

(Source: everymoment-isafreshbegining, via towriteloveonherfingertips)

Photo
Photo
comicsncoolshit:

a bubble freezing at -10º F degrees

Elsa got to the bubbles…

comicsncoolshit:

a bubble freezing at -10º F degrees

Elsa got to the bubbles…

(via towriteloveonherfingertips)

Photoset

onsereverra requested Sherlock + the beating heart of London

(Source: elizabetbennet, via benedictcumberbatchsgirlfriend)

Photo
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.

(via loudest-subtext-in-television)

Link

vowofsherlock:

kinklock:

dammit-sherlock:

kinklock:

What really gets me about Mary is that she is the classic femme fatale from a film noir, like the exact definition, and it’s such a shame people aren’t appreciating that to its fullest. Femme fatales are always…