Citizen Erased

Just married



SHERLOCK: Boyfriends by ~TaiKova



Mark Gatiss, James McAvoy and Martin Freeman attend the Laurence Olivier Awards at The Royal Opera House on April 13, 2014 in London, England.HQ from Getty Image


i actually drew this one up while i was scanning stuff in
sherlock loves his john


i actually drew this one up while i was scanning stuff in

sherlock loves his john

The minute I started reading the [Sherlock] script, I thought, ‘Yeah, this is going to be a lot of fun.’

And then, I met with [Gatiss and Moffat] and it was only after we talked about what it would be developed into, and the relationship of Watson and Holmes and where’d they go, that I thought, ‘Yeah, this could be terrific fun. I’m going to go for it.’

Benedict Cumberbatch 

(Collider interview, October 2012 [x])

"What it would be developed into … the relationship of Watson and Holmes and where they’d go…"

(via warmth-and-constancy)

That gif… XD

(via johnlockedness)


Martin Freeman Spotted At The FX Networks Screening Of ‘Fargo(x)

Is Lester a good liar? Does he become a better one?

Yeah, he gets good at it. I think at first he’s kind of like Walter White — all of his actions are out of necessity. It’s like a wounded animal, a hunted animal, and then actually he starts to get good at it and enjoy it. You see that in the run of the 10 episodes, that the impetus changes from just survival, like, “I’m just doing the absolute bare minimum of what I need to do to survive,” to he starts slightly going out of his way [to perpetuate his lies]. And he gets good at it, and he starts to become more of a game player — and that’s f—ing great to play. It’s fascinating to watch and to play, ’cause you’re reading the scripts and you’re going, “I can’t wait, I can’t wait to do that.” Yeah, he does get good at it.

Martin Freeman talks about Lester Nygaard’s adeptness at lying over the course of Fargo.

Via Entertainment Weekly: ‘Fargo’ premiere—Martin Freeman talks THAT scene

(via martinfreeman)

What I’m most impressed by, though, is how this episode gets you to identify so thoroughly with Lester—then immediately removes that identification once he kills his wife because she dared insult him. It’s a tough trick to play, and I’m not precisely sure how Hawley and Bernstein manage it (short of the fact that, y’know, killing your wife because she’s mean to you is the wrong choice in most circumstances). Here’s my best stab at it: When Lester impulsively conks Pearl on the head with the hammer, we immediately cut to a point-of-view shot of her face, frozen in horror, then watch as blood starts to trickle down it. Bernstein is suggesting, subtly, that we, who have been invited to identify with Lester because we’ve all felt picked on by the Sam Hesses of the world, or felt diminished by those we’ve loved, are the ones who’ve perpetrated this crime in some way—perhaps by wishing it would happen within this fictional context. Then, just as quickly, we’re outside of that point-of-view, watching Lester’s hammer swing through the air to connect with his wife over and over, and then we’re just watching him—not even his face—hunch over Pearl as he hits her again and again. We go from being Lester, to seeing the true horror of his actions from an angle that has him swinging toward the camera (and, by extension, us), to an angle that cuts out his face and dehumanizes him. The sequence asks us if we, ourselves, would be capable of something like this, answers “yes” in no uncertain terms, then removes us from Lester to see if we can recognize the gravity of what he’s done. It’s crafty stuff.
TV critic Todd VanDerWerff’s excellent analysis of *THAT* scene in Fargo. Via his review in AV Club (via missmollysolverson)

The Adventure of the Blanched Soldier

The Hounds of Baskerville » Light & Dark

do you ship little favour!batch and fargo!martin?


do I of course I do