loudest-subtext-in-television:
just-sort-of-happened:
One of the ways that Sherlock deduces that David still has romantic feelings for Mary is that in all his Facebook pictures of John and Mary, John is, ‘always partly or entirely excluded’. This shows that he wants John, ‘out of the picture’, so to speak.
Then we see director Colm McCarthy’s approach to framing his shots during the best man speech. During Sherlock’s speech, Mary is, ‘always partly or entirely excluded’, in any shot that also includes Sherlock. Janine, a character we’ve only just met, and of much less importance to the proceedings, seems to have plenty of room to fit in shots that exclude Mary.
If excluding half of a couple is a sign that someone wants them to not be a couple, then, here, the show is explicitly telling us that John and Mary are not the right couple. The compositions escalate from merely cutting Mary out to having Sherlock actually physically block her from the audience’s view. We are meant to not see John in relation to Mary but Sherlock. It’s always Sherlock.
(Thank you to obliquely-related for their comment that reminded me to write about this.)
i love this more than anything
ivyblossom:
Note the grin. Poor John.
John grins like that when he’s angry or uncomfortable. Here, clearly, he’s trying to act natural. He’s trying to be as ordinary as possible to hide what’s actually going on.
Sherlock is on his left, talking to Janine. Hello there, strangers. Here I am, a normal person just like you, holding my best friend’s coffee for him, nothing strange going on here. We’re supposed to be here, obviously.
I’ve been dreaming about him. The psychosomatic tremor in my hand, the one he cured, it’s come back. I’ve been thinking about leaving my wife. I’ve missed him so much, and he’s gone and replaced me.
He’s talking to his girlfriend. He has a girlfriend now, you know. It’s madness, isn’t it? A girlfriend? My Sherlock? He doesn’t do girlfriends. Or boyfriends, as far as I know. I thought he was gay. A GIRLFRIEND. It doesn’t make any sense. It was only him and me until now. Now there’s her.
Nothing strange going on, nothing at all. Walk on by.
He can swallow all those feelings for now, but he’ll fail once he sees Sherlock standing there with an engagement ring. Then it all rushes to his face.
marguerite26:
kk-maker:
2spoopy5you:
lohelim:
winterthirst:
sabacc:
Steve Rogers did, in fact, realize that something was off when he saw the outline of the woman’s odd bra (a push-up bra, he would later learn), but being an officer and a gentleman, he said that it was the game that gave the future away.
#EXCUSE ME MA’AM BUT YOUR TITTIES ARE NOT CONES I’M CALLING BULLSHIT (via)
No, see, this scene is just amazing. The costume department deserves so many kudos for this, it’s unreal, especially given the fact that they pulled off Peggy pretty much flawlessly.
1) Her hair is completely wrong for the 40’s. No professional/working woman would have her hair loose like that. Since they’re trying to pass this off as a military hospital, Steve would know that she would at least have her hair carefully pulled back, if maybe not in the elaborate coiffures that would have been popular.
2) Her tie? Too wide, too long. That’s a man’s tie, not a woman’s. They did, however, get the knot correct as far as I can see - that looks like a Windsor.
3) That. Bra. There is so much clashing between that bra and what Steve would expect (remember, he worked with a bunch of women for a long time) that it has to be intentional. She’s wearing a foam cup, which would have been unheard of back then. It’s also an exceptionally old or ill-fitting bra - why else can you see the tops of the cups? No woman would have been caught dead with misbehaving lingerie like that back then, and the soft satin cups of 40’s lingerie made it nearly impossible anyway. Her breasts are also sitting at a much lower angle than would be acceptable in the 40’s.
Look at his eyes. He knows by the time he gets to her hair that something is very, very wrong.
so what you are saying is S.H.E.I.L.D. has a super shitty costume division….
Nope, Nick Fury totally did this on purpose.
There’s no knowing what kind of condition Steve’s in, or what kind of person he really is, after decades of nostalgia blur the reality and the long years in the ice (after a plane crash and a shitload of radiation) do their work. (Pre-crash Steve is in lots of files, I’m sure. Nick Fury does not trust files.) So Fury instructs his people to build a stage, and makes sure that the right people put up some of the wrong cues.
Maybe the real Steve’s a dick, or just an above-average jock; maybe he had a knack for hanging out with real talent. Maybe he hit his head too hard on the landing and he’s not gonna be Captain anymore. On the flipside, if he really is smart, then putting him in a standard, modern hospital room and telling him the truth is going to have him clamming up and refusing to believe a goddamn thing he hears for a really long time.
The real question here is, how long it does it take for the man, the myth, the legend to notice? What does he do about it? How long does he wait to get his bearings, confirm his suspicions, and gather information before attempting busting out?
Turns out the answer’s about forty-five seconds.
Sometimes clever posts die a quiet death in the abyss of the unreblogged. Some clever posts get attention, get comments, get better. Then there’s this one which I’ve watched evolve into a thing of brilliance.
ivyblossom:
The police are treating Sherlock roughly, as if they just caught him in the act. They don’t need to handcuff him, because he intends to go with them willingly. He put on his scarf and his coat; he intends to go quietly. But they cuff him and haul him out anyway, with contempt. That is more than John can bear. It’s unjust.
John wants to see a warrant, for one. At least a warrant. He demands that they treat Sherlock with respect. After everything Sherlock has done for them: all the cases he’s solved for free, after all the good he’s done, this is how they treat him, in the end. The way they wing him around so that he stumbles; I wonder if that’s the point where John starts to seriously lose his temper. Sherlock is a strange creature, but he is, if nothing else, dignified, and the police are not allowing him any dignity at all. They are deliberately humiliating him.
Given John’s fundamentally moral nature, his inclination to defend the people he loves at any cost, the injustice of this arrest, and the willful humiliation of someone he admires while he is helpess to prevent it, it’s no wonder he ends up resorting to righteous violence.
Righteous violence is kind of John’s thing.
mishasminions:
amuseoffyre:
linzeestyle:
mishasminions:
FRIENDLY REMINDER THAT STEVE TRIED TO TRIGGER BUCKY’S MEMORIES BY WEARING HIS LESS DURABLE RETRO!UNIFORM (aka the not-so-bulletproof outfit he wore the last time Bucky saw him) AND BY QUOTING SOMETHING BUCKY SAID TO HIM 70-SOMETHING YEARS AGO
Okay okay but can we just talk about this? The entire movie Steve’s worth is defined by what Captain America has become. He goes to the Smithsonian to see Captain America’s life projected back at him — the boy he was before a footnote, the sickly waif who wasn’t good enough until the army (literally) made him A Man — while he’s there he walks around unrecognized; the entire gag at the mall is based on the idea that this is a 6’2” hulking muscled mass of a guy who absolutely no one recognizes unless he has that star on his chest, because it’s the suit, not the person, who’s been given worth. And when Steve thinks about the most memorable thing about himself — when he thinks about how to get Bucky back — he goes for that. He goes for Captain America. And it doesn’t work; Bucky doesn’t react at all. Because Bucky always saw through that. He didn’t give a shit about Captain America. That “little guy from Brooklyn,” that’s the kid he loved, that’s the one he was following when he died, the one who’s scared voice knocked the memories out of him earlier in the movie. And it’s only when Steve drops the shield, and the helmet — all of the things that make him Captain America, that make him immediately recognizable to the rest of the country, to the world — when he calls on this one, rogue memory from when they were just kids, from before he was the national ideal of manhood he’s been made out to be since his death… That’s when Bucky sees him. Because Bucky doesn’t remember, or care about Captain America: Captain America is just a target. But Steve Rogers, that little kid from Brooklyn? Is under him, and dying, and scared…and the impulse to protect is so much stronger than anything else that’s been done to Bucky since then.
Fun fact. The two times Bucky remembers Steve are when Steve is half-beaten-up and scared and calling his name, and when Steve is bleeding and almost dead beneath him. Bucky sees Steve when he looks the most like the Steve he was in childhood, the one Bucky protected and fought for long before that costume and that mask and that shield.
This is the kid who he pulled up from the playground after the bullies knocked him down. This is the kid who got into fights with people much bigger than him and knocked him flat. This is the kid needed him to watch his back. And that’s when he remembers.
LET’S ALL PUT OURSELVES IN CRYOGENIC STORAGE TO NUMB THE PAIN
