conversationswithbenedict:

letthechoirsing:

Aesthetic : Sherlock stretching on the bed, naked, barely awake and his hair ruffled, and John watching him, leaning against the doorway, two cups of tea in hands and not quite believing he’s this gorgeous man’s husband

@letthechoirsing, I love this. It always reminds me of the start of Where Else Would I Be? Our aesthetics belong together:

John stops in the threshold of their bedroom and leans against the door jamb, two mugs of tea in his hands, and takes in the scene before him. The simple room is filled with evidence of lazy morning lie-ins and cosy late nights, testament to the two of them lounging with books and newspapers, crossword puzzles, and back copies of the Scientific Beekeeping Journal. There are stacks of books on the bare, wide-plank floor, an antique dresser against one wall, and loosely folded jumpers in an open chest at the bottom of the wrought iron bed.

The room is bright with diffuse, early morning light, and two sunbeams fall diagonally across the bed and the man still sleeping in it. There’s a bee outside now, one solitary bee, bumping gently against the leaded glass windows above the bed. The bee knows, he thinks. The bee knows where Sherlock is, and he wants in. The bee probably has a message that only Sherlock will be able to decipher, something about honey saturation levels or feuding nurse bees.

Sherlock lies on his stomach, asleep, unaware of his little bee messenger. The sheets are twisted around his splayed thighs, his curved bottom half-exposed. His arms are flung out to the sides, and he’s managed to burrow his face in both his and John’s pillows. Sherlock’s hair is spread over the linens in every which direction, curls of silver and sable and all the shades between sticking out in an unruly mess. He wears it longer now, and even after all these years, John can never stop touching it. The hair at the nape of Sherlock’s neck is still just as dark as when they first met, and John likes to burrow his nose there and imprint Sherlock’s scent in his memory. As if he could ever erase it.

He pads across the chilly floorboards now and sets the mugs down on the nightstand on Sherlock’s side of the bed, which isn’t really Sherlock’s side because Sherlock always takes up most of their bed, leaving John the sparse spaces that are left, usually curled around the taller man’s back or half underneath his star-fished form. God, this man, and all that he consumes.

shakespearean-spunk:

“you make my heart beat in iambic pentameter.”

no you don’t understand shakespeare literally writes to the beat of your heart

  • that’s why shakespearean actors will sometimes pound their chests in time to the words during readings
  • that’s why you use fluctuations in the rhythm to track your character’s emotional state – any irregularities in the scansion are like the character’s heart stuttering or jumping or skipping a beat
  • that’s why when characters share the rhythm – switching off in the middle of a foot – those characters inevitably have an extraordinarily intimate connection

shakespeare fucking writes viscerally, he is literally in your body, and that, my friend, that is why the best shakespearean actors don’t posture and emote

you have to be fucking alive and passionate and electric – it can’t be intellectual, in the end, it has to be about connection and the sweating, cheering, jeering, bleeding masses you’re performing to, because make no mistake, shakespeare may go to lofty heights, but he only works if you’re just as grounded in the earth. he has to be in your body. he has to be in your body.

holy motherfucking shit i love shakespeare so much, get him in your bones, breathe him in, stomp and rage and pine, dadum dadum dadum dadum dadum, it is literally to the beat of your heart

As Evans gets into the elevator to ascend to Marvel’s floor, he politely holds the door for other passengers hurrying back from lunch. All of them recognize Cap, even in his civilian clothes, but nobody geeks out.

Pretty soon, the elevator is packed, shoulder to shoulder. As the doors close, someone says: “Now he’s going to beat all of us up.”

Evans laughs and turns around to break the taboo of no eye-contact. “I think about that every time I’m in one of these things,” he says.