Someone call a doctor, because doing this painting killed my hands. Good gravy. That foliage. HOWEVER. Finally, with some help and encouragement I managed to get through it. Special thanks to my fiance for carrying me through and not letting me die in a deep, deep sea of despair :D
Steven Universe ala “The Swing” in homage to one of my fave painters,
Johnny Weir’s new costume is suspiciously familiar....
So I was just browsing Facebook earlier and I saw this one post
I don’t know, do the colours look somewhat familiar to you? Maybe a Russian skater in an anime wore something of similar colours?
The colour scheme is a bit too similar to Viktor’s to be a complete coincidence. And let me clarify; I acknowledge that Johnny Weir is a skater and a person of his own, and I am not comparing him to an anime character on baseless grounds. In fact, this American skating champion has revealed that he has watched and loves Yuri!!! On Ice, and the anime has even paid homage to one of his costumes.
To assume that his new costume is inspired by Viktor’s costume for Stammi Vicino might have been a bit of a stretch, but considering his love for the show, it’s not exactly an impossible theory.
Regardless of whether or not the costume is actually based off Viktor’s or not, I’m really excited to see the reveal.
It was a custom version of the game One Night Ultimate Werewolf, with a Harvey Beaks theme. This is a game the crew would play quite often so it has a lot of special meaning. And they fact that they spent seven months secretly putting this together for me makes it even cooler! It’s a perfect homage to both the game and the show.
After his vision of a possible
future, Qui-Gon Jinn insists that he be allowed to train Obi-Wan
Kenobi, in spite of Ahsoka Tano and Obi-Wan’s protests. When Masters
Windu and Yoda are unable to find a solution to the problem, Qui-Gon and
Ahsoka agree to duel for the privilege of training the young Initiate.
Fortunately for Obi-Wan, Ahsoka is the superior duelist that day…
As soon as the duel was decided in Ahsoka’s favor Obi-Wan jumped up and ran over to his master, immediately fretting over the tortured claw her hand was frozen in. “Master, we have to get you to the healers!”
Ahsoka let out a soft, exhausted laugh and shook her head, taking her left hand and slowly, carefully, with a great deal more skill than Master Yoda or Windu expected of her, sent the Force running down her arm. The cool electricity soothed her agitated nerves, inflamed muscles and ligaments: it hurt like a blaster bolt to bare skin but it was much easier to use the Force like this in the Temple than when she was on the run from the Empire.
Everything seemed easier here.
With a relieved sigh, Ahsoka relaxed her hand and stretched it out, glad to see there was no serious damage done. Then she dropped down to one knee in front of Obi-Wan and beamed up at him. “See? I told you to trust me.”
“I did, Master. I knew you would win.” Obi-Wan’s eyes shone with such radiant joy and relief that Ahsoka couldn’t resist and she pulled him in for a good, long hug. He happily submitted to her, his arms wrapped tight around her shoulders as Masters Yoda and Windu walked over to quietly speak with Qui-Gon, who was watching the two with a mixture of suspicion and a touch of regret.
“So… do you still want to be my Padawan?” Ahsoka teased, reaching out to ruffle Obi-Wan’s thick hair. “Or have you changed your mind?”
Obi-Wan shook his head, his eyes bright. “Never. Can we go to the Council now?”
Ahsoka chuckled at that, nodding. “Yes. I think we can go to the Council now.”
“Good!” He took a step back, thrilled, as Ahsoka stood up. She held out her hand, called her other saber to her, and returned both to her belt as she asked Obi-Wan to bring her cloak and Qui-Gon’s from the benches.
The Force exploded with spines but a single arch of her brow immediately quelled Obi-Wan’s churlish reaction and he nodded silently as he trotted back to them. Ahsoka knew she may have won the battle with Qui-Gon and claimed Obi-Wan as her Padawan but that didn’t give her or Obi-Wan the right to gloat about it or to rub it the Jedi Master’s face.
Yes, Qui-Gon had behaved abominably towards Obi-Wan and yes, he had continued that trend in the lead-up to the duel, but he had yielded and it wouldn’t do to rub his nose in his loss. They couldn’t afford to make an enemy of Qui-Gon Jinn, especially when their only friends seemed to consist of Masters Windu, Yoda and Padawan Quinlan Vos.
Ahsoka had no way of knowing how much she had changed the course of the future and it made sense to proceed forward with an abundance of caution. She just hoped she would be able to live up to the examples set by Masters Obi-Wan and Plo Koon if not Anakin.
Obi-Wan shuffled back over to Ahsoka’s side, nearly drowning in heavy robes. “These weigh as much as a gundark.”
“And how would you know what a gundark weighs?” Ahsoka teased, taking her robe from Obi-Wan and pulling it on, although she did agree that the robe was perhaps heavier than she would have liked. “Thank you, Padawan Kenobi. Now let’s make our goodbyes and then we will go to the Council.”
Obi-Wan visibly brightened at being called “Padawan” and he grinned up at Ahsoka. As much as he wanted to drop Qui-Gon’s robes on the floor and march out of the training room with Master Ahsoka at his side, he had to grudgingly admit that she was right.
And hearing Ahsoka call him “Padawan”? That made it all worthwhile.
IS MONA’S “DEATH” AND CHARLOTTE’S MURDER CONNECTED TO THE “SECRET” MUSIC VIDEO?
I was watching the music video of Secret by The Pierces (PLL’s theme song) and I found some VERY interesting connections between Mona and Charlotte/”A”, as well as Mona’s “death” and Charlotte’s murder.
In the music video, we see Catherine (the BLONDE) and Allison (the BRUNETTE; yes, she has the same name as Ali from PLL but we’re gonna ignore that, considering she has two L’s in her name anyway). They’re the two singers that make up The Pierces. Catherine and Allison are having tea when Catherine says she has to tell her something, but makes Allison swear to never tell. We never see what Catherine tells her, but as many assume, it is that Catherine murdered someone.
The next scene has Allison on the phone talking to someone, and she is revealing Catherine’s secret to them. This is parallel to when Mona called Aria telling her that she has proof that Alison is “A”.
Keep in mind that Catherine is blonde. We see her walking down the hallway heading to Allison’s bedroom, just like how “A” (Charlotte) broke into Mona’s house and headed up the stairs.
Catherine then enters Allison’s bedroom, and Charlotte walks into Mona’s bedroom.
Both victims are then “killed” and dragged around.
What I found intriguing is that Catherine put a blonde wig on Allison, much like Mona’s hair having been dyed blonde in the Dollhouse.
The episode Mona “dies” is 5x12, titled “Taking This One to the Grave”, which is obviously a homage to the song itself. Both victims are seemingly dead.
…That’s until Mona was revealed to be alive in 5x25 “Welcome to the Dollhouse”, and Allison comes back alive at the end of the music video. Allison KILLS Catherine in revenge by strangling her.
Who else died by strangulation? CHARLOTTE!She was hit with a rod then strangled from behind, like Catherine was.
IS THIS HINTING TOWARDS CHARLOTTE’S KILLER?
DID MONA KILL CHARLOTTE IN REVENGE?
Thanks for reading and tell me what you think! ^_^
[Interview]B.A.P Brings Party Baby Tour Stateside, Talks 'Wake Me Up': 'We Are Part of the Current Generation'
From the first moment of “Hurricane” to the final note of their encore performance of “Bang X2,” Korean boy band B.A.P hyped up the crowd at New York City’s Terminal 5 on Saturday (April 8) night. The second stop during the US leg of their 2017 Party Baby world tour, the set list was built around the group’s most danceable songs to create a club-like environment where the band and their fans, known collectively as BABY, could party it up and revel in the group’s artistry.
Water guns, a costume contest, and a handful of solo sets – beginning with the two youngest, Jongup and Zelo, each of whom showed immense growth as singers since their last visit to New York – helped set a festive, intimate tone for the night, which saw B.A.P radiate with joy throughout as fans cheered and danced along with their high-energy performances. There was certainly a lot to celebrate on this latest tour, which was the group’s fourth throughout their time together: Five years into their career, B.A.P has seen multiple No. 1 albums on the World Albums Chart, including last year’s Noir. More recently, the group returned with their Rose EP and the profound single “Wake Me Up” in March, their first new music since rapper-songwriter Bang Yongguk returned after taking a break last year from B.A.P’s promotions due to mental health-related issues.
Billboard sat down with the K-pop act (Zelo, Bang Yong Guk, Him Chan, Dae Hyun, Young Jae and Jong Up) ahead of their New York show to discuss their latest releases and what makes the Party Baby tour a new experience for B.A.P and their fans.
Welcome back to New York! How does it feel to be performing here once again?
Him Chan: It was hard getting over from Atlanta to New York as there were some [weather-related] difficulties. But the fact that we’re here in New York right now fills us with positive energy. We’re looking forward to putting on another amazing performance for our fans tonight.
You toured the United States multiple times in the past, but is there anything that you’re looking forward to particularly on this tour?
Young Jae: I’m looking forward to going to Washington D.C., just because I’ve always wanted to visit. Him Chan: On our first US tour we went to Washington, but because a lot of things have changed since then we’ve wanted to visit again.
This is the Party Baby tour even though in the past you’ve always brought your Live on Earth tours to the US. How are the two different?
Jong Up: Compared to previous concerts that we’ve put on in the past, we tried to orientate Party Baby more towards interaction between ourselves and fans so that we can have more of a party or a club atmosphere and just be able to have have a good time. I think that, compared to our previous performances, we want to focus on the whole collaborative effort of just all our fans and us working together to create one performance.
To get more involved you provided fans with a dress code, with a different style corresponding to each specific member. How did you come up with that idea?
Young Jae: This dress code idea for the tour was something that us as the artists – along with the tour directors – thought up since we thought it would be a good way to interact with our fans.
The tour’s set list seems to focus a lot on your newer songs and doesn’t really have a lot of your older music on it. What does that choice say about B.A.P’s musical growth as performers?
Him Chan: We’re really not holding back on this tour. We’re just unlocking all of our abilities and our skills, putting them together for this show. This time, we wanted to be able to show our fans everything that we have. There’s no significance of us not performing many older songs. We just want to be able to put on a good performance with all of our recent songs.
B.A.P has had multiple No. 1 albums on the World Albums Chart. How has that made you feel as a group?
Young Jae: We think it’s amazing, and we’re really fascinated that we can continue to find love from across the world from all of our fans. We’re always grateful and we’re always thankful towards our fans, and we want to continue to show them love for their support for us.
There are only three songs on your new EP Rose, but they each are distinct stylistically. How did that come about?
Young Jae: We’ve released happy songs and we’ve released songs with strong, positive messages, but it’s been a while since we released an album so we wanted to show a third side to B.A.P, one that we knew we were capable of doing and really wanted to show to our fans this time.
Him Chan: “Dystopia” was one of those songs where we just wanted to show B.A.P in all our attributes with rock, heavy metal, and just pay homage to that. For “Wake Me Up,” it was one of those songs for our generation, because we are part of the current generation, where we just wanted to show that we’re present and that we are with the fans and how they feel about current events. As for “Diamond 4 Ya,” we wanted to be melodic, we wanted to play with pitches and instrumentals, and that was something we were looking forward to showing as well.
How was approaching your return with the single “Wake Me Up” different from your past releases?
Him Chan: When we were approaching this album in comparison to previous albums we just wanted to have something that’s more lively, more one on one with our fans. We wanted something that would resonate with our fans, through the message that we’re trying to spread.
Dae Hyun: We feel that we’ve grown a lot individually and together as a group and we wanted to show that in our work this time.
The music video for “Wake Me Up” featured one of the most diverse casts that K-pop’s ever seen. How did that come about?
Dae Hyun: Every time we shoot a music video we have meetings with the producers who help us create them and we put together all of our ideas. Everything from the individual shots of the video to the casting of everyone who will appear. We just come together and put together our ideas, and then we put it all into a final product. But the most important thing is that our ideas have changed, and that helped shape how we felt towards this music video and how we wanted it directed. Initially the plan was to use a Korean cast but after the members got together and we put together our thoughts, we wanted to go with a more diverse cast to show that we have an accurate representation of our society today. Not just of in Korea or America, but all over the world. We wanted to express that through our music video, which is why we decided to go with such a diverse cast.
Him Chan: It was never really something for us that we wanted to do, just stick to a Korean cast because we are Korean. We wanted to represent every part of the world and pay homage to the fans who’ve come out to support us.
The music video’s storyline, which features messages about self-care and mental health, was incredibly progressive, but while making it did you expect that it would resonate with so many fans from around the world?
Him Chan: When we were putting together the music video, we didn’t think that extensively into it, but we did intend to insert multiple meanings into certain aspects of it. We just wanted it to be interpreted by the fans.
B.A.P has been together for five years now, so how do you keep motivated during the rough times?
Dae Hyun: What’s kept us together as a group so strongly was our fans. We really feel that because of the support from our fans we’ve been able to continue stronger and better than ever each time we release a new album as a group. It’s really all thanks to the fans, and we want to pay respect to them.
Young Jae: Before I got on the stage in Atlanta, I really wasn’t feeling well. But as soon as I got on stage and saw the faces of all our fans I felt so much better and became energized and ready to perform.
You guys have shown a lot of different artistic sides over the years. Are there any other sounds or concepts you’d like to try, or musicians you’d like to work with?
Dae Hyun: What I’ve always admired, and what I’ve wanted to do a lot recently, is a duet. That’s something that I’m going to look forward to doing in the future.
Zelo: I don’t really have anything I want to focus on but I want to connect with the fans and show a more amazing, more awesome performance each time and that’ll be reflected in my music.
What’s next for B.A.P? Are you working on anything new?
Dae Hyun: The [Party Baby] concept of this tour is completely new for us and we think that the most important thing for us right now is to finish the rest of this tour successfully, then return to all our fans across the world and back home in Korea. So that’s our priority currently.
Do you have any final words for your American fans?
Zelo: [In English] I love you.
Him Chan: We want to tell our fans in the United States that we’ll continue to work tirelessly and continue to show them a new, better improved performance and better side to B.A.P every time we can visit and perform for them.
All answers have been translated from the original Korean.
This brief horror homage is a bit like one of those unusual appetizers they bring out at froo-froo restaurants. What are they called? Amuse-bouches. It is perhaps not anything that you would like to eat as an entire meal, and maybe not even something that, before that moment, you had contemplating even putting in your mouth, but now that the moment is on you, it’s sort of interesting-looking and hey, it can only last so long, right? And sometimes it turns out to be an aerosolized shellfish on a weird cracker but other times it is a fun little taste vacation.
Which is all to say that I enjoyed Florence & Giles hugely, and I think you should try it, even if you don’t like it, because it really is only a little mouthful and it won’t take long to go down. I read it in four hours, which I highly recommend — do it in a stretch, late at night, preferably a good and windy one and if you can rustle up some thunder, please do — and I found it a fun little gothic taste vacation. The jacket copy promises that it is a Poe-like retelling of the Turn of the Screw, but it has been a very long time since I read either, so I can’t tell you how accurate that is. I suspect my half-rememberings of the latter made it a more agreeable experience than either a full-remembering or a complete lack of exposure. Spoilers are beyond the point, though. I think Florence & Giles would be spoiled by reading it as a whodunit. It is a howdunit and a whydunit and a black-corset-devil-ladies-walking-on-water-dun-it, and if you’re not enjoying the journey, you’re not going to like the outcome, either.
Which brings me to the last point of the review, and the real joy of this particular spooky amuse-bouche: Florence’s narrative voice. In proper gothic fashion, she is a neglected orphan in a big old house empty of anyone except illiterate housekeepers, occluded memories, and dark photo albums full of plot points, and in that #aesthetic environment, she has taught herself to read. Her peculiar usage of words makes for a wry and distinctive path through the story, and that playfulness often creeps over into actual humor. It offers a nice little patch of sunlight through the dusty motes of the funeral-clad narrative, making even the most dreadful of moments a dark delight.
9 Reasons Why the New “Beauty and the Beast” is Better Than the 1991 Original
I know, such a crazy notion, but as a die-hard fan of the original 1991 animated classic, as a young woman who adored Belle and looked up to her as a young girl, and as someone who loves Disney, I truly believe that while the cartoon classic is phenomenal, the new live-action reimagining is astoundingly better. Here are my reasons why:
In the original I always had SO MANY QUESTIONS. Mainly–how in the hell did a village less than a few miles away not know that a giant castle that once was home to a wealthy and powerful Prince was RIGHT THERE? Who was the Prince ruling over if the villagers had no clue this place and this beast existed? Why were the servants cursed if they weren’t the ones who turned the old woman away? Why was the Prince so cold-hearted, arrogant, and shallow? The prologue amongst other scenes in the 2017 film address all these questions.
We learn that the enchantress placed a spell on the villagers to make them forget about the Prince and everyone in the castle. This explains how no one knew it was there, and also the sense of lawlessness in the village, because if their ruler–the Prince–vanished, and no one remembered him then whose in charge? Gaston? No wonder it’s a mess there.
We also learn why Beast is so cold-hearted, we learn his mother died when he was young and his father was emotionally abusive, and raised him to be a spoiled, arrogant, shallow shell of a man. We also learn that the servants witnessed the emotional abuse of this child and did nothing to stop it–deeming them worthy of punishment for being so cowardly and selfish as to not help the Prince when he was young.
Now someone asked me why the hell Chip and the dog were cursed too, they didn’t do anything. My theory is the curse was really only taking effect inside the ballroom, all the servants were in there for the ball, and in the opening sequence we see Chip running in to see what’s the matter and Mrs. Potts running after him–terrified. I believe she sensed the danger in the ballroom, and was trying to save Chip from meeting the same fate as the rest of them, and ultimately–she failed. The Maestro and Madame de Garderobe’s dog was in the ballroom as well, so I guess he was just unlucky also.
We also learn that Cogsworth and Mrs. Potts had spouses who must’ve been away from the castle when the spell was cast, causing them tragically (at least in Mrs. Potts case) to be forgotten by their loves.
2. Belle the Feminist Activist
It was never made clear in the cartoon film that it wasn’t just ‘odd’ that Belle liked reading it was ‘odd’ that a low-born woman in 18th century France even COULD read. It wouldn’t occur to children (it certainly didn’t to me) that her reading in public is practically illegal and worthy of public shame. In the cartoon it was just all ‘lol books are lame,’ In the live action not only does Belle not have a town bookshop to go to (because seriously, why would a town of mostly illiterate people who hate reading have a bookshop) she is merely friends with the Priest who owns less than a dozen books. THAT IS ALL SHE HAS. And then she teaches another young girl how to read and is publicly shamed for it, and still doesn’t back down, because she believes that women deserve the same rights as men.
In the beginning sequence of the town, we literally see boys marching into school while the girls are stuck doing the wash. Belle also refuses to waste valuable reading time on the laundry–so girl INVENTS A WASHING MACHINE!
When Belle gets to the castle, she tricks the Beast into taking her instead. She tries savvy ways to escape. She never flings herself onto the bed and cries like in the cartoon. She fights every damn second.
In the end she doesn’t even change out of her ballgown to go save her father, she just hops on her horse and goes.
Belle was ALWAYS strong, but this 2017 Belle is formidable and a force to be reckoned with.
3. Tragic love
In the 1991 film, the wardrobe was a goofy character there for laughs, as was Plumette. Also, Lumiere and Plumette’s relationship in the cartoon was creepy and borderline sexual harassment. It was pure lust. In this version, they are madly in love and Lumiere clearly cares about her so much.
We also see Madama de Garderobe and Maestro Cadenza (a brilliant new character) who are also madly in love, but unlike Lumiere and Plumette can’t even be with one another during the curse due to the stationary limitations as the objects they’ve been cursed to be. By the time Madame finally makes her way downstairs to be with Maestro it is too late, the curse is taking away their life. The moment when Lumiere realizes he has lost Plumette, and where Maestro realizes he has lost Madame, add a heart-breaking very raw and real layer to the story. It’s not just about Belle and Beast, these servants aren’t just funny objects that talk, they were people too. They had a life and loves and that was stolen from them just as it was the Beast.
4. Papa and Belle’s Motherless Backstory
In the cartoon, Belle’s father is simply a goofy character. He’s a blithering idiot who makes pointless inventions. In this version, he is an artist who had to leave his plagued wife behind in Paris in order to save their only daughter. We see him live with the pain of this everyday. We see him and Belle have a beautiful, genuine relationship. We see him fight whole-heartedly for Belle. We see him give her courage and strength to never back down from who she is.
And we learn something that the cartoon NEVER gave us–we learn of Belle’s mother. Lost to the plague when Belle was a babe, with nothing but a rose-shaped rattle to remember her by, that her Father captured in a painting. Explaining why Belle always asks for one. We learn that Belle–like her father and mother–is willing to sacrifice everything for the ones that she loves.
5. Classic Fairytale Homage
While the cartoon held almost no remnants of the original fairytale written over 500 years ago, or the original French film made in the 40s, the 2017 version pays homage to both.
Belle asking for simply a rose from her father’s travels, as well as Beast and his servants preparing Maurice a fire and dinner when he arrives at the castle, but Beast only growing angry when Maurice steals the rose–is taken directly from the pages of the fairytale.
We also see another fun easter egg reference to the french film: when Maurice walks up to the door–he sees the front lantern is being held by what looks like a human arm made of stone, which in the French film, was an incredibly iconic scene when Belle walks through the dungeon to find her father.
6. A Real Antagonist
Cartoon Gaston is again, a 2D character there to provide some conflict at the end. The 2017 version shows him as the epitome of prejudice, hatred and sexism. He expresses many times throughout the film the the sees Belle as prey for him to hunt. He leaves Maurice for dead in the wood. The lyrics of the mob song were even changed to include his verse “but I know they all will follow, for in times like this they do just as I say.” Gaston is the scariest Disney villain because people like him exist in real-life. Gaston and his angry mob of blind-followers provide a tangible conflict outside of the curse that the cartoon simply did not provide.
7. A Shared Love of Reading
It never made a damn bit of sense in the 1991 cartoon and the Broadway musical adaptation–that Beast was illiterate. If ANYONE during the time could read it sure as hell would’ve been the wealthy Prince. All aristocracy could read and most men knew how to read a little. So yeah, a Prince could read.
So the fact that he and Belle share a love of reading adds and element to their friendship bred romance that didn’t exist prior to this reimagining.
8. New Music
What would Beauty and the Beast be without those iconic numbers like: ‘Belle,’ ‘Gaston,’ ‘Be Our Guest,’ and of course, the title song–made famous by Angela Lansbury– ‘Beauty and the Beast.’ When Broadway adapted the cartoon film years ago, they added some songs of their own, such as the Broadway-Buff-Beloved number– ‘Home.’ So naturally it would’ve been easy for the writers and directors of this film to just buy the rights to those songs and call it a day. Instead we got 5 gorgeous new numbers, and 1 new reprise. We got the opening ‘Aria,’ sung at the Prince’s beginning ball by Madame de Garderobe, we get ‘How Does a Moment Last Forever,’ sung by Maurice, singing about remembering his late wife. Then we later get the Montmartre of this song sung by Belle as she recalls the lost ‘Paris of her childhood,’ in an all new scene where her and Beast use a magic book to travel to the attic where she lost her mother. We get ‘Days in the Sun,’ where we hear from the servants and the pain they feel as well living under the curse. We get, ‘Evermore,’ the torrid, angst-filled lamenting ballad Beast sings when he let’s Belle go. And lastly, we get a never before heard reprise of ‘Beauty and the Beast,’ sung by Mrs. Potts ( Emma Thompson) at Belle and Beast’s wedding. These news songs add more passion to the film. (Evermore is my personal favorite)
9. Gay Lefou
It’s about damn time. Cartoon Lefou is definitely alluded to being in-love with Gaston, but Josh Gads blatantly homosexual portrayal was brilliant, and as a member of the queer community–made me so happy.
Yes, in ‘Frozen’ we got the one throw-away joke about Oaken being gay, but it was 0.5 seconds long and barely delved into. In this 2017 film, Lefou makes many sexual innuendos towards Gaston, publicly cuddles Gaston, and in the end dances happily with another queer fellow at Belle and Beast’s wedding, and this is an amazing step forward for the Disney franchise to start having openly queer characters in their films.
SO THERE YOU HAVE IT! My 9 reasons why the 2017 Beauty and the Beast is better than the 1991 original. I still love the original and it will always have a fond place in my heart–but when movie nights of the future come round, I will opt to put on the 2017 version instead, and experience a Tale as Old as Time, retold for a new generation.
The amount of parallels and direct homages to previous episodes in Series Four are more than numerous at this point. There are so many that its almost like they are re-doing entire episodes. Well, they are. The reason and method of which was confounding me for awhile, but I figured out the reason with my original Space-Time meta, and the method I just discovered this morning.
Here is a basic timeline of episodes in BBC’s Sherlock
Now, accounting for what we learned in The Space-Time Continuum Part I meta, here is some additional information:
The glass in TAB serves as a reflection or mirror between Series three and Series Four, which is why the Series MIRROR each other, as in literally mirror.
EDIT TO ADD: @tjlcisthenewsexy pointed out the awesome phrasing that Molly gives us in HLV during Sherlock’s MP fall after being shot. She wonders if he should go forwards or backwards. This moment could easily be considered a second zero null vector because it is at this point Sherlock decides to start going backwards-towards TRF. Didn’t it seem odd how quickly he forgave Mary and how quickly The Watson’s marriage was back on track? That’s because he started rewinding the state of their relationship to the beginning of that episode!!!
(Interesting Side Note about Peppers Ghost, the parlor trick used in TAB. (Taken from Wikipedia)
The basic trick involves a stage that is specially arranged into two rooms, one that people can see into or the stage as a whole, and a second that is hidden to the side, the “blue room”. A plate of glass (or Plexiglas or plastic film) is placed somewhere in the main room at an angle that reflects the view of the blue room towards the audience. Generally this is arranged with the blue room to one side of the stage, and the plate on the stage rotated around its vertical axis at 45 degrees. Care must be taken to make the glass as invisible as possible, normally hiding the lower edge in patterning on the floor and ensuring lights do not reflect off it.
When the lights are bright in the main room and dark in the blue room, the reflected image cannot be seen. When the lighting in the blue room is increased, often with the main room lights dimming to make the effect more pronounced, the reflection becomes visible and the objects within the blue room seem to appear in thin air. A common variation uses two blue rooms, one behind the glass and one to the side, which can be switched visible or invisible by alternating the lighting. (x)
This would explain Blue light hell @skulls-and-tea!! Every time we see a blue light, what we are witnessing is a reflection of something else from the series!)
So, the three episodes of each series literally reflect each other like this:
So the episode breakdown would look like this:
Do you see how the series are literal reflections of each other? There is of course still parallels to each of the episodes outside of this flow chart (like illusions to Sumatra in TEH and TST), but that can be accounted for by the fact that time isn’t actually linear. While these series reflect eachother as a basic method of understanding, the space of each episode still exists all in one time, so there will still be homages to “other” space-times.
The reflection of the two series explains why The Six thatchers is so similar to His Last Vow, with the guns and the slo-mo gunshot and Mary’s secret assassin storyline and would help a lot of us EMPers who are so attached to HLV being the beginning of EMP realize why we thought this so vehemently after TST. TLD and TSoT are connected by their emotional focus and their progression of John and Sherlock’s relationship. They are also linked by the only two JohnLock hugs in existence. TEH and TFP are very similar in the countdown/bomb motifs, bond-esque baddie plots, A focus on Mycroft and Sherlock’s relationship, and the inclusion of The Holmes parents.
Now, if you notice, Series Three and Four also has A LOT of parallels to Series Two, but they don’t work as a mirror! Series 3 & 4 are not a reflection of Series 2, but a reproduction of it! If Sherlock is working is way through how to defeat Moriarty at point zero, then he will need to work through all the steps (Absolute Past) that led him to that point- (i.e Series 1 and more specifically, Series 2). So the entirety of Series 3 & 4 is a retelling of Series 2, folded in on itself. Why? Because TIME IS NOT LINEAR! For the visual learners (that’s me) this explanation would look something like this:
Its a circle, folded in on itself. Its literally the space-time continuum come to life!! If we want to break it down episode by episode I made table for that! (I’m really getting a lot of use out of Word today)
This is just a short list off the top of my head, so Im sure there is more- feel free to add on! Like John being kidnapped ASiB, TEH, and TFP!
As I stated before, there will definitely be parallels within every episode to every other episode because time has folded and twisted in on itself in Sherlock’s mind. Its all existing at once. So the parallels in ASiB to TST or in TRF to TFP, are purposeful and a reminder that time is not linear.
I hope these charts helped explain the theory a little more!
Tagging some people that I think might enjoy it based on their comments on the first part!