#Sherlock: season 2

[mantra4ia]

"Reichenbach Fall" x "A Study in Pink" — a delightful, dystopian, Alice in Wonderland tale

Sherlock Holmes: [2x3] I don't like riddles.

Jim (James) Moriarty: Learn to.

DI Lestrade: Sherlock is a great man and someday...

Moriarty: May I?

Sherlock: Please.

Moriarty: Johann Sebastian would be appalled. Bach couldn't cope with an unfinished melody.

Sherlock: Neither could you, that's why you've come.

Moriarty: We're just alike, you and I. Except you're boring.

Sherlock: Why are you doing all this, what is it for?

Moriarty: Have you worked it out yet? What's the final problem? I did tell you, but did you listen?

---

Cab Driver #71126: [1x1] No one ever thinks about the cabbie. It's like you're invisible. Proper advantage for a serial killer.

Moriarty: No charge.

Sherlock: Is this a confession?

Cabbie: I didn't kill those four people...I spoke to them. If you call the cops now I promise you one thing, I will never tell you what I said.

Sherlock: No one else will die. I believe they call that a result.

Cabbie: You won't ever understand how those people died. What kind of results do you care about?

Sherlock: If I wanted to understand...

Cabbie: Let me take you for a ride.

Moriarty: Are you ready for the story?

Sherlock: So you can kill me—

Cabbie: I don't want to kill you Mr. Holmes, I want to talk to you and then you're going to kill yourself.

Moriarty: This is the story of Sir Boast-a-lot.

Cabbie: Someone out there noticed you...got yourself a fan —

Moriarty: Sir Boast-a-lot was the bravest and cleverest knight at the round table. But soon the other knights began to grow tired of his stories of how brave he was or how many dragons he'd slain.

Sherlock: There are two types of fans. "Catch me before I kill again" Type A—

Moriarty: Hi.

Sherlock: Type B my bedroom's just a taxi ride away—

Moriarty: Suddenly I'm Mr. Sex.

Cabbie: —And that's all you're going to know in this lifetime.

Moriarty: Oh no...that wasn't the final problem.

Cabbie: One thing about being a cabbie. You always know a nice quiet spot for a murder. I'm surprised more of us don't branch out.

Moriarty: I'm a specialist, like you... consulting criminal.

Sherlock: You can't make people take their lives at gunpoint.

Cabbie: I don't need [a gun] because you'll follow me. You're the one who's going to die here.

Sherlock: No, I'm not.

Cabbie: That's what they all say.

Moriarty: It's going to start very soon, the fall.

Cabbie: You're going to love this. You're brilliant, a proper genius. The science of deduction, why can't people think...

Moriarty: Aren't ordinary people adorable —

Cabbie: ...Did I give you the good bottle or the bad bottle?

Moriarty: How hard is it to say you don't know?

Cabbie: Together we take our medicine. Take your time, get yourself together. I want your best game. It's a game of chess, one move...you're not playing the odds you're playing me. I know how people think, I know how people think [that] I think.

Sherlock: Either way, you're wasted as a cabbie.

Moriarty: Every fairy tale needs a good old-fashioned villain.

Sherlock: You're a dead man walking.

Cabbie: So are you.

Sherlock: I think I'm going to die.

Cabbie: Any breath could be my last.

Moriarty: Falling's just like flying except there's a more permanent destination.

Cabbie: I've outlived four people. That's about as much fun as you can have.

Sherlock: Bitterness is a paralytic. Love is a much more vicious motivator.

Moriarty: I will burn the heart out of you.

Cabbie: You could take a chance, 50/50, or I could shoot you in the head. Funny enough no one's ever gone for that option.

Sherlock: I'll have the gun, please.

Cabbie: Are you sure?

Sherlock: Definitely.

Cabbie: You don't want to phone a friend?

Sherlock: The gun. I know a real one when I see one.

Moriarty: You're on the side of the angels, Sherlock—

Sherlock: You want me to shake hands with you in hell and I will not disappoint you. I may be on the side of the angels but don't for one second think that I am one of them.

Moriarty: — and I owe you a fall.

Cabbie: Before you go, did you figure it out—

Sherlock: Of course, child's play.

Moriarty: You understand?

Sherlock: Obviously.

Moriarty: Off you go then.

Sherlock: You want me to tell you what you already know?

Moriarty: No, I want you to prove that you know it.

Cabbie: Which one, then, would you have picked? Just so I know if I could have beaten you.

Moriarty: Did you start to wonder if I was real?

Cabbie: Play the game. Are you clever enough to bet your life?

Moriarty: That's your weakness. You always want everything to be clever. Now shall we finish the game —

Cabbie: What's the point of being clever if you can't prove it? Still the addict. You'll do anything, anything at all, to stop being bored.

Moriarty: Staying alive, so boring...

Sherlock: You don't have long though, am I right?

---

Moriarty: I'll burn you. [2x3] You're me.

Cabbie: — which one is the good bottle?

Sherlock: Am I right?

Lestrade: ...he might even be a good one.

[blindchat]

Happy Birthday! Hope nothing monumental is coming in the next few hours! Keep dancing Dabi Jensen release the tapes

[gemma-nye]

What I love so much about the idea of a mystery plotline in Good Omens series two is that the writers so clearly looked at the archetype of a crime solving duo and said “no but what if Aziraphale, the poster child for the helpful yet easily impressed sidekick was actually the master detective while his gritty, cynical, crime noir companion couldn’t care less about the actual mystery and only stood to point out obvious clues to him like Dora the Explorer.”

[meep-meep-richie]

he really went from being Sherlock Holmes to being John Watson

[littlematchagirlll]

okay, scott, ouch

(original tweet here)

[sherlockbbcgifs]

Sherlock, 2.03 The Reichenbach Fall

[bandcampgremlin]

bitches be like 'hes just like me fr' and he's committed countless atrocities

[rumble-bee-art]

What do you mean role playing, Mobius? We’re simply abiding local wardrobe traditions, everything else is simply a coincidence (including the choice of the hats)

[shysquiggles]

"The theories and analysis the GO fandom has started is giving me BBC Sherlock flashbacks."

I agree, but also I find it really funny that back with BBC Sherlock, the theories and analysis was trying to figure out how a man survived/faked his own death. With Good Omens, the fandom are furiously analysing gay yearning looks and a 5 second kiss, while theorising ways that these two dumb gay 6000 year old men are going to make up, make out and hold hands. I love that for us.

[noodles-and-tea]

LOOK THEYRE HAPPY

[finestangel]

I’m Still Here

Help I’m still at the restaurant, still sitting in a corner I haunt cross legged in the dim light they say “what a sad sight”

(right where you left me - Taylor swift)

[nothankyoudear]

I think it genuinely cannot be overstated how important that kiss in season 2 of Good Omens was.

From a plot standpoint, that kiss showed Crowley's desperate attempts to keep Aziraphale, to reel him in and back to the Us that they had built upon.

But from just a show standpoint, they. fucking. kissed.

Obviously their love transcends physicality, and Neil has said that Good Omens is a love story even before season 2, but the outright confirmation of a widely popular queer ship ON SCREEN is just so... Unheard of.

Every fandom or show has their trademark gay couple that aren't-really-gay-but-also-kind-of-are-gay: Merlin and Arthur, Sherlock and John (very heavy offender), Dean and Castiel (okay this one was canon, but we all know what happened IMMEDIATELY afterwards), and I suppose at some point Ineffable Husbands had just been included in the same category as the rest of them.

And to have it be moved from mostly fandom and fan work fuelled to outright canon - like 'they fucking kissed on screen' canon - is just so fucking fantastic.

It's not vague, it's not lines that are blurred for the sake of being on the fence of appealing to two audiences at once, and it's not only canon because the creator just said it's canon without rhyme or reason purely for the sake of appealing to a queer audience (looking at you, Ms J. K. Rowling) - it's undeniable, blatant evidence that Crowley and Aziraphale are in love.

And yes, at the moment it's devastating, but it's also devastatingly real. And that's so important.

Especially with the release of Our Flag Means Death, I really do hope we are entering a new era in mainstream media where queer ships finally aren't treated as some sort of mysterious prize that the writers dangle in front of you like a carrot on a stick, and are just simply treated like any other ship out there.

Because if so, then queer kids will be growing up to these shows, see this new era of unabashedly queer media, and won't have to hide away their ships like some dirty little secret. They won't have to wonder if their representation is even representation. They won't have to get excited over being able to see the small chance of themselves represented in a character only to be let down so incredibly badly, because queerness is good only when it's marketable.

So sure, ending season 2 like that is fucking crazy, but you know what's crazier? Whatever the fuck Neil just did with that kiss.

[hansoeii]

loki season 2 you better not queerbait me after that scene of loki almost confessing to mobius like what was that all about

[lokiiied]

smh gay people can never say “i love you” it’s always a firm handshake and “sherlock is actually a girls name” or “thank you, mobius”

[shegoeshometoacactuss]

not to be insane but

[d-one-in-the-dirty-trench-coat]

"It's my comfort show"

babe if your comfort show includes two (2) disastrous gay man who doesn't get very well together but still love each other til the ends of the earth and sacrifice all they have just to keep the other safe but even after that, after all their suffering they don't end up together (extra points if one of them dies anyway) that it's no comfort show