Maybe I should drop you at your door. Or leave tonight and vanish up the shore. Anywhere but here.
It’s three o'clock we’re driving in your car, You’re screaming out the window at the stars, “Please don’t drive me home!”
Blame us because we are who we are. Hate us because you’ll never get that far. And who’d suppose you would go? I’ve already learned enough to know.
Tell me all the places we could go. And count the headlights passing on the road, A long, long time ago.
Here we are. Foreign to their world. Straight and composed. Your sermons I can do without And I finally found. That everybody loves to love you When you’re far away. Could it be we’ve done something wrong We’d make it home to your place before dawn “Please, don’t take me home.” “Please, don’t take me home.”
Let’s look at a traditional English nursery rhyme, shall we?
Mistress Mary, Quite contrary,
How does your garden grow?
With Silver Bells, And Cockle Shells,
Sing cuckolds all in a row.
Let me draw your attention to the word “cuckolds”
I’m sorry, what was that? Maybe I need to look a little closer. I didn’t quite catch that.
OK, but surely this can’t mean-
But don’t worry guys, I’m sure it’s all a huge coincidence. It’s not like we’ve had any kind of foreshadowing to say that John isn’t the father of Rosamund.
An implication that a child has no biological connection to its father has been mentioned. But don’t worry everyone. You know this show. It’s full of coincidences. I’m sure “the baby isn’t John’s theory” is completely off the table.
I am also completely certain that John had nothing to do with Mary’s “death”. WAIT A MOMENT-
Complicit being the word I want to draw attention to. Because the exact definition of complicit is :
“Involved with others in an activity that is unlawful or morally wrong.”
In the scene where Mary’s death takes place John’s behavior is just plain weird. There are three points I want to draw attention to:
Doesn’t act like a doctor who knows what he’s doing. He just sort of places his hand on the wound. He doesn’t even go to phone an ambulance. Which is the first thing he did when he discovered Sherlock had been shot.
That cry John let out, some sort of cow/whale noise, was…well, frankly a bit of an overkill. John stays in control of situations. Even when he’s upset, he has to stay in control. When he saw Sherlock fall to his death did he break down right away? No. This to me was one of the oddest things about it.
In contrast to this, for a person who is dying, Mary seems to be very in control. We were shown in HLV what it is like when you get shot. Sherlock collapses, passes out, goes through shock, pain, and panic. Mary was wide on the other hand was wide awake and had time to apologise to Sherlock? I’m sorry but that just seems really inconsistent. Either that’s bad writing or we’re supposed to realise that this scene was fake.
I’m totally on board with the theory that John Watson is somehow in on the Mary’s death plan. Why?
Let me take you back to this quote:
“I will solve your murder, but it takes John Watson to save your life. Trust me on that – I should know. He’s saved mine so many times, and in so many ways.”
I don’t know how, I don’t know why, but something tells me that John pushing Sherlock away is somehow saving Sherlock’s life. But what if John messes up by doing this, underestimates how much cutting himself out of Sherlock’s life will hurt Sherlock. What if in TLD John realises he’s screwed up big time? I hope that John knows what he’s doing…
In regards to John’s supposed infidelity there is this :
Sexual jealousy in evolutionary psychology, which is rooted in the idea that men specifically will react jealously to sexual infidelity on the part of their mates.
Infidelity is also the number one cause for divorce.
WAIT. WHERE HAVE I HEARD THE WORD DIVORCE IN TERMS OF SHERLOCK BEFORE?
“It’s a strange thing but actually in the original stories it’s not
actually said that she has died,“ said Gatiss at a screening of episode
one. ”It’s heavily inferred. But it could have been a messy break up. “
OK Mark, thanks for the heads up that Mary is cheating on John, that Rosamund is just a cuckoo bird being raised by an unaware parental figure, that the “cuckold” AKA John is complicit in Mary’s death, and that Mary and John’s relationship won’t meet a death do us part kind of end but they will instead go through a messy divorce/breakup when everything comes to fruition.
Perhaps I’m jumping the gun here. After all I did just get all that from a nursery rhyme, a fairy tale but-
In the Mary, Mary quite contrary rhyme MARY IS THE VILLAIN.
“He said ‘oh Mary, contrary how does your garden grow?
come with me, and you’ll be, the seventh maid in a row’
My answer was laughter soft as I lowered my head
you’re too late, I’m afraid, this flower’s already dead” MUSIC - SECRET GARDEN
‘I want you,’ said Poirot, ’ to figure to yourself a little history.’
Miss Lemon dropped her hands into her lap in a resigned manner. She enjoyed typing, paying bills, filing papers and entering up engagements. To be asked to imagine herself in hypothetical situations bored her very much, but she accepted it as a disagreeable part of a duty.
'You are a Russian girl,’ began Poirot.
'Yes,’ said Miss Lemon, looking intensely British.
Rating: PG-13 (fighting, cursing) Characters: Raleigh Samson, Otto Alrik, misc. red templars Pairings: None Word Count: 1.4k Summary: An old Templar from Kirkwall comes to Suledin Keep looking for respite and something to fight for.
This is a little thingy thing I wrote based on a really interesting concept I saw @graveyardespost in the Raleigh Samson tag, that I’d been thinking about for a bit. I sent an ask to see if they were ok with me writing up this encounter, they agreed, so here it is! I hope you like it!
Approaching Suledin Keep at night wasn’t the wisest choice, yet it was his only choice.
What little food he’d managed to bring with him from Kirkwall ran out days ago, along with his lyrium. He took to packing his waterskin with snow, and every gulp of snowmelt filled his empty belly with an aching cold, which amplified the gnawing in his bones from want of lyrium.
He knew he wouldn’t survive another night out in the Emprise, but the eerie scarlet glow from within the Keep unnerved him. From where he stood, he could hear the faint ringing of lyrium, but there was a second cloying melody reaching out to him between the familiar chimes, one he came to know well as he passed Knight-Commander Meredith’s statue in the Gallows.
As he stood under the portcullis, focusing on the second melody, a frigid gust of wind sliced through him. His Kirkwall-crafted armor was a poor defense against the cold. It was made by peaceful, deft hands in the Gallows smithy to keep its Templars cool during summers in the Free Marches, not warm in the Emprise.
A second gust of frozen air swept under his blanket and through the cracks in his dented, decrepit armor. He shivered one last time with a huff, steeled himself, and marched into the courtyard on frozen feet.
Summary: A chance meeting with Mary Margaret Nolan in a juvenile detention floral design class sets Emma Swan on the path to being a florist. A rehabilitation program for disabled veterans gives Killian Jones his start in horticulture. Neither one ever imagined picking those paths, but they’ll lead to each other. But can they keep the harder aspects of life from tearing them apart? (Modern AU- Non-Magic)