source: londonphile
Thursday, 31 May 2012
lovely piece from esquire
Men’s style at award shows has always been a game of inches instead of miles so it’s only fair of us to point out when someone manages to perfect every inch of their style. And, at Sunday’s Television Baftas, Benedict Cumberbatch did just that.
Most men at the show got it wrong in one way or another. There’s not enough space to list everything but common offences included: too small suits, too big suits, half undone ties (nothing worse than preplanned nonchalance) and, worst of all, bad shoes – we’re looking at you Keith Lemon and Alan Carr.
The man commonly known as Sherlock, however, avoided those pitfalls, teaming a perfectly tailored suit with a good pair of shoes and a slither of a Mad Men style pocket square. Perfectionists might say his time is a 1/4 inch undone but let’s not throw the baby out with the bath water.
The pocket square is the important part of this outfit. A well tailored suit is essential but it’s always the little things that elevate an outfit. Mad Men has gotten a bad rap lately, having become synonymous with any grey suit ever made but there’s still little tips worth taking from Draper & Co.
What can we take from this? The devil’s in the details – and never is that more apparent than at an event where everyone has to wear the same outfit. And get some good shoes, we all notice them.
source: cumberbatched
Style Moment of The Week | Perfecting The Award Show Look
Men’s style at award shows has always been a game of inches instead of miles so it’s only fair of us to point out when someone manages to perfect every inch of their style. And, at Sunday’s Television Baftas, Benedict Cumberbatch did just that.
Most men at the show got it wrong in one way or another. There’s not enough space to list everything but common offences included: too small suits, too big suits, half undone ties (nothing worse than preplanned nonchalance) and, worst of all, bad shoes – we’re looking at you Keith Lemon and Alan Carr.
The man commonly known as Sherlock, however, avoided those pitfalls, teaming a perfectly tailored suit with a good pair of shoes and a slither of a Mad Men style pocket square. Perfectionists might say his time is a 1/4 inch undone but let’s not throw the baby out with the bath water.
The pocket square is the important part of this outfit. A well tailored suit is essential but it’s always the little things that elevate an outfit. Mad Men has gotten a bad rap lately, having become synonymous with any grey suit ever made but there’s still little tips worth taking from Draper & Co.
What can we take from this? The devil’s in the details – and never is that more apparent than at an event where everyone has to wear the same outfit. And get some good shoes, we all notice them.
source: cumberbatched
Tuesday, 29 May 2012
This is one of the many reasons I adore this man!
"I don’t know about being the sexiest man in the world. I am barely the sexiest man in my flat and I’m the only guy living there. It makes me laugh because I see all the faults - I have spent 35 years of my life with myself. But I am very flattered. I don’t know how else to take it but to be flattered and giggle."
Benedict Cumberbatch
source: cumberqueen
Benedict Cumberbatch BAFTA interviews
http://www.youtube.com/watch?v=VXKAyy2EKws&feature=BFa&list=UUH24Q0f3gmVi4q-W_EiZTWA
http://www.youtube.com/watch?v=0ctF1OerneE&feature=relmfu
http://www.youtube.com/watch?v=6r-yEjM35Z8&feature=relmfu
http://www.youtube.com/watch?v=XGv6NdNWmU0&feature=related
http://www.youtube.com/watch?v=TAARP8ICibg&feature=player_embedded
http://www.youtube.com/watch?v=__b5KNZIEOU&feature=player_embedded
http://www.youtube.com/watch?v=BGmlUthpCkg&feature=player_embedded
http://www.youtube.com/watch?v=w8xVNx1nzMA
http://www.youtube.com/watch?v=gQQgE8Xlffc&feature=player_embedded
http://www.youtube.com/watch?v=0ctF1OerneE&feature=relmfu
http://www.youtube.com/watch?v=6r-yEjM35Z8&feature=relmfu
http://www.youtube.com/watch?v=XGv6NdNWmU0&feature=related
http://www.youtube.com/watch?v=TAARP8ICibg&feature=player_embedded
http://www.youtube.com/watch?v=__b5KNZIEOU&feature=player_embedded
http://www.youtube.com/watch?v=BGmlUthpCkg&feature=player_embedded
http://www.youtube.com/watch?v=w8xVNx1nzMA
http://www.youtube.com/watch?v=gQQgE8Xlffc&feature=player_embedded
Friday, 25 May 2012
BEHIND THE SCREEN
BBC’s Sherlock has crossed the pond for the second time to find a lively, if not exactly raging, fanbase waiting. Ten thousand applications for the two hundred seats offered by PBS to the fans? Impressive. A polite, manageable line at the doors of the screening’s undisclosed (really?) location squeals in unison and delight but stays in place as Benedict Cumberbatch—truth be told, the main attraction of the series and the evening—walks through the door. Also present today will be the venerable Steven Moffat,Sherlock‘s creator and the current Tardis chief, and his wife, producer Sue Vertue, the woman who got the series off the ground. The American host is Rebecca Eaton, PBS Masterpiece’s producer in charge of Sherlock. There will be food and drink, an excerpt from “A Scandal in Belgravia”, questions, answers, coffee and autographs.
Unseen, Cumberbatch, Moffat and Vertue watch the audience as “A Scandal in Belgravia” begins to roll. “We were standing behind the screen at the beginning, I wonder if you knew it, but it was a cheeky way of just seeing what the reaction would be,” explains Cumberbatch later. Out of 400 present, there are, we estimate, three people who held out and haven’t already devoured a hasty download of series two. The response is none the worse for that: all applause, laughter and everything on the scale between happy screaming and appreciative purring. Forty minutes later, the lights are on and the guests submit themselves to questions. But first, Eaton produces a happy and extremely welcome announcement: “[PBS] Masterpiece will be co-producing with BBC Wales and with Hartswood Films the next series of Sherlock that will go into production early in 2013 and will be on the air here sometime in 2013. That’s official.” What follows is a scatter of seemingly unlikely topics: Machiavelli, imaginary tea with Martin Crieff the crazy pilot, visits to the morgue (“I recommend it,” deadpans Cumberbatch), a bed in a field, Frankenstein, a black whip with a red heart at the end of it. A great deal of warmth is in the air: hardly anyone in the room is out of any of these quirky loops.
BBC’s Sherlock has crossed the pond for the second time to find a lively, if not exactly raging, fanbase waiting. Ten thousand applications for the two hundred seats offered by PBS to the fans? Impressive. A polite, manageable line at the doors of the screening’s undisclosed (really?) location squeals in unison and delight but stays in place as Benedict Cumberbatch—truth be told, the main attraction of the series and the evening—walks through the door. Also present today will be the venerable Steven Moffat,Sherlock‘s creator and the current Tardis chief, and his wife, producer Sue Vertue, the woman who got the series off the ground. The American host is Rebecca Eaton, PBS Masterpiece’s producer in charge of Sherlock. There will be food and drink, an excerpt from “A Scandal in Belgravia”, questions, answers, coffee and autographs.
Unseen, Cumberbatch, Moffat and Vertue watch the audience as “A Scandal in Belgravia” begins to roll. “We were standing behind the screen at the beginning, I wonder if you knew it, but it was a cheeky way of just seeing what the reaction would be,” explains Cumberbatch later. Out of 400 present, there are, we estimate, three people who held out and haven’t already devoured a hasty download of series two. The response is none the worse for that: all applause, laughter and everything on the scale between happy screaming and appreciative purring. Forty minutes later, the lights are on and the guests submit themselves to questions. But first, Eaton produces a happy and extremely welcome announcement: “[PBS] Masterpiece will be co-producing with BBC Wales and with Hartswood Films the next series of Sherlock that will go into production early in 2013 and will be on the air here sometime in 2013. That’s official.” What follows is a scatter of seemingly unlikely topics: Machiavelli, imaginary tea with Martin Crieff the crazy pilot, visits to the morgue (“I recommend it,” deadpans Cumberbatch), a bed in a field, Frankenstein, a black whip with a red heart at the end of it. A great deal of warmth is in the air: hardly anyone in the room is out of any of these quirky loops.
THE MYTHOLOGY AND SUBTERFUGE OF Sherlock
Witty and dazzling as it may be, BBC’s Sherlock isn’t simply a clever unlocking of Conan Doyle’s seemingly rigid original. The ferrying of Sherlock Holmes through time and quickening his Victorian soul is a resounding success on the front of sheer entertainment, but also a subtle, and often subversive, commentary on the salient issues of the current moment. Take your pick. Modern technology and its influence on people’s lives? Check. The painful process of acceptance of homosexuality as variant of norm? Oh yes. The state of political affairs? Even that. Many do perceive - and reject - Cumberbatch’s Holmes as too theatrical, too much of a walking firework display, not a hermetically sealed mystery in the shape of a sleuthing man, and thus hopelessly “out of character” in regard to Conan Doyle’s detective. But the psycho-physical setup of the new Sherlock is, too, a reflection of the state we’re in. The speed with which tragedy yo-yos into farce and back: instant. Transparency of emotion: all but indecent. Patience: zero.
But all of that is only a mirror in which we see ourselves, facepalm (in Internet speak) and laugh; the series’ creators’ strategy, in fact, goes deeper and touches upon more fundamental issues. A society—our society—where “being nice” and “doing good” are so well defined, where emotion is sacred, is injected with a hero whose heart is seemingly deaf to these notions. So, how on earth is good done by someone who isn’t—nor, by all accounts, intending to be—good? Oh yes, and we are, of course, inexorably in love with Benedict Cumberbatch’s Holmes, so excruciatingly adorable and so tantalizingly unavailable that most of us would happily ditch our moral beacons to have more of him—a bit of a subversive lesson in itself. Even without realizing any of this, our thought patterns are broken, and the process of self-observation and the questioning of our own motives have begun. No small achievement for a short TV series; no wonder it’s gone iconic as soon as the first episode’s end titles rolled.
But here comes the most important kind of compelling magic of Sherlock: as the series progresses, it becomes more and more obvious that the ciphers of the plot, in all their witty, sparkly brilliance, are secondary to the cipher of the main character. The sleuthing stories are transport; Sherlock Holmes is the one being solved. He seems fairly obvious in the beginning - a brilliant mind, “a high-functioning sociopath”, his fancy tickled by detective work and his underfed, infantile ego touchingly visible. But enter John Watson, the limping military angel, the unlocker, and Sherlock’s hermetic heart is warmed and unsealed, allowing the contradictions in him to bloom openly—and all the more violently for that. We, in turn, are given to the torment of guessing, of choosing sides, of merging the impossible opposites within him, to turning him this way and that, to trying him on. Who is he? The answer—even as we assail, without success, the creators of the show for the original meaning—is to be found nowhere but within ourselves, and that truly pushes Sherlockup through the clouds of entertainment and into the stratosphere of real art.
Witty and dazzling as it may be, BBC’s Sherlock isn’t simply a clever unlocking of Conan Doyle’s seemingly rigid original. The ferrying of Sherlock Holmes through time and quickening his Victorian soul is a resounding success on the front of sheer entertainment, but also a subtle, and often subversive, commentary on the salient issues of the current moment. Take your pick. Modern technology and its influence on people’s lives? Check. The painful process of acceptance of homosexuality as variant of norm? Oh yes. The state of political affairs? Even that. Many do perceive - and reject - Cumberbatch’s Holmes as too theatrical, too much of a walking firework display, not a hermetically sealed mystery in the shape of a sleuthing man, and thus hopelessly “out of character” in regard to Conan Doyle’s detective. But the psycho-physical setup of the new Sherlock is, too, a reflection of the state we’re in. The speed with which tragedy yo-yos into farce and back: instant. Transparency of emotion: all but indecent. Patience: zero.
But all of that is only a mirror in which we see ourselves, facepalm (in Internet speak) and laugh; the series’ creators’ strategy, in fact, goes deeper and touches upon more fundamental issues. A society—our society—where “being nice” and “doing good” are so well defined, where emotion is sacred, is injected with a hero whose heart is seemingly deaf to these notions. So, how on earth is good done by someone who isn’t—nor, by all accounts, intending to be—good? Oh yes, and we are, of course, inexorably in love with Benedict Cumberbatch’s Holmes, so excruciatingly adorable and so tantalizingly unavailable that most of us would happily ditch our moral beacons to have more of him—a bit of a subversive lesson in itself. Even without realizing any of this, our thought patterns are broken, and the process of self-observation and the questioning of our own motives have begun. No small achievement for a short TV series; no wonder it’s gone iconic as soon as the first episode’s end titles rolled.
But here comes the most important kind of compelling magic of Sherlock: as the series progresses, it becomes more and more obvious that the ciphers of the plot, in all their witty, sparkly brilliance, are secondary to the cipher of the main character. The sleuthing stories are transport; Sherlock Holmes is the one being solved. He seems fairly obvious in the beginning - a brilliant mind, “a high-functioning sociopath”, his fancy tickled by detective work and his underfed, infantile ego touchingly visible. But enter John Watson, the limping military angel, the unlocker, and Sherlock’s hermetic heart is warmed and unsealed, allowing the contradictions in him to bloom openly—and all the more violently for that. We, in turn, are given to the torment of guessing, of choosing sides, of merging the impossible opposites within him, to turning him this way and that, to trying him on. Who is he? The answer—even as we assail, without success, the creators of the show for the original meaning—is to be found nowhere but within ourselves, and that truly pushes Sherlockup through the clouds of entertainment and into the stratosphere of real art.
“I don’t think that’s how you create a character. I don’t think that’s how you know a character. I don’t think you know a character by creating a backstory for him. Never mind not knowing the backstory for Sherlock Holmes, I’m not absolutely sure I know the backstory for Mark Gatiss. He’s one of my best friends, and you look at each other and do you really know the backstory? So, we sometimes speculate, because we’re interested, what his parents were like, what they did, but you know what, we’re not… it’s sacred turf. You don’t mess that up, you don’t bring that into the show, it’s not right. There are some things we don’t know about Sherlock Holmes, just as there are some things we don’t know about our friends and we don’t ever know them. And that’s right and proper. I think if we went and did that, in a way the audience wouldn’t believe us. They’d say, oh you just made that up, as if we didn’t make the rest of it up.”
Somewhat sheepishly but still determinedly, Cumberbatch half-agrees: “As an actor, that’s one of the first things I asked him, and that’s a terrifying response to get, isn’t it, if anyone has ever done any acting. You want to hook something of an understanding of how you’ve grown to be this exceptional, eccentric talent; and for me, it was important. It was important at least to know it, but like he says, all the best back stories are there but not talked about. So I have an idea of who he was when he was growing up, I have an idea of how he became what he is as we see him now. We don’t necessarily have to show it ever, but it’s there, and it does inform the choices I make as an actor playing this character. And I say… yeah, I know Mark’s back story. I got to know it, I got to know it. But I agree with what Steven says, the need to explain everything would make it so much more boring. But I think it’s kind of important to have a little bit of a framework to hang your choices on as an actor.” A clearer explanation surfaces in a different interview a day later: “I don’t think he’s damaged at all. I think it’s all self-inflicted. I think what this is about is humanizing him, making you realize there’s actually an adolescent that is being repressed from childhood purposely in order try and become the ultimate, calculating deduction machine. And he can’t actually do that.” He can’t do that, yet to a certain extent, and with a certain amount of damage, it’s done, and here comes an itch to argue with Cumberbatch: could an inherently undamaged person ever inflict such a damaging decision upon himself?
Somewhat sheepishly but still determinedly, Cumberbatch half-agrees: “As an actor, that’s one of the first things I asked him, and that’s a terrifying response to get, isn’t it, if anyone has ever done any acting. You want to hook something of an understanding of how you’ve grown to be this exceptional, eccentric talent; and for me, it was important. It was important at least to know it, but like he says, all the best back stories are there but not talked about. So I have an idea of who he was when he was growing up, I have an idea of how he became what he is as we see him now. We don’t necessarily have to show it ever, but it’s there, and it does inform the choices I make as an actor playing this character. And I say… yeah, I know Mark’s back story. I got to know it, I got to know it. But I agree with what Steven says, the need to explain everything would make it so much more boring. But I think it’s kind of important to have a little bit of a framework to hang your choices on as an actor.” A clearer explanation surfaces in a different interview a day later: “I don’t think he’s damaged at all. I think it’s all self-inflicted. I think what this is about is humanizing him, making you realize there’s actually an adolescent that is being repressed from childhood purposely in order try and become the ultimate, calculating deduction machine. And he can’t actually do that.” He can’t do that, yet to a certain extent, and with a certain amount of damage, it’s done, and here comes an itch to argue with Cumberbatch: could an inherently undamaged person ever inflict such a damaging decision upon himself?
Cute article on Benedict Cumberbatch's "new" sex appeal in Now Magazine
Now Says
Sally Eyden, Editor
Naked pictures that prove Benedict Cumberbatch is a sex god!
Benedict Cumberbatch looking HOT on the Cumberbeach
Or could it be the fact that Benedict Cumberbatch, the slightly lanky, curly-haired star of Sherlock Holmes is just plain H-O-T?
For far too long I've been a lone voice of Benedictappreciation in the Now office. Not for me the sculpted biceps of Becksor the ripped torso of Ryan Gosling.
Call me weird (and, believe me, it happens. A lot...) but I'd rather curl up in bed with a Benedict than a Brad. Seriously.
Sure, Harry Styleshas the floppy hair, but can he tell you what you had for breakfast just by looking at you? Nope, thought not.
But, this week everything changed. Oh yes. My Now colleagues, given to barely concealed-sniggers at the mere mention of The Batch, suddenly stopped laughing...And started leering instead. So what brought about this incredible 180?
Well, ladies, feast your eyes on this whole lotta brain AND brawn! Toned calves, bulging arms and where the heck did those abs come from?
I'd imagined between takes of Sherlock, Benedict was busying himself with the Times crossword. Clearly, he was bench-pressing Watson instead.
If I'm being honest, I believed that beneath Sherlock's deerstalker hat and sweeping coat hid the puny, pasty body of the kid who was always the last one to be picked in PE. But I'd made my peace with that.
I was interested in his razor-sharp mind and those eyes that could undo an alibi (and my dress!) in seconds.
So, with the revelation that this thinking woman's crumpet can not only wow you with his mind, but his body too - could Benedict Cumberbatchbe the perfect man? You betcha!
There is, however, one problem. After giving Benedict's body A LOT of thought, my initial joy at the topless pictures of the sex-god sleuth has cooled.Why? Well, I don't think I'm quite ready to share him with the world.
We, the original Cumberbitches(the name given to Benedict's loyal fans) fancied him before he unveiled his toned torso and his secret six pack.
We're not the sort of fickle girls who fancy a man based on his cute smile and bad-ass body alone. No, we're far less shallow: size matters to us - the size of a man's brain, that is.
So, to all you fresh so-called-fans - yes, YOU, girls in the Now office, you know who you are - scuttle right back to fancying One Direction and David Gandy. Because we have a message to you all: Back off, Benedict Cumerbatch is ours!
source: nowmagazine.co.uk
Congratulations to Sherlock!
“The BBC drama starring Benedict Cumberbatch took Entertainment Show of the Year in the Audience Vote category”
Thursday, 24 May 2012
![chibicoaster:
sherlock-sherbet:
dontstartlethewitch:
inspectahradio:
floopowderchristmastroy:
rainleo410818:
Benedict Cumberbatch ‘Men in Black III’ New York Premiere, held at the Ziegfeld Theater - Arrivals New York City - USA 23.05.12
[x]
I said I’ll sleep? LOL NO.
I love that you’re back in NYC. I love that I know exactly where that theatre is. i hate that I wasn’t there. Ahh.
UNF.
DOUBLE UNF
NO COME ON I NEED TO SLEEP TONIGHT, AND I WILL NOT BE TOSSIN AND TURNING WITH IMAGES OF -
you know what?
nevermind.
if he is my cause of death so be it.
<3
Oh my god, Benedict. You were in NYC AGAIN and I DIDN’T KNOW ABOUT IT?! WHAT THE BLOODY HELL?!](http://25.media.tumblr.com/tumblr_m4ihf8bNyQ1qdwnd6o1_1280.jpg)
Wednesday, 23 May 2012
Tuesday, 22 May 2012
Sherlock, Benedict and Martin are up for TV Choice Awards.
Please vote at:
http://www.tvchoicemagazine.co.uk/tv-choice-awards-vote-2012
Just a quick note on the pap shots of Benedict Cumberbatch. Although they are truly stunning, seeing as Benedict was simply trying to enjoy a day at the beach and more than likely was not aware they were being taken, I will not post any of them. They are quite easy to find, & it is up to each individual if they wish to post them, I simply choose not to.
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