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"This is one corner of one country on one continent on one planet that’s a corner of a galaxy that’s a corner of a universe that is forever growing and shrinking and creating and growing and never remaining the same for a single millisecond, and there is so much—so much to see. Because it goes so fast. I’m not running away from things, I am running to them. Before they flare and fade forever."

(Source: ttimelady)




Still not over this.

I present to you the world’s only consulting detective and the British Government himself…lying to their Mummy in the least convincing way possible.

It’s no news that these two very clever, very powerful individuals are also deeply childish - we’ve seen it in their antics and in their bickering relationship, so watching them regress to the state of two boys when in the presence of their parents didn’t exactly come as a surprise.

But. What I didn’t expect was to see them so attached to their parents (their hidden-genius mother, specifically, who gave up her potential for love and family out of all). They don’t just simply respect her, they want to please her. Humouring her, going to see Les Miserables, this family reunion, might all seem little things but I’m not a high-functioning sociopath and yet I easily ignore my parents’ wishes to spend some quality time together.

And this scene was such a great summary of this warped up and cute relationship. I mean, their mother knows Sherlock is a drug addict - and yet both Sherlock and Mycroft think it’s paramount that she should not catch them smoking. That would be bad, that would disappoint her, so in their mind this is a big deal.

The reactions are so typical of the older sibling/younger sibling dynamics that it’s almost comical - Mycroft flatly denies. He’s protecting himself, of course, but in a household your little brother is your responsibility - if he does something bad, it reflect on you who led him astray, who didn’t keep a close eye on him. So Mycroft tries to clean after Sherlock, because Sherlock’s misdeeds reflect on his projected perfect image.
Sherlock, on the other hand, is a full-on Momma’s boy. He doesn’t want to simply deny the fact, he wants to shine by comparison. He easily, instinctively throws Mycroft under the bus with an angelic face that says ‘How could you even imagine me doing something so foul, of course Mycroft was doing it but never me!’. In this moment I imagine a little chubby Mycroft, straight hair perfectly parted in two and carefully combed, always getting blamed when Sherlock, who can so easily play with human perceptions, would look up to their mother, all wild curls and big blue eyes, and always fail to get punished. He’d always get away with it. At most Mrs. Holmes would just say ‘I hope you learnt your lesson’, and let him go with a pat on the cheek, while Mikey got scolded and resented Sherlock for it. For his ability to play the goldfish.

So of course thirty years later Mycroft both tries to protect Sherlock and to discipline him. To keep him out of trouble but get him what he deserves because fuck it, if HE doesn’t do it it’s not like anybody else would bother to scold and ground the Great Cute Sherlock Holmes. It’s a dirty job…but someone’s got to do it.

Beautiful analysis.

(Source: thegavichal)


Sansa’s arc is dependent upon her finding her agency and becoming a player in the game of thrones. (Though she may also have potential within the magical arc of the series.) Her passive action is not weakness or stupidity. It is her only option and she is working it to the best of her abilities, toeing the line between survival and destruction, identity and dissociation, self-care and necessary self-denial. From the beginning of this story, she has had every tool she needed to rule. Sansa Stark was a sheltered child thrown into emotional and political turmoil. And despite her grief, her guilt, and her longing, she has carried on, “…to porcelain, to ivory, to steel”. She is a wolf, a Stark, and at home in winter and turmoil, high functioning in peril. Her courtesy is not only armor, it is easily weaponized, she only needs the realization and the opportunity. Sansa Stark is very well the political Chekhov’s gun of this series. Not only will she live through the barbaric and oppressive nature of this society, she will be better than it. [x]

(Source: truthteas)

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