assholeinflannel
technocat:

motherfucker what is this shit, sand? fuck sand. i hate sand. thanks, mom. thanks for absolutely nothing, leaving me here on this fucking beach, is that a fucking seagull? oh my god, mom, you suck more than anything has ever sucked. i’m getting to that ocean just so i can urinate on your carapace. i’m gonna urinate on it so hard. fucking sand. i think five of my brothers just got eaten. good, i hated those assholes. i’m coming, mom. you’ve got blood on your flippers, bitch.

technocat:

motherfucker what is this shit, sand? fuck sand. i hate sand. thanks, mom. thanks for absolutely nothing, leaving me here on this fucking beach, is that a fucking seagull? oh my god, mom, you suck more than anything has ever sucked. i’m getting to that ocean just so i can urinate on your carapace. i’m gonna urinate on it so hard. fucking sand. i think five of my brothers just got eaten. good, i hated those assholes. i’m coming, mom. you’ve got blood on your flippers, bitch.

gingerbbatch
So in “Redbeard,” as it’s formed on the soundtrack album, you actually hear in the distance the Watson chords on brass as Sherlock is ascending the staircase because it’s really John… it’s the connection with John that’s giving him the motivation to recover from that situation, so that’s one of the first times really that I can remember, I’m sure I’ll be wrong, where we’ve actively been using the Watson’s chords in a different orchestration.
Micheal Price, composer of BBC’s Sherlock in his interview with Mary Jo Watts (mid0nz)