How can Sherlock survive the true Final Problem if Moriarty and Mary have stolen the story?

Moriarty loves stories, fairytales. He planned everything like one. If we need to understand everything that happened since TRF, we just need to understand Appointment in Samarra. This is the key behind everything.

Sherlock is the merchant trying to outrun/outwit Death. If we consider Moriarty to represent Death (and Mary ultimately taking his title and his place in the narrative), Sherlock must find the one path to survive the Fall.

It begins with Sherlock/the merchant meeting Moriarty/Death and understanding, no, knowing that this person will take his life. So, he runs, he runs from his life in an attempt to escape his fate.

So, in the Reichenbach Falls, Sherlock fakes his death, thinking he’s done it. There was just a little problem with that plan:

The tale of Sir Boast-a-Lot, TRF never was the Final Problem, the same way the first meeting between the merchant and Death wasn’t supposed to end with the merchant’s death. Yes, Sherlock managed to escape Moriary’s plan but that was pointless. His appointment wasn’t in St Barthelemy Hospital.

Nor here.

Or even that, whatever that was.

We need to focus on this.

Because, ultimately Sherlock has been warned times and times again. Moriarty said it many times “I owe you a fall.” Not this little magic trick, no, don’t be silly. I’ll burn you, I’ll burn, the heart out of you. Survive this little game and you’ll have the privilege of seeing my real work.

Now, that’s more like it. You’ve got to admit, that’s sexier.

We both know you don’t care about your reputation, about the press slandering you. We both know that’s not your pressure point. But look how you care about John Watson. Well, your little pet, I’m going to take it from you. Let’s see how far you’re willing to go for him. That wife. Such a poor soul, so tragic. I’m sure she didn’t actually want to kill you, you were clearly a threat to her, if only you’ve told her you wanted to help her. Oh you did? Oopsie.

Well, the woman you call Mary? She’s going to take you everything, she will even break your little toy and there is nothing you can do about it. Enjoy the show.

Because John has always been and will always be his heart. He is the reason he decides to restart his, he is the reason he hasn’t killed himself like Jim. Separate them and death will be a kinder fate.

Somewhere, John or Sherlock is in terrible danger, dying and unable to escape his end. The electrocardiogram is still beating in TAB, like a phantom pain the wound still hurts Sherlock, John may or may have not escaped the bullet (no, a fuming gun don’t throw sleeping darts, it just can’t) “Eurus” shot.

Who cares how Sherlock survive the Reichenbah Falls? This wasn’t the point, this never was the Final Problem. Season 3 and Season 4 are the real thing.

Like a throwback to Jim in TRF, ‘Mary’ has become the author, the one calling the shots and stripped John of any narrative power. That is absolutely devastating, how can they survive if the two vilains have taken over the story so completely?

“Sherlock Holmes will now wear the silly hat because Mary liked it. It just felt right.She changed and illuminated the path of the show.”

Now that she is the one calling the shots, both men’s hearts are effectively reduced to ashes. Their identities have been stripped and they have become actors in their own lives.

Who you really are, it doesn’t matter. It’s all about the legend, the stories, the adventures.

This is Appointment in Samarra, you can’t avoid Death, not when the vilains are the one reading the story since TRF. This is predeterminism, all roads were leading to this ending. No matter how much Sherlock’s struggled, the author aka Jim/Mary has always planned this ending. Resistance has always been futile.

And yet… there is one fic that managed to save the merchant. Appointment in Sumatra may be a mere fanfic, Sherlock has succeeded in changing the ending. Mary, the new author, may have stripped John of everything that was him, he remains the first narrator.

The game isn’t over. This is a struggle between the two authors that have decided to destroy the story and the fans who need to find the one path that will save the merchant. Jim/Mary vs Sherlock and John, or if we are very daring between Mofftiss and the fans.

Samarra can be avoided but dear God, that’s going to a hell of a ride to save Sherlock Holmes. We just need to completely rewrite the ending, to let John take back his narrative power and let him lead Sherlock to Sumatra and avoid Samarra.

Only that.


Sherlock sat at the kitchen table, watching the sun stream through the curtains, and sipped at his tea.

“Good morning, love.”

He turned his head to see John standing there, his bedhead messy and sticking up in tufts and a soft smile on his face. “How did you sleep?”

Sherlock didn’t answer.

John walked over to the chair opposite Sherlock and sat down, picking up the other cup of tea on the table. 

Sherlock’s face twitched.

John stared at him with an affectionate expression, the smile never leaving his face, and reached for his hand. “I love you, Sherlock.”

Sherlock closed his eyes. 

Deep breaths. One, two, three, four, five. Just like the therapist had said.

He opened them again. The chair opposite him was empty. 

He sighed.

Those hallucinations would be the death of him.

He’d made two cups of tea again. One for him, and one for John.

John, his beloved John, who had died of cancer almost four months ago. 

He’d never heal completely.


The Complete Sherlock Holmes, Folio Society

The Final Problem. Illustration and (spoilers!) the final page.

Of their terrible chief few details came out during the proceedings, and if I have now been compelled to make a clear statement of his career, it is due to those injudicious champions who have endeavoured to clear his memory by attacks upon him whom I shall ever regard as the best and wisest man whom I have ever known.


Pairing: Implied:SherlockxReader, Eventual!SherlockxReader (There will be a part II)

Warnings: Cliff hanger, kidnapping, mentions of prostitution (not the reader), mentions of murder and violent/graphic scenes, and very creepy Moriarty.


“That isn’t fair!” How could he give you a ‘C’ when you did more work than everyone else? Even he admitted it was the best piece, and most supported article! But no- he gave you a 'C’ because it had nothing to do with “current events”. Because the brutal slaying of a prostitute doesn’t seem to qualify. Does no one else think even they deserve some ink? 

“Your essay was supposed to be on a current topic, not the mutilation of a street-” That’s where you drew the line.

 "So, if I had done the assassination of a diplomat, I would’ve gotten an 'A’?“ You snapped. No one wanted to admit that they thought whoever killed people like her were "cleaning up the place”. But that woman had a life, just like any other victim. How was her death any different, or less impactful on the world? She was someone’s little girl, a sister, and a mother to two boys. But that’s not how anyone else saw it, and that really burned you up inside. 

Almost sheepishly, he replied, “Yes.” Now you wanted to tear his stupid office apart, but you knew it would do you absolutely no good. You’d handle how the general public saw the people working on the streets when you were an actual journalist. For now, you’d have to find away to fix your grade. Taking a deep breath to steady yourself, you carefully chose your words.

 "Can I fix this, in any way?“ And that’s the question that led you to start researching the one and only: Sherlock Holmes. If you could just get the story to make any other journalists’ career- he’d fix your grade. How could you say no to such an opportunity? You couldn’t, and that’s what lead you to take the flat right below him at 221C Baker Street.

Keep reading

‘Til We Met Other Children

SHERLOCK: I used to think I was an idiot.
MYCROFT: Both of us thought you were an idiot, Sherlock. We had nothing else to go on ’til we met other children.
SHERLOCK: Oh, yes. That was a mistake.
MYCROFT: Ghastly. What were they thinking of?
SHERLOCK: Probably something about trying to make friends.
MYCROFT: Oh yes. Friends. Of course, you go in for that sort of thing now.

I have questions:

  • Why did Mycroft - the loving older brother from TFP - make Sherlock think he was an idiot?
  • When exactly did they meet other children, Mycroft being seven years older than Sherlock? He would have met them long before, wouldn’t he? 
  • Why was it a mistake? 
  • Why is Mycroft mentioning this when he did not want Sherlock to remember his childhood friend?
  • It this Mycroft using trigger words to monitor Sherlock’s mental state?
  • Who was “they”? The parents? Was there no kindergarten? No playgroup? No school? Did they grow up in isolation? Why?
  • Did Mycroft invent (or Sherlock himself create) a whole fictional childhood  - no Victor, no Eurus, no social contact for years, list/file about motherly failures, old resentments between the brothers, horrible Christmas dinners? Because what he have been told until this point has nothing whatsoever to do with what we are shown from this point on: loving ordinary parents, pirate games on the beach, best friend, sister. 

The long Sherlock/Mycroft scene in TEH can be read as a sort of watershed where the family is concerned. It divides the show in a before and after. What we have learned about the brothers up to this point has very little do to with what we see afterwards. They seem to show us two completely different families.