While rewatching TSoT yesterday, this scene really stood out to me: the composition is so beautiful and the lighting (it has Vermeer written all over it) and all the emotion - it had to be next in my 221b series.
OH MY GOD SO MY MOM CAME OVER YESTERDAY AND USED MY COMPUTER AND I GOT THIS MESSAGE FROM HER TODAY AND I’M DYING
I CAN’T BREATHE
THESE ARE MY BOOKMARKS
THERE ARE TEARS RUNNING DOWN MY FACE
MOM I AM SO SORRY
Irene Adler may be Sherlock’s “evil twin,” but John Watson is the Yang to his Yin. They create a perfect balance when they work together, and as partners they are highly efficient. When Irene has John kidnapped so she can confront him in an abandoned building (actually the Battersea Power Station), she accuses him of jealousy. “Once and for all, in anyone still cares, I am not gay!” John protests. “I am,” Irene reminds him, “Where does that leave us?” she asks honestly. John clearly loves Sherlock - or else he would not threaten Irene into telling his friend the truth about her whereabouts. He does not want Sherlock to continue to pine for the woman he thinks is dead and threatens to track Adler wherever she goes until she stops toying with his friend. That neither of them is sexually involved with Sherlock does not lessen the depth of their feelings for him.
Perhaps the love that fans most enjoy watching, if fan fiction and web commentaries are reliable indicators, is that between Sherlock and John. To Cumberbatch, this warehouse confrontation between Irene and John is the most loving scene of all. “It says everything about their relationship, what the love is, the care is…. It’s everything they don’t say to each other but [John] can say to [Irene] thinking that he’s not there. That’s where the romance is a remarkably British affair, it’s remarkably understated subtlety and nuance.”
Benedict Cumberbatch: in Transition by Lynnette Porter (via sherolck)
[Steven Moffat and Mark Gatiss] talk a lot about hiding in plain light. I think that’s a very interesting concept (…) if you use your brain, you can be right under someone’s nose and they don’t know it.
ANDREW SCOTT SIGN MY CHEST I CAN’T TAKE THIS