#Mary Moran

[auressea]

oh! oh. this is truly an amazing story. the people involved made a documentary about the whole long journey - you can get a copy from them! "The Language You Cry In is the award winning film that traces the connections between the Moran family and the people of Harris Neck with those of Senehun Ngola.  It can be ordered by calling (912) 832-4549."

TIL a family in Georgia claimed to have passed down a song in an unknown language from the time of their enslavement; scientists identified the song as a genuine West African funeral song in the Mende language that had survived multiple transmissions from mother to daughter over multiple centuries (x)

[asoftepiloguemylove]

Cameron Awkward-Rich THEORY OF MOTION (4): ANOTHER MIDDLE-CLASS BLACK KID TRIES TO NAME IT (via @sweatermuppet) // Wayne Koestenbaum "Figure;" My 1980s and Other Essays // Mary Lambert "Why I Slept With Makeup on for Five Years;" Shame Is an Ocean I Swim Across // Keaton St. James DYSPHORIA CREEK // Richard Siken "Birds Hover the Trampled Field;" War of the Foxes (via @newvision) // Greta Moran Slow First

[phantomstatistician]

Fandom: Sherlock

Sample Size: 104,398 stories

Source: AO3

[kcwells94]

Nothing out the ordinary~

[busterkeatonsociety]

#WIPWednesday Just a group of actors and actresses waiting for the camera during the filming of The Passionate Plumber. Irene Purcell, Buster Keaton, Mona Maris, and Polly Moran (plus Joe Keaton in the background)

[criticalfai1ure]

oh. i’m gonna go insane over sherlock holmes again, aren’t i…

[mametupa]

[tavtiers]

have you done a maid of heart analysis yet? would love to see your take on it :D

The Maid of Heart [symbols: flower, heart]

The Maid class has its basis in the handmaiden or lady-in-waiting. An example would be Joan of Arc.

The Heart aspect’s main theme is instinct. You can find its official description here.

A Maid of Heart is among those who alter the individual's impact. This is the “classpect group” they belong to. Members include: the Sylph, Maid, Bard, and Prince of Heart/Mind. These classes are all opposites or inverses of each other that alter the Heart/Mind dichotomy (the individual's impact). A description of classpect groupings can be found here.

The Maid of Heart actively assists the Heart aspect. Active classes tell themselves what to do and do so for their own benefit. They are more likely to stand up for themselves, but more likely to be cruel. Sylphs and Maids aid their aspect and everything it symbolizes or use it as a form of aid. Simplified, the Maid of Heart is motivated by themselves to assist instinct.

In personality, the Maid of Heart feels like something is holding them back and is invested in self discovery. Personality descriptions can be found here.

Their archetype is the Escapee Free Spirit, defined by freedom and instinct. Archetypes are explained here.

Their opposite is the Sylph of Mind, who passively assists intuition.

Their inverse is the Bard of Mind, who passively destroys intuition.

A classpect or “god tier” is an individual’s best self. All classpects go through a journey from unrealized, to struggle, to realized. When a character is unrealized, they neutrally exist as their inverse. On their struggle, they will wildly flip back and forth between their inverse and true classpect. In their worst moments they will act as their inverse, in their best their true classpect. When realized, they will stabilize as their true classpect. They will still have room to grow, but will become happier, more successful people.

This means that the Maid of Heart begins life motivated by others to destroy intuition. When their struggle arrives and they are at their worst, they will continue this behavior in negative extremes. However, when at their best, they will find purpose in instead assisting instinct for themselves. When realized, they will stabilize and continue to assist the Heart aspect actively, in a positive way.

They share their archetype with the Rogue of Breath, the Free Spirit Escapee.

The Maid of Heart would quest on a planet similar to the Land of Underground [Maid] and Heart [Aspect]. An example would be the Land of Rabbit Holes and Roses. An explanation of planet naming conventions can be found here.

Two possible gods, or denizens, to reign over their planet would be Aphrodite (Goddess of Love) or Yaldabaoth (Trapper of Souls). Other Heart aspect denizens can be found here.

When the Maid of Heart completes their planet quests and dies on their quest bed, they would rise to ascension on the wings of ladybugs (symbols of love). A list of soul animals can be found here.

The characters that I have currently classpected as Maids of Heart are: Snow White from Once Upon a Time, Laurie Jupiter from Watchmen, Maryden Halewell from Dragon Age, Aubrey Little from The Adventure Zone: Amnesty, Lucy Brennan from Twin Peaks, Stephanie Splitz from LazyTown, Alice from Alice in Wonderland, and Pearl Krabs from SpongeBob SquarePants.

If any of the links not connected to my blog break, the content can be found on my Google Drive.

Official Aspect Descriptions Personality Descriptions Aspect Denizens

[friendlessghoul]

Since his divorce from Natalie Talmadge, Buster Keaton has been stepping high wide and 'andsome in the night places. This time was Mae Scriven. - Modern Screen 1933

[mariocki]

Galaxy of Terror (1981)

"Aren't you afraid?"

"Too scared to be."

[aceredshirt13]

We'll never get a third Ritchieverse Holmes movie. But if we somehow did, this is what I like to think should happen.

I would absolutely love for the inciting incident to be that, since the reason Holmes faked his death was because he wanted to keep Watson and Mary safe, the reason he has returned from faking his death is because that backfired and Watson and Mary are very much not. Why aren't they safe, you ask? Well, because Moran is on the revenge trail. Typically, he didn't have much personal investment in the killing of his targets, but we all saw how absolutely furious he got when Watson nearly killed Moriarty and escaped with Holmes. Now Moriarty is dead, and Moran has no job, no purpose, no one in the world - nothing, save for anger and grief. He cannot kill Holmes, because he does not know Holmes still lives. But if Holmes took the life of the only person Moran ever cared about, then even if he's not around to suffer for it, he will do the same to him.

Except, naturally, Holmes is around to suffer for it, and this cues the ending scene of the movie where Holmes coyly reveals he's alive, and would pick up right from there. There would be action! There would be shenanigans! Holy hell there would be character drama! Watson and Mary are absolutely going to beat Holmes's ass within an inch of his life, but also Watson is so, so very glad to have him back... Mary's not forgiving him ever for what he put Watson through, but how can she - how can they - bring themselves to be fully angry when he went through this to the end in an attempt to ensure their happiness? Especially when, if one considers the reason he closed his eyes to be for Watson to be the last thing he saw if he died, Holmes wasn't even completely sure he'd successfully fake his death... And they can't just unpack that while sitting in a house somewhere talking about their feelings, because Moran and the remnants of Moriarty's wide-reaching organization are very hot on their heels.

How does the movie progress? Well, I'm not entirely sure. I would love for Moran to get betrayed by those he conspired with, and be forced to work with Holmes and Watson (and Mary, who is adamantly refusing to let these two do all this on their own when her life is as endangered as theirs) on some level, thus forcing everybody - including Moran - to actually talk to each other. I also want to show that Holmes is beginning to get tired of all this - he loves the adrenaline, he loves to exercise his genius, he hates being bored, but he's also tired of the people he cares about constantly being in danger because he knows he can't always protect them. He knows that, because of what happened to Irene.

How does the movie end? Well, I can certainly tell you that. As a significant portion of the fanbase and Jude Law himself will tell you, the Ritchieverse Holmes movies come off very, very strongly as romances. In most cases, I am not the sort of person who advocates for any given ship in a medium to be acknowledged as canon just because a lot of fans like it, especially since that can often lead to disastrous results... but Christ alive, these movies are leaning so ridiculously hard into Holmeswatson vibes that I can't imagine it was an accident. And, well, part of the reason I want Moran to figure so heavily into this movie is because I think there was quite a bit of potential exploration of what exactly his relationship was with Moriarty just in the few tidbits you saw of them together... perhaps through a few flashbacks sprinkled in after Moran confesses what they really were to each other. Because if there's one thing I love, it's parallels. Watson and Moran, the military veterans and crack shots who are so very attached to the often-difficult genius masterminds they love. Unlike the singly-devoted Moran, Watson's affections are torn, because he adores Mary with everything he is, and is constantly fighting himself and pretending he can give up Holmes for her even though he can't imagine a life without both of them in it - but he is no less devoted for it. In different ways, they both cannot see a way forward - Moran cannot without Moriarty, Watson cannot because he cannot choose. So, in terms of an ending, I want Moran not to have to be killed by our heroes, or die in some sacrifice, or take his own life. I want him to have to live, without taking revenge. To figure out some kind of life, now that he's been spit out by the Queen's Army, and has lost the new life he was given now. It's more interesting, and less cheap, especially if this movie serves to build up and add depth to his character. And as for Holmes and Watson, well, it's not 2009 or 2011 anymore, so what's to stop your loose action movie adaptation of century-old, now-public domain stories from just going ahead and having them admit they love each other? (Or, potentially, having Mary admit it for them, to one of them, because she is sick and tired of their bullshit?) Why not let them, after all this is over, finally, finally share a kiss?

And as for the epilogue, I think it would be super fun and endearing if it cuts to Watson and Mary finally moving into that country house in Sussex together. He and Mary love each other, they're happy, they'll do so very all right. Then they get a knock on the door to find that the old woman who lives in the house next door has come to bring them a housewarming gift.

Except it's not an old woman. It's Sherlock Holmes dressed as an old woman. He has gone into early retirement to keep bees, and he just so happens, by pure coincidence, to have bought the house next to theirs.

Watson and Mary are exasperated. Then they probably think it's really funny, while still being exasperated. And ultimately, what Watson needs to realize is that there is something in this world that is insistent upon keeping these three together. If all of them can put up with each other - as they have shown they can just manage to do, this whole movie - and if all of them care for each other - as they have shown they undoubtedly do, for this whole movie - then no matter what he was sure was the "correct" and "right" thing to do before, he does not, and has never had to choose. Holmes doesn't have to steal him away from Mary any more than Mary has to steal him away from Holmes, because the great lesson of the Ritchieverse Sherlock Holmes movies ought to be that sometimes, polyamory is the best solution. And they all live in Sussex together, and quibble incessantly, and remain there for the rest of their days.

P. S. The number one thing this movie is absolutely, positively not allowed to do is kill off Mary. I don't care if she dies offscreen in the books, these movies did not have so much of their character conflict be Watson's inability to choose between her and Holmes for that to conclude with the immensely cheap act of offing her - not to mention that that would mean killing the only remaining major female character left in the series, and that these movies are so far removed from the ACD canon anyway that they can literally do whatever they want.

P. P. S. I don't have anywhere else to put these since I'll certainly never finish an entire screenplay concept for this without help, so here are a few disconnected, inaccurate-screenplay-format snippets using this idea that I jotted down on my phone way, way, back. Enjoy?

~~~

Opening shot: pigeons.

It’s early morning, and a man sits on a bench with a small bag of birdseed. He takes a handful of it, and reaches out to them. They flock around him with enthusiasm, some perching on his arm and hand.

The pigeons know him, clearly. It is SEBASTIAN MORAN.

He turns to look over his shoulder.

Moran: Hey, Professor, do you -

He stops. There is no one beside him.

Something hardens in his face.

He continues sprinkling birdseed. But his movements are listless, and it is clear the act no longer brings him much joy.

~~~

Holmes: It appears that Moriarty’s death, while ultimately a public service to the human race, has unleashed a far greater and more unpredictable danger to you than I could have imagined.

Watson: A danger?

Holmes: Indeed. And so long as I was believed to be dead, I was sure you and Mary would be entirely safe from it.

Watson: What - ?

Holmes: But I am now very much aware that that isn’t so, and so I have returned.

Watson: What danger, Holmes?

Holmes: Sebastian Moran.

Watson: Sebastian Mor- What, Moriarty’s right-hand man?

Holmes: The very same.

Watson: But why would he come after us? His superior is dead, he hasn’t got any orders -

Holmes: This has absolutely nothing to do with orders, Watson, and everything to do with the precarious and emotional nature of the human condition.

Watson: For the love of God, Holmes, can you just explain -

Holmes: I mean to say that this is entirely personal. Moran did not just work for Moriarty, he cared for him. Though to what extent, I haven’t the slightest idea.

Watson: For Moriarty?

(A disbelieving chuckle.)

Watson: Delusional bastard. I can’t imagine Moriarty cared for a soul in the world.

Holmes: And he may not have. How fallible man is, hm?

Holmes: Nevertheless, I believe that the colonel is seeking revenge. And if he cannot get it on me, then he will not stop until he has slain everyone I have ever cared for.

Holmes: Thus, my return from the grave. But I’ve already said that, haven’t I?

~~~

Holmes: No. No more deaths. No more lives lost because of me.

Holmes: …Not after Irene.

~~~

Moran: You should have died like the dog you are.

Holmes: Perhaps I would have, if I hadn’t known that Moriarty’s dog still lived.

Holmes: I had - foolishly, perhaps - thought that were I to die, Watson and Mary would be safe. A life for a life - my life, for Moriarty’s. No more.

Holmes: But you weren’t content with that. Were you?

Holmes: You wouldn’t stop until you’d killed everyone that meant something to me, even though I wasn’t there to see it.

Holmes: What will you do, if you succeed? What will you have left? It’s not as if revenge will bring him back.

Moran: You’d do the same if you lost your bloody Watson, wouldn’t you?

(Holmes is, rarely, silent.)

Moran: …And I don’t know how to do anything else.

~~~

Moran: …You’re wrong.

Moran: Nobody was kind to me. Not until I met the professor.

Holmes: But of course. It behooves a smart man to take good care of his tools -

Moran: You don’t know anything! It was real, what we had!

Moran: …It was real. I know it was. Because he told me that he didn’t even want to like me, at first, let alone…

(He trails off, as if thinking better of it. But then he shakes his head with a bitter chuckle.)

Moran: …What’s the point? I’ll hang for all the murders I’ve done. Another felony won’t mean much.

Moran: I loved him. And you’re the reason he’s dead. So I’ll kill everyone you love, and then I’ll kill you, or I’ll die trying.

~~~

Okay, that's it. If for some reason you read this far, thanks for sticking around! And if you have any personal thoughts on a third Ritchieverse Holmes movie, I'd absolutely love to hear them. See ya!

[yorgunherakles]

romanın ilk yarısı büyük bir memnuniyetsizliği ve olmamışlığı anlatır, sonlara doğru ise sadece panik vardır.

milan kundera - madam bovary

[tiger-moran]

One of the very few things I did like about Mary in Sherlock & Co was her having tattoos, I'm totally taking that for my Mary now (not wolves though, something else. But I could have her comparing tattoos with Moran, that would fit really nicely as a way for her to gain his trust and get him to open up more when he's being reticent and 'guarded').

I would kind of like to do my own (modern) take on The Sign of Four sometime? Although one way or another also involving Moran and Moriarty (not as the 'bad guys' in it). But I don't think I'm really comfortable with many of the Indian elements or having Indian 'bad guys'. I mean even if you make it kind of a criticism of colonialism and of British people looting India and everything and even if you make the white guy the worst person I think there's probably still some stuff in there that's always going to feel rather dodgy and, well, you know, kind of racist. But if you take a lot of that out I'm not sure how much of a story you're really left with. Of course you could make something else up involving Mary but then you've got to come up with a whole new plot and whole new way to explain what 'the sign of four' means, which I'm not totally opposed to doing in principle but it's just... have I really got the energy/ability to do that? Possibly not. I would still like to attempt my own version though one day.

[mollys-meadow]

Sherlock season 4 was something, not something good, but it was definitely something.

It was very disappointing when it first came out and it hasn't gotten better with time. I feel like there were so many missed chances with that season. You had Moriarty back, and even if you'd rather leave him dead, you had all that Charles Augustus Magnussen plot that sure, it already had it's climax but there was still a lot you could get out of it. And it bothers me a lot that they were trying to overcomplicate things when the easiest route works perfectly fine.

You could, I don't know, focus on the impact the death of C.A.M. had on society, not only on England but worldwide. You could have hints here and there that there's something lurking, something observing in the shadows; and it makes sense, you have Moriarty on all the tv of England and it's normal that Sherlock is paranoid and John is woried af, all while dealing with Mary's pregnancy. There's a case (that should be the first episode of S4) directly linked to both Moriarty's net and his work before the Reichienback Fall and C.A.M. because these two are the biggest threats Sherlock has ever faced, and to build up such tension for a character such as Magnussen in the last season and completely forget about him on the next one it's not good writing. I would have loved the end of S3 and the begining of S4 to work in a similar way that the end of S1 and the start of S2 works. One leads to the other, they are not independant, together they are part of a bigger thing. And the chance was right there!! You had Moriarty back!! What more do you need!!

The fact that the first episode of S4 would focus more deeply in Moriarty's net would also give us the chance to learn more about what Sherlock did during those two years. I could talk more about the specifics of the plot of this first episode but this is already going to be a long post so, nah.

Also, Mary doesn't die !! Because why would you kill her?? Nah, give Mary a gun, make her the boss, show her strength. John has his knowledge as a doctor and his empathy, Sherlock had his brain and his deductions, GIVE. MARY. A. GUN. And allow her to show all her knowledge as an assasin (i think that's what the first episode of S4 was trying todo but it doesn't feel right the way it was executed) and not just for badass criminal underground networking or just general abilities, make her badass as a pregnant woman. And please give me a scene with Sherlock purchasing dipers.

And, for the life of God, something that I would really have loved to see (it doesn't have to be part of the main series, it could have been an special like the Abominable Bride, but it would actuall still fit as part of the main series) is a dive into the life of some background characters, especially Molly and Lestrade. They are great characters, amazing characters, and throughout the series they have only been allowed to be a supporting role. For the second episode of S4, give Lestrade a case, one of those apparently simple ones that Sherlock would not hesitate to overlook (especially now that he's the designated babysitter) but which is, truth be told, deeply connected to the main plot of this season, which is Moriarty's net and C.A.M.'s legacy. Sherlock is still the main detective of the episode and John and Mary are there too, but give most of the screentime to Molly and Lestrade. Make them run around. Investigate. Make wrong assumptions. Get into trouble. And sure, let Sherlock save the day as often but do give them some screentime, make them significant.

All the cases throughout the season must be linked to Moriarty in some way, and at this point Sherlock is full obsessive mode. Baker Street is full of newspaper cut outs and he is really using those nicotine patches (no smoking since the baby arrived). John is worried and Mary is too so they go out like they did before the wedding but more chill. They drink and have fun and Sherlock manages to relax, to let go of the haunting image of Moriarty if only for a second. And then, when he gets home at night (Mrs. Hudson has been asleep for hours and the whole street is quiet), he lazily undoes the first button of his shirt and lets himself fall into the bed, only to notice (as the camera slowly focuses on it) a small glass bottles placed on his nightstand. It's very familiar. It contains a pill he has seen before (#throwback to a study in pink).

Sherlock goes NUTS. Obviously. Everything looks like Moriarty but he's dead, it cannot be. He's RESTLES. There's a murder, or an attempted murder, whatever you prefer. I haven't really thought about the details of this. But Sherlock and John investigate and Mycroft almost gets killed in his own house and it feels like they are walking on eggshells, like any given second everything is going to collapse. They find information about the culpid and the two of them go after him to investigate. They go to a building that used to be Moriarty's and start connecting the dots and the clues found in the previous cases.

Meanwhile, Mary is worried af because her HUSBAND isn't PICKING UP his bloody phone and the baby is crying and ahe only stops crying when Sherlock does some silly faces so where are them??? She sees a clue of where they have gone and curses because oh shit this is serious. She leaves the baby with Molly and that's when you realise Mary knows exactly who is behind all this chaos and madness, oh, and it's someone she knows, someone dangerous.

Sherlock and John are trapped in that house and the culpid let themselves be shown. Sebastian Moran. Who else would it be? S4 could have been the perfect chance to introduce him. Who else would be able to continue Moriarty's legacy after he died? Who else would be capable of fooling people into believing he was still alive? Who could have known C.A.M.? Worked with him? Planting in his mind the seed of starting all that manipulation thingy with herbivores and what else Magnussen had on? Who else would be familiar with Mary given her former line of work? Who else?

Anyway, this is merely my suggestion of how S4 could have been something remotely interesting and coherent with the other seasons without having to bring Moriarty back.

[wipbigbang]

WIP Big Bang 2023 Round Starting April 1st!

What is the WIP Big Bang? Good question! This is a Big Bang with one goal in mind: to clean out your fanfic drafts folder. These are stories that were unfinished for whatever reason, that authors returned to and completed, and the art that goes with them!

Please read our FAQ/check out our schedule for more details.

[abwwia]

Mary Nimmo Moran, Cattails and Trees, ca. 1880-1890, etching on paper, plate: 4 x 7 in. (10.3 x 17.8 cm), Smithsonian American Art Museum, Transfer from the National Museum of American History, Division of Graphic Arts, Smithsonian Institution, 1973.122.67