and refer to them as sherlock and john

when they’re just home loungin around, Sherlock makes a habit of walking up behind John and just draping his body against him. while John’s cooking, or brushing his teeth, or waiting for toast, or shaving, and John doesn’t mind. in fact he likes it. (sometimes, he can even feel sherlocks heartbeat just faintly)

one night mrs hudson stops by to say hello and John is making dinner and Sherlock is just draped along the back of him again with his chin resting on his shoulder and mrs hudson is like “?? John doesn’t that make it a bit difficult to cook?” and John let’s out a soft ‘hm?’ Because he doesn’t even know what she’s referring to and then he realises and he’s like “ah- no” and smiles “actually I think it makes it a bit easier”

If TJLC isn't real...

• Why did Sherlock show an obvious disinterest in women during his first minute of screen time
• Why did Sherlock wink at John when he first met him
• Why did Mrs Hudson assume that John was Sherlock’s new boyfriend
• Why did Sherlock not correct her
• Why did John say ‘oh god yes’ the way he did
• Why does John call Sherlock brilliant and fantastic all the time
• Why did Angelo assume John and Sherlock were on a date
• Why did Sherlock not correct him
• Why did John ask if Sherlock had a girlfriend
• Why did Sherlock say that girlfriends aren’t his area
• Why did John ask Sherlock if he had a boyfriend
• Why did John smile and lick his lips when he discovered that Sherlock was single
• Why did Sherlock assume that John was asking him out
• Why was the scene where they are laughing in the hallway filmed like a post-sex bed scene
• Why did Sherlock cure John’s psychosomatic limp
• Why did Mycroft say ‘may we expect a happy announcement by the end of the week?’
• Why did John instantly trust Sherlock and is loyal to him when he has trust issues
• Why did Lestrade say that John knows Sherlock better than he does even though Lestrade has known him for years and John had known him for a day
• Why the prolonged eye contact
• Why did John shoot a man to save Sherlock even though he had known him for a day
• Why did Sherlock look at John the way he did in the car park
• Why did they get dinner together afterwards
• Why did Sherlock suggest that they go on a date
• Why did Sherlock crash John’s date
• Why did he spin John around by his shoulders in order to ‘maximise his visual memory’
• Why was Sherlock so arsey to Sarah
• Why did Sherlock watch John walk away from Baker Street through the window
• Why did Mrs Hudson ask if they’d had a ‘little domestic’
• Why did Sherlock not correct her
• Why did John sleep on Sarah’s sofa
• Why did Sherlock know that Jim from IT was gay because he is well groomed and uses product in his hair when Sherlock is very well groomed and uses product in his hair
• Why does Sherlock know gay underwear trends
• Why did John say ‘I hope you will be very happy together’ when Sherlock talked about Moriarty
• Why did Donovan say to John ‘opposites attract, I suppose’
• Why did Sherlock look at John after Moriarty said ‘I’ll burn the heart out of you’
• Why did Moriarty say ‘we both know that’s not quite true’ when Sherlock said that he’s ‘been reliably informed that he doesn’t have [a heart]’
• Why did Sherlock freak out so much when he removed the Semtex from John
• Why does that scene look and sound sexual
• Why was John’s first thought ‘I hope nobody saw you ripping off my clothes they might talk’
• Why do they agree to die together
• Why does Sherlock always talk to John even when he’s not there
• Why did Sherlock say that sex doesn’t alarm him
• Why did Sherlock steal an ashtray for John
• Why did Sherlock only look at Irene’s face when she was fully naked
• Why did Irene say ‘somebody loves you, if I had to punch that face, I’d avoid your nose and teeth too’ and look at John
• Why did John get annoyed and say ‘I had a tea at the palace too, if anyone’s interested’
• Why could Sherlock deduce John perfectly but not deduce Irene at all
• Why did Irene say that she wasn’t sure that Sherlock knew ‘where to look’
• Why did Sherlock stutter when John flirted with Irene
• Why was Sherlock’s first thought John when he woke up • Why did John cancel his date to look after Sherlock
• Why did John get annoyed at Sherlock’s erotic moan text alert
• Why did John count the texts that Sherlock got from Irene
• Why did Sherlock ignore all of these texts
• Why did John’s girlfriend say that John is 'a great boyfriend and Sherlock Holmes is a very lucky man’ and that she didn’t want to 'compete with Sherlock Holmes’
• Why was she dressed like Sherlock
• Why can’t John tell his girlfriends apart
• Why did John say that Sherlock acts heartbroken all the time
• Why did John get so angry at Irene when she came back
• Why did he shout 'you’ve texted him a lot!’
• Why did he say 'you… Flirted… With Sherlock Holmes?’ in that tone of voice
• Why did Irene ask if he’s jealous
• Why did Irene (who knows what people like) say that they are a couple
• Why did John not deny this
• Why did John not reply when Irene said 'well I… Am [gay]. Look at us both’
• Why did Sherlock look so emotional after hearing this
• Why did John ask Sherlock how he felt about Irene being alive
• Why did John playfully say 'what, in your bedroom?’ When Sherlock said that they had a client while standing in his room
• Why did Sherlock start talking to John even though he wasn’t present and Irene was
• Why did he say to Irene 'why would I want to have dinner if I wasn’t hungry?’ Even though he always goes to dinner with John and doesn’t eat anything
• Why did John say 'John Hamish Watson, just if you were looking for baby names’
• Why did Irene tell Sherlock to 'impress a girl’ and then he looked at John while deducing
• Why does Sherlock say 'don’t feel obliged to tell that that was amazing or wonderful; John’s already expressed that in every variant available to the English language’
• Why did Sherlock say 'don’t be absurd’ when Mycroft assumed that he loved Irene
• Why did Sherlock randomly say 'I suppose John Watson thinks love’s a mystery to me’ in the middle of a conversation that had nothing to do with John and was about love and sentiment
• Why does Mycroft consult John on matters of Sherlock’s heart
• Why did John look relieved and smile when Sherlock said 'why would I want to see her again?’
• Why did the gay couple that own the inn in Dartmoor assume that Sherlock and John were a couple
• Why did John not correct them
• Why did Sherlock smirk at John when he pulled rank
• Why did John say 'you with your… Cheekbones and turning your collar up so you look cool’
• Why did Dr Frankland refer to John as Sherlocks’s 'live in PA’
• Why did Sherlock defensively ask 'what about us?’ When Henry said 'look at you and John’
• Why did the papers assume that John is a 'confirmed bachelor’ (euphemism for a gay man)
• Why did John say that they 'need to be more careful’
• Why did John not reply when Sherlock asked why other people’s options of Sherlock upset him
• Why did Sherlock and John stare at each other in the mirror while getting ready for the trail
• Why did Sherlock say 'you repel me’ with such poison after Kitty Reilly said that there’s 'all sorts of gossip in the press’ about him and that she can 'settle the record straight’
• Why does Molly say to Sherlock 'you look sad, when you think he can’t see you’
• Why did Sherlock only lose his shit when he thought that John was starting to doubt him
• Why did John chin the chief superintendent for calling Sherlock a weirdo
• Why did John trust Sherlock with holding a loaded gun to his head
• Why was John’s first thought 'people will definitely talk’ after Sherlock held his hand and they ran together down the street
• Why was Sherlock’s first thought 'John’ when Moriarty said that the people he cares about will die
• Why did Sherlock cry on the roof
• Why was Sherlock’s 'last’ words 'goodbye, John’
• Why did John look so heartbroken
• Why did John’s therapist say 'the things you meant to say… But never did. Say them now’
• Why did John refuse
• What were the things he never said
• Why did John say at Sherlock’s grave 'one more miracle, Sherlock, for me. Don’t… Be… Dead’
• Why did John mourn Sherlock more like a lover than a friend
• Why were the S*erl0lololo and S***i4rty ship fan theories dismissed as 'bollocks’ when Johnlock, the main ship in fandom, wasn’t mentioned
• Why did Sherlock look so happy to be returning to London
• Why did Mrs Hudson assume that John was about to tell her he was ill when he was actually about to inform her of his engagement to 'Mary’
• Why did John say that he was 'moving on’ from Sherlock
• Why did Mrs Hudson assume that he was engaged to a man
• Why did Mrs Hudson think that Sherlock was John’s boyfriend after years of knowing them both very well
• Why did Sherlock keep asking about John while Mycroft gave him important information about the terrorists
• Why did Sherlock suggest that he jump out of a cake (which is an action which is usually sexualised)
• Why did Sherlock interrupt John’s proposal to 'Mary’
• Why did John not whisper when proposing to 'Mary’, like he normally does when he is emotional
• Why did John say 'one word, that’s all I would have needed. One word to let me know that you were alive’
• What did he need the one word for
• Why did Sherlock say 'you have missed this… Admit it… just the two of us against the rest of the world’ right in front of 'Mary’
• Why did Sherlock look so hurt as he watched John and 'Mary’ drive away
• Why was solving crimes and going on a date linked together via Molly
• Why did Sherlock keep hearing John’s voice in his head
• Why did he call Molly 'John’
• Why did John shave off his mustache because Sherlock didn’t like it
• Why did John not want 'Mary’ to read his blog
• Why does 'Mary’ always tease John about Sherlock
• Why did John look delighted at the prospect of Sherlock coming to the clinic in disguise
• Why was Sherlock so panicked when he realised that John was in danger
• Why was he more panicked than 'Mary’
• Why did Sherlock run straight into the fire to drag John out while 'Mary’ just kind of… Stood there
• Why did Sherlock cup John’s face
• Why is Sherlock in focus and 'Mary’ isn’t when the camera shows John’s POV
• Why did Sherlock want to get rid of his parents when John arrived
• Why did Sherlock say that he likes his 'doctors clean shaven’
• Why did Sherlock tell John to go and save himself when the bomb switched on
• Why did they have an intense discussion about feelings when John thought that they were about to die
• Why did John say that Sherlock is the 'best and wisest man’ that he has even known
• Why did Sherlock pretend to not care/ forget about the wedding
• Why did he try and get Mrs Hudson to leave when she talked about her maid of honour and the end of eras
• Why did Sherlock sadly stare at John’s chair
• Why did he say 'into battle’ before putting his wedding suit on
• Why do we not see any of the actual wedding
• Why did Sherlock not move when the photographer said 'just the bride and groom, please’
• Why did Sherlock look so weirded out when Janine said 'no sex, okay’
• Why is Sherlock so skilled at gauging the attractiveness of men
• Why did John not care about 'Mary’’s ex coming to their wedding
• Why did Sherlock get obviously jealous of Sholto
• Why did 'Mary’ notice this and say 'neither of us were the first, you know’
• Why did Mycroft tell Sherlock to 'not get involved’
• Why did Sherlock compare his love for John to 'Mary’’s love for John multiple times in his best man speech
• Why did Sherlock go catatonic when John asked him to be best man
• Why was that scene so similar to a marriage proposal
• Why did Sherlock call John 'the bravest and kindest and wisest man’ that he has 'ever had the good fortune of knowing’
• Why the elephant in the room
• Why was John looking for cases to go on with Sherlock instead of planning his wedding
• Why was Sherlock scared of John and 'Mary’ getting married
• Why did John make a weird face when he called Sherlock 'mate’
• Why did Sherlock imply that he was John’s 'current commander’ and that Sholto was John’s 'ex’
• Why did Sherlock get up and leave when John started talking about 'Mary’ changing his life
• Why did John compare his relationship with 'Mary’ to his relationship with Sherlock
• Why did Sherlock look so weirded out when Molly said that she’s having a lot of sex with Tom
• Why does Sherlock have a file on John
• What is in the file
• Why did he print out and glue a picture of John’s face onto a picture of the Vitruvian man (the ideal man)
• Why did John and Sherlock go to a gay bar during the stag night
• Why did the lights look like the bisexual flag
• Why did they lie together on the stairs at Baker Street
• Why did John grope Sherlock’s knee and say 'I don’t mind’
• Why did their feet keep touching
• Why did Sherlock look so upset at Tessa’s story of unrequited love
• Why did he take his arm away from John’s shoulders when Tessa said 'I would of liked to have gone further’
• Why did Sherlock lie on the floor with his arse in the air
• Why did Sherlock refer to the night as a 'wasted opportunity’
• Why did Sherlock ramble about John’s cooking and jumpers in the middle of the speech
• Why did Sherlock tell a room full of women in his mind palace 'not you’ one by one but then pointed at John and said 'it’s always you. John Watson, you keep me right’
• Why did John touch Sherlock on the back when he saw him with Janine
• Why do we see Sherlock give a vow to always be there for John but not see John and 'Mary’ give their wedding vows
• Why did Sherlock teach John how to dance
• Why did Sherlock and John look at each other… The way they did on the dance floor
• Why did John and 'Mary’ act worried, annoyed, angry and panicked to the news of Mary being pregnant
• Why did Sherlock leave the wedding early
• Why did John’s war nightmares come back after not seeing Sherlock in a month
• Why did Sherlock go back to drugs after not seeing John in a month
• Why did John dream about Sherlock
• Why did John dress like and act like Sherlock
• Why are the first glimpses of John and 'Mary’’s married life of them arguing
• Why did Sherlock move John’s chair
• Why did John act… They way he did when he saw Janine come out of Sherlock’s bedroom
• Why did his jaw clench when he heard her getting into the bath
• Why was John so focused on Sherlock and Janine’s 'relationship’ when Sherlock was giving him important case info
• Why did he look so disgusted when they kissed
• Why did Sherlock kiss Janine so… Badly
• Why did John look so heartbroken when Sherlock 'proposed’ to Janine
• Why did 'Mary’ shoot Sherlock
• Why did Sherlock try to go to the John section of his mind palace when mind palace!Mycroft told him to find something to calm him down
• Why did mind palace!'Mary’ shoot Sherlock in her wedding dress when Sherlock went to the John section of his mind palace
• Why did Sherlock restart his own heart when mind palace!Moriarty said 'John Watson is definitely in danger’
• Why did Sherlock never sleep with Janine
• Why did Janine say 'I know what kind of man you are’
• What kind of man is Sherlock
• Why did Sherlock escape hospital while bleeding internally in order to move John’s chair back
• Why did Sherlock and 'Mary’ keep linking John’s romantic preferences to danger to both of them
• Why did Sherlock say 'because you chose her’
• Why did John say 'always your way’
• Why did John’s 'forgiveness’ speech to 'Mary’ seem so stoic
• Why did John leave his unconscious drugged pregnant wife to go off with Sherlock
• Why did Magnussen say 'but look how you care about John Watson’
• Why did Sherlock look so hurt when he was forced to watch Magnussen flicking John’s face and threatening him
• Why did Sherlock shoot Magnussen
• Why did Sherlock get everyone else to leave the Tarmac
• Why did Sherlock say 'there’s something I’ve meant to say always but then never have’
• What did he actually mean to say (Because it clearly wasn’t 'Sherlock is actually a girls name’)
• Why did he say that he thinks the name 'Sherlock Watson’ could work
• Why was the first image in Sherlock’s drug induced Victorian case solving mind palace simulation John’s eyes
• Why was Sherlock so angry at a woman being in his sitting room
• Why did he refer to himself as John’s 'unsavoury companion of dubious morals’
• Why did he play John and 'Mary’’s waltz in his violin while they argued
• Why did Molly call Sherlock John’s daddy
• Why did he talk to John when John had moved out of Baker Street months ago
• Why did the maid point out the problems in John and 'Mary’’s marriage
• Why did Sherlock say that he and John were 'together’ in sign language
• Why did John say 'two old friends chewing the fat… Man to man’ so awkwardly
• Why did Sherlock say that the fairer sex was John’s department
• Why did mind palace!John question Sherlock about his sexual experience
• Why did he show jealousy of Irene Adler
• Why did he ask him why Sherlock needs to be alone
• Why did Sherlock keep referring to ghosts and the ghosts of his past etc
• Why was mind palace!Moriarty so… sexual
• Why did Sherlock deliberately overdose before the tarmac
• Why was he reading the story of how they met on John’s blog
• Why did Mycroft say 'do you really think anyone’s believing you?’ After Sherlock said he was reading it because he’s 'so much cleverer’ through John’s eyes
• Why was real John and mind palace!John so angry at Sherlock about the drugs
• Why did he say that he’s 'happy to play the fool’ for Sherlock and 'make him look clever’
• Why did 'I thought that I was losing you. I thought perhaps we were neglecting each other’ 'well you were the one who moved out’ 'I was talking to Mary’ happen
• Why were phrases such as 'the heart of the conspiracy’ and 'they are right, and we are wrong’ and 'the women we have disparaged and ignored’ used
• Why did Sherlock say that John’s 'always right’
• Why did John save Sherlock from Moriarty at the Reichenbach Falls
• Why did Sherlock say that John is 'pretty damn smart’
• Why did Moriarty say 'why don’t you two just elope for god’s sake?’
• Why did 'actually, would you mind?’ 'Not at all’ happen straight after this
• Why did John kick Moriarty (Sherlock’s weakness) off the top of the waterfall
• Why did Sherlock throw his deerstalker (which represents his heterosexual public image) off the top of the waterfall
• Why did Sherlock look so happy falling this time
• Why did he smile so softly at John when he woke up
• Why did Victorian!Sherlock say 'perhaps such things could come to pass’
• Why did Victorian!Sherlock say that he’s 'a man out of his time’

Sherlock S4 fuckiness and the post-its I keep to remind me of it

In no particular order, I present the list of things that are particulary infuriating to me about S4 that I’ve been keeping on post-its by my bedside table the last month in case I lose hope. They are, for me, enough proof for The Lost Special. Today being 8th of March it seems fitting to keep them in mind.

(Disclaimer: this is a compound of theories developed by hundreds of people over a long time and I cannot possibly credit everyone or explain them at this point, so I’ll just list them.)

  • The Importance Of Being Ernest, by Oscar Wilde being quoted in TFP
  • Mycroft-> Lady Bracknell, the baby in the handbag = gun in the handbag (Euros and Vivian Norbury). The baby gets thrown in the Thames?
  • Queen’s I Want To Break Free in TFP stoping at “I’ve fallen in…” (love)
  • Elephant Glass Shock Proof in Euros’s cell
  • The elephant in the Thai menu in Mycroft’s frige
  • Rosie’s elephant toy
  • The elephant in John’s living room
  • The endless horror film references in TFP (many of them being hyper meta, especially Shutter Island)
  • John/Culverton mirror
  • Una Stubbs’ voice in TFP “Softer, Sherlock” instead of Euros’
  • Russian and Turkish leaks with no reaction
  • Over reaction with the promo chess pictures being leaked
  • Promo pictures being very similar to Clue’s movie poster -> Clue’s different endings and the similar final paused shot in TFP
  • The bulding up to Moriarty not making any sense (especially if we take into account M Theory, because he IS alive)
  • TLD having the gun shown multiple times, a smoking gun that is definitely not a tranquiliser gun. The last shot fading with red, like in Bond movies
  • The enormous red carpet under John in the therapist that resembles the blood pool in the market
  • HLV/TLD paralels
  • Martin breaking the 4th wall in T6T noding to the camera while holding the glass of wine
  • SHERLOCK: Romantic entanglement, while fulfilling for other people … JOHN (interrupting): … would complete you as a human being. NO PAY OFF FOR THIS. This mirrors the greenhouse conversation in TAB
  • Why was Molly upset when Euros called in TFP?
  • John/Molly mirror (Molly wearing the same jumper she wore in TEH while taking John’s place, the framing of that hellish shot with John and the coffin cover “I love you”)
  • “John is clearly standing behind him in the trailer, so unless he’s talking to a mirror for some very bizarre reason, I should think not.” -Mark
  • Sumatra/Samarra pointing out to TEH which lead us to The Lost Special and MINDING THE FREAKING GAP->Moriarty
  • “It’s never twins”
  • The camera shown in the hotel in T6T
  • Season 4 DVD not having “complete” like the other DVD’s had
  • Mark’s picture with the 4 fingers raised in Twitter
  • “Has it just occurred to you you’ve been played for an ad campaign” hello Apple Tree Yard  
  • Moriarty at the end of S4 DVD “You didn’t think I would just disappear, did you?”
  • The whole promotion about S4 and the season itself being about hacking
  • Skull Hell
  • Sherlock saving the tea cup and the boy in the hotel in T6T dropping the tea
  • Tea code being confirmed
  • “Is this a new person? I’m against new people.”
  • “You’d be better off with clown outfits. At least they’d be satirically relevant.”
  • Cake=violent death John and Sherlock going to get cake
  • Lady Smallwood’s name
  • Vatican cameos ignored
  • “And boop, they are fine”
  • Sherlock breaks the 4th wall (like in Queen’s I Want To Break Free videoclip)
  • WHERE IS JOHN’S LETTER
  • The Garridebs literally cliff-hanging
  • Chekhov’s gun on the promo picture and literally hanging on the wall in the Garridebs scene
  • “People always give up after three” 
  • Blue Power Ranger gay subtext
  • T6T being an old case about a gay couple -> Margaret Thatcher getting smashed, Sherlock not knowing who she is despite the fact that he knew in THoB
  • “Fresh paint to disguise another smell”
  • Mycroft watching his own romantic movie turning into an horror film
  • T6T starting with doctored footage
  • “That’s not what happened at all”
  • “Why does anyone do anything” Norbury/Moriarty
  • “Sherlock, the dragon slayer” (Mycroft, Moriarty and kinda Magnussen have all alluded to this and now Mary does)
  • Shark hell
  • Sherlock’s recurrent dream (?)
  • “Oh, good, I love an acronym. All the best secret societies have them.”
  • “It is what it is” either being followed by “says love” or being a quote by John Locke
  • MARCH 8. THE SECRET WILL BE UNLEASHED
  • "I don’t like loose ends. Not on my watch” says Mycroft/Mark, as he holds a pen and looks at the camera
  • #Ohwhatabeautifulmorning tying in with Oklahoma! and consequently with  Green Grow the Lilacs, a play with gay subtext all over that got misunderstood and very famous
  • Steven starting TLS rumors
  • TD-12 being memory corrupting
  • The freaking guy from the official Sherlock Youtube channel teasing TLS and saying “The greatest love story never told”
  • The girl on the plane being the same one from ASiB
  • The TAB-like transition when John faints in TFP
  • The S1 scripts being released for no reason
  • “Childhood trauma masked by an invented memory. Boring!” THoB (person=dog)  
  • Mary’s death not being realistic as pointed in HLV (thank you for reminding me, @antisocial-otaku)
  • The explosion in 221B not having the consequences in the building that   Mycroft foreshadowed and them being perfectly ok afterwards.
  • Where is Ben’s 26 pages scene?
  • What was Ben’s kissy gesture while saying “Very well. It’s going very well” in SDCC all about?
  • TFP as a whole. Too much to analyze there

Bonus:

  • “Love conquers all” 
  • “Groundbreaking”
  • “History making”
  • “Rug pull”
  • Derren Brown

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TST is so goddamn blue: a meta

TST is just all kinds of weird. Everything feels off, and even the first third, which is supposed to be light-hearted and funny, is unsettling in many ways (for instance, why was John, a doctor, driving the car when his wife, Mary, was going into labor instead of having Sherlock drive? We know Sherlock can drive very well from THoBV, so wtf? And why would Sherlock ever say that Mary is better than John when it clearly hurt John that he’d say that? And what was the narrative point of the dog being there, apart from the fact that Sherlock likes dogs? Anyway, I digress.)

One theory that I’ve seen going around is that Sherlock is narrating this episode, and therefore, we’re dealing with an unreliable narrator. If Sherlock is in fact telling this story to his therapist, Ella, at the end of the episode, and is lying about some parts of his story, then what is he lying about? Well, one option is that he’s lying about how Mary died in order to protect someone. But he’s Sherlock… who would he bother protecting?

“It’s always you, John Watson.” Of course. It probably has to do with John. With saving and protecting John, as is Sherlock’s MO.

One theory by @the-7-percent-solution that I’m extremely fond of at the moment is that John killed Mary, and Sherlock is lying to his therapist in order to protect John (just like Watson may have lied in the original ACD story Charles Augustus Milverton to protect Holmes after Holmes presumably killed Milverton, which is what Mofftiss believe happened), and to give John an alias. Which would mean that quite a lot of the episode is either a fabrication, or changed slightly in order to make the story more convincing.

And, since I noticed that there is a LOT of blue in this episode, I decided to go through and examine the most blue-lit and blue-colored scenes, and see if I anything popped out at me. Something did. It might be nothing, but I’m gonna roll with it and see where it goes.

This is the scene where Sherlock discovers the A.G.R.A. memory stick in the Thatcher bust, and fights with Ajay. Everything in this scene is blue, or lit up with blue: the pool, the pool lights, the waves painted on the walls (real subtle with the Water Thing there, Mark), the police lights. It’s overwhelmingly blue. Which means that, if blue coloring or lighting means that Sherlock is lying (and I will explain why I think that might be the case in just a second) then Ajay’s story about why he’s actually hunting down Mary - or even the way/reason that Sherlock discovers the memory stick - might be either a lie, or a half-lie on Sherlock’s part (assuming he’s telling Ella all this after it’s happened.)

These screenshots are taken from the montage of Rosamund Mary’s escape trip. Again, there is quite a bit of blue, especially in the transitions and maps. And the dice. Again, just like the scene where Sherlock finds the A.G.R.A. memory stick, this part of the narrative has been twisted or is unreliable. We’re not seeing the full truth here. Maybe Rosamund Mary had a much more sinister reason to leave London than just escaping another assassin. (I’m not sure this part holds up as well as some of the other blue-colored scenes, but still. I thought it was very interesting how they stuck with this one-color scheme across so many scenes in this episode.)

This is the scene where Rosie begins crying, and John texts the girl from the bus stop. Again, everything in this scene is pretty damn blue; at least it stood out as being strangely blue to me. I mean, c’mon, even the bathroom tiling and towels are blue:

So maybe that means that this scene isn’t entirely true, either. The unreliable narrator - Sherlock, possibly - has embellished or left out something critical to understanding (in context) this scene. I’m not entirely sure what to make of this one, but maybe someone can help me out with figuring out how/why this scene might possibly have been a lie or a half-lie.

So I think this one is pretty self-explanatory. This whole scene is so strange and off, as many people who are much better at this whole meta thing than I am have already pointed out (I.E., John, an army doctor, not doing anything other than talk to his dying wife when he could clearly do so much more to help save her… jfc?)

Maybe Rosamund Mary didn’t really die in this sccene. Maybe, after finding out something about Mary’s past or present while confronting her about the A.G.R.A. memory stick or Morocco (again, assuming that both those scenes weren’t shown to the audience exactly how they happened) John killed her, and Sherlock’s protecting John by not telling the story how it really happened. Or maybe it’s something else… but there is an incredible amount of blue in this scene, which very clearly connects it (for me) to the previous scenes I’ve mentioned.

After Rosamund Mary’s death scene, the camera pans up and we get this shot:

A blue shark. And since sharks have repeatedly been associated with villains already on this show, that’s pretty damn suggestive. The shark is still swimming - it hasn’t stopped, and therefore it hasn’t died.

After the blue shark, we immediately get this shot a box (coffin? Ashes?) burning with blue flames:

Again, this is sticking to a common color scheme present in many other scenes that could easily have been changed or fabricated to hide a much more sinister side of Rosamund Mary, and a very different version of that aquarium scene. So maybe Rosamund Mary isn’t actually dead, or the how/why of her death is a lie, or, or, or…

And that brings me to why I think that blue might be important.  In one of the last scenes in the episode, we see that Sherlock is in therapy, and trying to figure out what to “do about John.”

Strangely, the therapist, Ella, has an office that’s painted blue: walls, ceiling, everything. (It is also shaped similarly to the tube in the aquarium, and lit in a very similar way to the room where Rosamund Mary died, but I’m not entirely sure that has any significance?) Oftentimes, when pressured to make something up or lie about something, people will look to what’s around them to help them come up with material for their lies. So if Sherlock is recounting this story from his memory, isn’t it possible that his surrounding are leaking into how he sees those memories, especially the ones that aren’t coming from his memory because they’re partially or fully falsehoods?

And then the episode ends on this shot:

More blue, with Sherlock framed in front of water, on his way to “save John Watson.” Real subtle, Mark.


((If anyone recognizes a reference to one of their metas in this post, please, please, please tell me and I’ll tag you and give credit! I really don’t want to seem like I’m stealing anyone’s theories, I just got excited by all the metas I was seeing and decided to make one, too!))

The Smile (Doctor Who) & Sherlock parallels

Previous Doctor Who/Sherlock parallels in Series 10:

The Pilot (opening episode of Doctor Who Series 10) & Sherlock parallels

The Smile (Doctor Who) & (smiley) Sherlock

And a look back at Series 9 etc parallels here 

This episode was written by Frank Cottrell Boyce but as we’ll see, Steven being showrunner I feel definitely influences the potential for Sherlock parallels… big things to be screamed about soon, but I’m going in order of as things appeared in the episode.

  • The Doctor calling Nardole “Mum”= similar to Mycroft and Sherlock’s “I’ll be mother” moment in A Scandal in Belgravia.
  • Eurus’s “Smiling is advertising” quip in The Final Problem is quite literally in play here- little emoji’s ‘advertising’/displaying your mood constantly.
  • The Doctor saying “a thing” happened= Sherlock lying and saying he has a “thing” in Many Happy Returns. Well, ‘only lies have detail.’
  • Bill saying “You can’t offend a machine.” And it turns out the things she’s referring to are not machines at all… just as John incorrectly labels Sherlock as a machine in The Reichenbach Fall.
  • The fact that you can’t see your own ‘mood disc’- Bill highlights the problem: “What if you fancy someone?” The Doctor supposes you simply have to maintain eye contact with them so they don’t see your true feelings. Reminds me of Sherlock’s “We can’t both stare” remark in A Study in Pink.
  • Rosemary= the smell of home? Mary as Rosamund…hmm, not sure how to parse that one yet.
  • The Doctor’s “magic haddock” reminds me of a “red herring.” Of which there are plenty in Sherlock. But there’s also literally Mycroft’s “red herring” page in his notebook in The Abominable Bride- a note saying “scarlet rollmops”, a pickled (red) herring.
  • The Doctor cradling a skull. Obvious Hamlet-esque vibes and of course, Sherlock’s skull.
  • The Doctor saying, “What a lovely beautiful morning. It makes me so happy.”= Sherlock’s ‘#ohwhatabeautifulmorning in The Six Thatchers.
  • The Doctor says “Don’t sentimentalise me.”= Sherlock’s line in The Great Game: “Don’t make people into heroes John. Heroes don’t exist and if they did I wouldn’t be one of them.”
  • The Doctor and Bill’s banter about memorising the map on the wall and Bill taking a photo of it visually reminded me of John taking a picture of the graffiti on the wall in The Blind Banker.
  • The Doctor: “Not bad, not good. Just different.”= John in The Final Problem: “It’s not good, it’s not bad… it is what it is.”
  • The Doctor exclaiming “Fascinating!” is an all round Sherlock-y moment.

“Do you know why I always win at chess? I have a secret move. I kick over the board.” HELLO, ATTEMPT AT AN EXPLANATION FOR THAT CHESS PROMO PICTURE, 3 MONTHS LATE. ;)

And let’s end with a Final Scream:

AN ELEPHANT STANDING ON THE FROZEN THAMES RIVER IN LONDON. OH SURE, NOTHING SYMBOLIC TO SEE THERE, NO ELEPHANT IN THE ROOM WANDERING FREE, NO SYMBOLIC FEELINGS LITERALLY FROZEN UNDERNEATH SAID ELEPHANT, NO NEED FOR IT TO BE SET IN LONDON, SHERLOCK’S HEART AND HOME.

…Ahem. ;) Bring on next week, that was a cracker of an episode! <3

On plot holes in general

To clear the air: I’m not just talking about Moftiss. But I’m also talking about Moftiss. 

The thing about plot holes is that there are two types: ones which are unresolved plot threads, and things wherein the writers failed to show us something and assumed we would fill it in ourselves. An example of the first type would be John’s letter to Sherlock at the end of TST. Why introduce the letter if it was never going to be shown, read, or referred to again? An example of the second type is how John got out of the well and still had feet in later scenes. There, the writers could have showed us John realising that only his shoes were chained and showed him removing them and climbing up the rope, or they could have showed someone climbing down to cut through the chains. But it feels like a hole because they didn’t. 

Eurus *could* have used all of her brainwashed fellow inmates/patients to make all of those arrangements, but without seeing any of it, it feels difficult to swallow. If they’d shown even one scene of her doing some of this, we might have been more willing to extend some benefit of the doubt, some extrapolation of “oh, I guess there was more of that, then, ok”, but we didn’t see any of it. There was nothing there to explain how supposedly-dead Mary kept sending posthumous home videos. 

Then again, most Bond/spy movies do the same thing, honestly. If Bond’s credit cards were cut off, how did he rent that Aston Martin? Where did he get that new suit? Last time we saw him, he was wearing jeans and a ripped t-shirt and had no luggage with him. Has he been wearing the same underwear for the entire movie? Does he ever brush his teeth? Personally, I’m one of those irritating watchers who always wants to be shown the parts that make it feel real. I suspect that screen writers leave this stuff out deliberately for three reasons: 

1) They think it will be dull. They figure audiences don’t want to see Bond trying on shirts or going to the bank to take out cash or maxing out on a credit card. Better put in some more car chases! 

2) They’re already trying to edit things down to fit into a prescribed run time. Therefore Bond doing cardio to keep fit for all those foot chases gets cut. 

3) They actually don’t want the protagonist (or villain, as the case may be) to seem human; they want us to see them as almost super-human, so Bond clipping his toenails never gets written. 

The thing is, the day and age of willing suspension of disbelief is over. Audiences are more analytical than they used to be. We’re used to getting explanations when we want them, because information is so widely available now. When things don’t add up or make sense, we find it irritating, not artistic. I honestly think that Moffat and Gatiss think they’re being artistic by not explaining things fully (though that doesn’t excuse them by a mile for constantly underplaying the realistic emotional fall-out of the things their characters suffer), but the fact is that their audience simply finds it underwhelming and sloppy. I think it may be partly a question of generations, too, but I also know fans of Sherlock who are their age and older, who find their plot holes as irritating as fans in their teens do. Personally, the more realistic something is, the more it will draw me in. I want to know where Bond got those dry socks from to replace the ones that got wet in the rain. I want to see him jet-lagged after flying halfway around the world. I want to know how he paid to get to that island or that city without any working credit cards or debit cards. You can’t book a flight with cash, not a commercial one, at least. “He took a charter,” the screen writer says, shrugging it off in an interview. Sure, fine: then show it. 

Moffat mentioned somewhere that Sherlock delivered Rosie, which is a frankly appalling thought, especially given that there was an actual doctor in the car, and given Sherlock’s horrified face at the thought of an event involving female genitalia unfolding in his very presence, I somehow can’t picture this in the slightest. 

Part of the problem is also that their episodes span too much time too rapidly to address the questions of how their day-to-day relationships function, what those dynamics really are, etc. Too much is skipped over for the sake of advancing the plot. I would personally rather see more attention given to detail and less to unbelievable plot arcs. I expect Doctor Who to be wholly unbelievable (and even there I used to snark about dropped plot threads and unsatisfactory resolutions as well as under-handled emotional fall-out, when I still watched it). I expect Sherlock to be believable, though, and there was just so many holes. 

All I’m saying is that Sherlock is not the only show that does this. There are a LOT of holes in series 3 and 4, but my larger issue is the emotional fall-out thing and the dropped threads. (Why make such a big deal with the memory altering drug? Why was there a dog bowl that Sherlock recognised? What did that damned letter say??? What did Ella tell Sherlock to do for John? Because I bet it wasn’t “go to hell, Sherlock”, yet that’s the advice he chose to take. Why???) Yeah: we like to be shown these things. It’s not enough to explain it later in an interview or a panel at a conference. Put it right there in the canon as though you meant to all along. That’s what ticks my boxes, at least. 

Rambling aside. Back to the current fic. As you were! 

Wrong Name

@thebonnielassofyvie requested Molly reacting to Sherlock accidentally introducing her with his last name (could you add in some Warstan and Mythea?) 


Molly’s face grew red, and she looked at her feet, then glanced up swiftly to Sherlock. If he realized what he’d just said, he clearly was putting on a good show of not noticing. He just went right on talking to the press as if he had not just referred to her as ‘Molly Holmes’.

Which she wasn’t.

“Sorry, Mr. Holmes, so, just a moment,” one of the press agents pushed forward, recorder in hand. “You’re saying Doctor Hooper is now Doctor Holmes?”

Sherlock looked at him as if the man had two heads.

“No, I never said such a thing!”

“That’s what I heard,” the man said.

“Me too,” a woman piped up beside him. “Said it twice, in fact.”

The others all nodded in agreement, then looked to Molly for confirmation. Sherlock too, turned and faced her, surprised he had made such an error. Molly caught the panic in his eyes, realizing he’d flubbed. Why he’d said such a thing, she wouldn’t know, not yet any way.

“He misspoke, obviously,” Molly put in. “Our names are often being mixed up-“

“Really.” One of the men snorted. “Okay.”

At this, Sherlock looked miffed, narrowing his gaze at him.

“Yes, really,” he bit out. The more seasoned members of the press all leaned in, knowing when someone was about to receive a dressing down from the World’s Only Consulting Detective. There were still stories about how he’d ruined Kitty Riley. “Doctor Hooper is well published in journals around the country and in foreign countries. She speaks regularly at Oxford and if I misspoke, it is merely because her brilliance is so on par with mine, naturally I would refer to her as mine.” He held himself even straighter, squaring his shoulders. “As if anyone else could match her…” he said that last under his breath.

The press all looked to Molly now.

“So…are you taking Doctor Watson’s place, helping solve crimes now with Mr. Holmes, Doctor Hooper?”

“Oh! No! Hardly,” she gave a nervous laugh, still flying quite high from Sherlock so fiercely defending her, and bragging about her to about six of the most important papers in London. “My particular field is one that Mr. Holmes is familiar with, given his cases, so our paths often cross. This time, I just happened to have the week free, so we decided to give Doctor Watson a holiday.”

The questions went on, and Molly fell silent again. In the back of her mind, she did wish she’d been bold enough to snap at the agent and say she was indeed Molly Holmes, just to see the looks on their faces. Clearly, they didn’t think she was Sherlock’s equal. Well…buggar them, then.

Only Sherlock, as he spoke, reached between them, took her hand and lacing his fingers in hers. He was warm, so she shifted slightly, shoulder brushing against his. As he spoke, he commended Molly’s quick thinking, her skill in the laboratories, and how she’d understood right away what the cause of death was, linking the killer to three previous unsolved deaths. In the end, Molly was flushing, smiling at her shoes as Sherlock quite happily went on bragging to them all about how she’d helped solve the case.

The press finally dispersed, questions answered, and Sherlock tugged Molly along to find a cab, still holding onto her hand.

At Baker Street, they found John and Mary were waiting for them, as were Mycroft and Anthea.

“To what do I owe the pleasure, brother-mine?” Sherlock asked as Molly accepted the mug of tea from John’s outstretched hand.

“Simply wondering how the meeting went.” His eyes twinkled with some mischief, clearly, he’d heard Sherlock’s slip-up.

“As they usually do,” the younger Holmes shrugged.

“Really? One doesn’t usually refer to someone with the wrong surname.”

Anthea and Mary were grinning like Cheshire cats.

“I’m sure it was just a mistake,” Molly batted a hand, trying to wave it off, clearly having trouble doing so.

“Well what if it wasn’t?” Sherlock snapped finally, looking at her directly. “What if I rather like how your name fits rather nicely with mine?”

For a moment, Molly couldn’t speak. She stared open-mouthed up at him, and she saw his gaze flick down to her lips, then back up at her eyes again.

“Well…” she began falteringly, then her smile was suddenly bold. “What if I’d rather have a hyphen?”

Mary grabbed John by the arm who grunted.

“Nails, nails, the nails,” he hissed, trying his hardest not to spill hot tea on himself.

Sherlock, clearly ignoring them, shrugged, hands in his pockets. “Well it makes no difference to me, would you prefer alphabetically?”

“Does that matter?”

“Well yes,” he said with a frown. “Hooper-Holmes-“

“Sounds much better than ‘Holmes-Hooper’,” Molly interrupted. “Sounds like we’re a law-firm rather than a couple.”

“Hmm,” he nodded, pondering. “Very well. But you’ll be the one to tell Mummy, not that she’ll care particularly.”

“Okay, wait, wait-“ John interrupted.

“Oh do catch up, John,” Sherlock sighed, rolling his eyes. He took Molly’s hand, kissing it gently before stepping past her to collect his violin. “If I misspoke, it is clearly because I have been considering proposing to Molly, which I sort of have, just now. If you’d all leave, I’ll do it properly.”

Mary and Anthea immediately set their mugs down, collected their bags and started shoving their men out of the door.

“But-“ Mycroft began

“But-he-“ John also spluttered.

“Shut up, we’ll talk about it in the car,” Mary said, waving goodbye, kissing Molly’s cheek as they passed.

“Oh let’s take one car,” Anthea added, eyes quite merry as she beamed at Sherlock and Molly. “We can talk on the way.”

“On the way where-“ Mycroft asked, not liking his being physically hustled out the door.

“To lunch,” Anthea and Mary said at once.

“They won’t be long,”

“Oh yes we bloody will!” Sherlock called back, quite miffed (for the second time that day). Mary threw him a teasing wink, shutting the door after them, all crowded on the stairway, John and Mycroft both looking confused.

“Now, you were saying,” Sherlock turned, suddenly quite smooth charming.

“Oh I believe you were,” Molly said, and seated herself in his chair. “And I fully expect a proper proposal, mind, my brilliance, after all, is only matched by the World’s Only Consulting Detective.”

Sherlock smirked, and knelt down at her feet, all too happy to oblige.

The story of how you met: a study in scarlet

In a way, Anderson was right; the case of Hope—Jefferson, Jeff the cabbie, and Sherrindford—was about revenge. Rache, German for revenge; Rachel, it’s not a name. If we are to begin from the beginning, the real beginning, a study in scarlet shall be conducted then. Scarlet as in red, in blood, and in Rache i.e. all things German.

I’ve noted in several of my meta posts that series 4 was about the past – events that happened but certain details went unnoticed or seemed inconsequential at the time. Reality perceived differently, or perhaps, incomplete. Pink, a lighter shade of red. A Study in Pink, the pink lady, Jeff Hope, Moriarty; A Study in Scarlet, the lady in red, Culverton Smith, Faith? No. Eurus? No.

Scarlet. Roses are Red. Rosamund?

It has always been about John Watson. Ever since day one.

Keep reading

4

Sherlock’s done extensive research on the different tensile strengths of natural fibres because he thinks about ripping John’s clothes off.  He has a, ‘crying need’, to rip off John’s clothes.  This scene is specifically about wool.  John’s jumpers are made of wool.  Sherlock can, ‘go on’, ‘all night’, about the, ‘depth and complexity’, of John’s jumpers.  Considering that he is giving this speech in broad daylight, it is worth asking why he is saying that he could go on, ‘all night’ and what exactly can he do all night thinking about John and his woollen jumpers.  Look at his face while he says that: excited, cheeky, lost in thought.  He turns away from John but to no one in particular he can admit that he can masturbate all night thinking about ripping John’s clothes off.  This fits with the strangeness of his comment about the, ‘depth and complexity’, of John’s jumpers.  He has thought about the tensile streghth of the wool of John’s jumper, about the complexity of the knitting and the thickness of it.  (You know, the jumper.)  He can imagine taking it off, how it would feel.  This is how much he thinks about John’s body, his clothes, their removal.

Now, I’ve heard others anaylse the train guy from TEH as being a foil for Sherlock, someone who doesn’t mind being different and whom Sherlock thinks would never have a significant other.  Yet, he does.  If train guy can be with someone maybe he can be, too.  But, something I haven’t heard is the idea that John is the woollen hat.  Sherlock is very attached to him and has patched him up fives times already.  Mycroft questions this and says that if he were so obsessed with the hat he wouldn’t’ve left it behind.  If Sherlock loves John so much why did he leave him?  No matter, Sherlock loves John and the train guy loves the hat.  Train guy got his hat back and Sherlock will get his John back, too.

Let’s now go back to the words, ‘tensile strength’: how much tension can something take before it breaks.  How sexual does that sound?  How much tension can John take before his jumper comes off?  How many nights can Sherlock, ‘go on’, alone, while thinking about this?  Tensile.  Strength.  (Reminds me of LSiT talking about Sherlock trying to make John’s beer cans explode, on John’s blog).   

Also, wait a minute: he says he’s written, ‘a blog’, about this?  A whole blog?  Not a blog post but an entire blog?  That sounds like John’s blog.  A whole blog dedicated to seeing how strong John is in the face of his love and desire for Sherlock.  John’s blog is a blog about the tensile strength of natural fibres.  Both of their fibres.  It’s about their incredible struggle to remain platonic friends.  Their incredible struggle to not snap and to remain clothed.

You know what else is a fibre?  John’s moral fibre.  ‘Strong moral principle’, is part of why John can hold his friendship with Sherlock together.  It’s John’s strength, his tensile strength, his strong moral fibre that allows him to continue this friendship, the way it’s been, without breaking.  Without breaking the boundary that keeps them from being together.

(Like Columbo said) Just one more thing: John’s already talked about Sherlock, ‘ripping’, his, ‘clothes off in a darkened swimming pool’, so there’s a clear reference point for this theme of clothes ripping.

Adlock For Dummies

I was supposed to write some fanfiction, and as usual, I decided to scroll through the Adlock tag to get some feels rolling. But instead, I found myself disappointed at the fact that there has been another fiasco involving hate being present in the tags that caused a back-and-forth between Adlockers and, based on my observation, some Johnlock shippers (and yes, I’m using the entire ship name to have it appear on their tag because tit for tat).

Originally posted by xxvoodoo99xx

So first off, bless you my fellow shippers, @i-am-adlocked, @redwulfgirl, @marvelfangirlandsherlockian4ever, @magicalpostface, to name a few for defending the ship to the core, and for @thank-you-for-being-with-me​ and @themissadventurer​ for explaining wth happened. 

Now, this isn’t me putting gas to the already burning fire, but it is sickening to go over this again and again and again. To be fair, I have tried to be level headed back then about this whole conundrum, but seriously though, this has got to stop. 

Originally posted by itsfandomstuff

So I decided to approach this the Adlock way. I laid out the most common arguments against this ship and I’m going to give my most logical answers to it. Is this going low? Maybe. But hey, it’s a slow night for me so here’s to sharpening up my good ol’ brain cells.

Note: All quote references came from this brilliant post.


PART ONE: Disproving common arguments

1. “But Irene is gay…”

Yes, Irene had said this herself. From what I’ve seen in the fandom, people have a split opinion on the matter, taking Irene as either a lesbian or a bisexual, and coming from individuals who are part of the LGBTQ community, there should be a huge amount of respect for these opinions. But sadly, it has become a fiasco on its own. Now, as someone who is a genderfluid sapiosexual (putting this here because otherwise I would be called out for pushing heteronormativity or spreading homophobia and all those things), I personally think that Irene used the term gay loosely. She obviously prefers women, but is also evidently attracted to Sherlock.

Originally posted by bidoctor

So referencing what Lara Pulver stated back in 2012, “It’s just a label, isn’t it? Because, at the end of the day, I think she had feelings for Sherlock. So then people say, ‘Well, so she’s obviously not gay. She must be bisexual.’ But actually, let’s not label this. Let’s just know that human beings fall for other human beings.”

2. “Shipping Adlock is homophobic”

If we are going by expressed declarations of sexuality, it is important to not only take in Irene Adler’s preference into question. John Watson has been very vocal about not being gay, having been engaged into several relationships prior to his marriage with Mary Morstan, and yet has been subject to claims that he is, in fact, in love with Sherlock Holmes. So, logically speaking, rejecting one point over the other completely disproves the argument. 

3. “There are undeniable proof that Sherlock and John are in love”

This is something I didn’t want to tap on, but felt like I needed to do so. From the ACD canon to the BBC version, there are arguments falling ill to the common notion that the relationship of the two borders on romance. 

Originally posted by yes-yes-this-is-me

It has been a common fictional trope, where a character who is angsty and misunderstood is accepted by a trusty and kind comrade – or a brother not by blood but by bond if you will – and it is something intriguing because it is not so common in real life. This is because as much as it is embraced in fiction, males in real life are often pushed into the stigma of being macho men, for the smallest amount of affection showed towards someone else is regarded to as romantic attraction.

Love is very much present between Sherlock and John, but similar to characters like Frodo and Sam from LotR, Jem and Will from The Infernal Devices, Steve and Bucky from Captain America, and other ‘shippable bromances’, this is, in fact, nothing romantic, because newsflash, romance isn’t the only type of love there is. And the main reason why there are often claimed as so is because of this underlying patriarchal effect that two men can be friends, ‘but hey, no homo’, which frankly makes this all the more absurd. It’s like we hate this thinking but subconsciously, we have fallen deep into the expectations it represents.

4. Queerbaiting

In millions of interviews and conventions, the writers have explicitly said that Sherlock and John are not together, at least not in a romantic fashion, and this is first and foremost a story of their adventures as a detective and his chronicler. So blaming them and accusing them of queerbaiting is very much unfair.

Originally posted by the-state-0f-longing

All the ships have the liberty to ship what they ship, to hold on to every evidence and claim that they have as presented in the show, but to push through with an idea once a conclusion has been drawn seems unfair to the entire fandom altogether. It is fair to feel disappointed towards an episode you didn’t like, but a story and a writer that reels toward what the audience asks it to be is nothing more than laziness. 

YOU. CAN. ALWAYS. STOP. WATCHING. Don’t go as far as ruin the experience for everyone. It’s like because you’re allergic to nuts, then you expect your entire school to ban it and close all the shops in town selling it. 


PART TWO: “Adlock does not make sense”

I felt this needs to be a section on its own because as much as our ship only has a handful of references to play with, I can at least say that Adlock has sailed by itself even without our help. 

1. “So you like policemen?”

Most people who do not ship Adlock claim that Sherlock ‘malfunctioned’ in this scene because he was jealous ‘of’ Irene. But if we look at it, John was the first one who flirted with Irene by trying to make a move using the soldier card in contrast to Irene’s supposed liking of policemen. 

Now to quote Mark Gatiss, “He suddenly meets someone who fascinates him. Holmes and Adler have an intellectual attraction. He doesn’t understand it. It’s like falling in love, but he doesn’t know what it is.”

Originally posted by i-am-adlocked

It was obvious that having this woman one up him distracted him for a fragment of a second that he wanted to get back this air of superiority. Still, she outsmarts him. Also note that the morning after, he has already looked her up on Twitter, showing that she did pique his interest. 

2. “You barely knew her.” 

Abruptly answering is a way to tell when someone is lying according to Sherlock himself. So why did he give a clipped ‘yes’ when John asked if he was okay upon deducing that Irene Adler was ‘dead’?

Plus, nicotine was supposed to be something to keep him at bay – to keep his mind sharp. We saw how much he needs it if he’s an emotional wreck to enable him to think. But when Mycroft gave him low tar because he deemed that Sherlock barely knew Irene, he scoffed. He gave a grunt that sounds humorously offended. If you didn’t catch this then please watch the scene again.

3. “Craving the distraction of the game, I sympathise entirely.”

Sherlock and Irene were each other’s distraction, like the king and the queen of the opposing sides of the chessboard. And this was clearly a declaration that Sherlock was aware of how attracted he was to her, probably more so on an intellectual level, and that he genuinely wanted to understand and even impress her, much like her attempts to do so with him. 

Originally posted by athingwithpeas

4. “There’s no point in my leaving the flat for anything less than a seven, we agreed.”

Karachi is 4,906.6 miles from London. Just putting it out there. 

Oh and a challenge from Mr. Cumberbatch himself from 2015:  “They had a night. Irene Adler and Sherlock had a night. I’m absolutely certain of that. Deal with me.”

5. “I’ll still have it.”

Why would he ask for Irene’s Vertu? What did “The Woman… THE Woman.” mean? Going back to ASiP, the most obvious reference is “If she’d left him, he would’ve kept it. People do, sentiment.”

It was his obvious admission that Irene did in fact beat her, because she made him show that he did care about whatever it is that they had.

And add to his collection of all sentimental things, plus in reference to a Chekov’s gun, the rose in the hospital window in HLV disappeared, meaning Sherlock took it with him when he escaped. They wouldn’t show that camera play without meaning tbh.

6. “Get out of my head, I’m busy.”

Seeing how Sherlock’s mind palace works, he projects people in his mind as he needs them to be – whether it be their opinions, the moral balance they lead him to, etc. 

As his mind illustrates, Mycroft is often shown in a setting where he is regarded to as an important compass for intellect and logic, whereas John is often the one who offers practical and emotional approaches. Molly in HLV was presented such as a medical reference, and Anderson represents the firm believer that despite the perils and impossibilities, he can surpass death once more – quite a touching nod to TEH Anderson, tbh.

Originally posted by sorrowsflower

Anyway, going back to that scene in ASoT, it was clear that the mere thought of The Woman sent him a wave of distraction and nostalgia. His representation of her was with the look of affection and longing, something projected by his own subconscious. 

7. The pocketwatch in TAB

As this is all happening in his subconscious, the mere idea that John ‘his moral and emotional compass’ Watson brings up the thought of Irene Adler in the pocketwatch is an internal dialogue of his logic going against the musings of his heart. 

8.  “People text. Even I  text. Her, I mean. Woman. Bad idea. Try not to, but you know, sometimes…”

Sometimes, what? That is the question, don’t you think? 

In addition to the whole bromance thing, John expressing his grief in front of Sherlock cancels out the whole macho man facade and simply offers what years of friendship between them developed: trust. In this, Sherlock must’ve felt like the whole ‘I don’t text her back’ statement was already overdue, and just as how John confessed that he’s not as good as anyone holds him up to be, Sherlock also felt like it’s time to not be embarrassed to reveal that he is also, at times, vulnerable against his own impulses. 

Originally posted by i-am-adlocked

9. Irene knows Sherlock’s birthday + “The Woman will cry”in HLV

As I see them as people who don’t really fall much into these formalities, and also averting to the common notion that Sherlock and Irene’s relationship circulates in nothing more than lust, I’d like to point out that the main tether that tied them together is their intellectual connection. BUT, bordering to personal information, especially as  they are not people who would succumb to conventional topics of conversations, knowing Sherlock’s birthday and having his subconscious relate Irene Adler as someone who will be deeply affected by his death mean that their relationship has been long past simply passing time with mind games and solving cases. 

10. He still has all her texts, has her name in his phone as The Woman, and saved that bloody text alert EVEN AFTER CHANGING PHONES

If this doesn’t shout sentiment, then I don’t even know…

11. “Play you.”

Now one argument about this is that maybe Sherlock played this because ‘play you’ simply means ‘play something you composed.’ BUT, Eurus also did tell Sherlock to play something he understands

Originally posted by kaneabigails

After the statement regarding sex, it is clear that Sherlock is not as fazed as he was back in ASiB on the matter, and going beyond the implied physicality, it also shows that after all those years, Sherlock finally has an understanding as to why he wrote that piece for Irene Adler. It’s another solidification that they have developed a deeper relationship than just two people enjoying the company of the other for the mind games they provide, but they can even go as far as claim that they deem the other person as important.


And so, any other statements about Sherlock and Irene’s relationship in front and behind the camera is found in the post I used as a reference, which you can read here: http://sorrowsflower.tumblr.com/post/156423437518/compilation-of-adlock-quotes

Now if someone is up for an argument or would like to add anything else, my message box and replies are always open. With this off my chest, I think I’ll start working on those fanfictions again. :)

4

EMP, and the focus of each episode

One of the weirdest things about series 4 was that it seemed to be missing a lot of the Sherlock/John dynamic (platonic or otherwise) that has always been at the center of each episode. And it’s not just that Mary and Rosie are present – we hardly see Rosie distract John from crime-solving at all, and Mary was already a major figure in series 3. I wouldn’t attribute it to Mary’s death, either; this weird shift in focus happened during TST, before anything traumatic happened to cause a rift between Sherlock and John. It felt like John was barely in TST at all, especially after he was such a constant presence in TAB.

So, let’s take the events in order:

TAB was definitely still about our two main leads. It started with a return to their first meeting, showed John neglecting Mary in favor of spending time with Sherlock, and featured such lines as “There’s always two of us” and “Why don’t you two just elope, for God’s sake?” It also painted John in a rather heroic light, even if he was kind of a dick to Mary:

Aside from the obvious ACD reference, the Victorian setting of this dream has been generally attributed to Sherlock’s suppressed feelings for John. He imagines them back in a time when homosexuality was illegal, so that the lack of a real-life, possible relationship doesn’t sting as much. This can also reflect how he sees John’s psyche: John is quite repressed, and doesn’t like talking about his feelings; this interpretation of John is actually quite comfortable in a Victorian setting.

But then we get to TST. I actually wrote something yesterday explaining why I think that TST is part of EMP, and at the same dream-level as TAB; what’s weird about this is the sudden shift of focus between the two episodes. Sherlock had his big “there’s always two of us” moment, dove off the waterfall, and told Mycroft that he didn’t need drugs anymore… and then suddenly Sherlock is ignoring both Mary and John while waiting for Moriarty to return, but the whole episode gets thrown into Mary backstory and ends up turning into a sort of spy movie. Mary is the star of the episode; John hardly speaks, and when he does, it’s to supplement her narrative.

I keep saying “spy movie” because that’s really what it is: we have assassins, double-crossing, an entire montage of traveling across the globe while adopting new disguises, even a physics-defying leap in front of a bullet. If you want a good example of a Sherlock-style take on a mysterious woman’s past life in international crime coming back to haunt her and ultimately resulting in her death, just watch TBB. This is tonally different.

One of the big things that threw me off about TST was the Samarra story; we’ve never heard Sherlock do voice-over narration that wasn’t directly related to a case or the best man speech. The closest thing I can think of is John’s narration in TAB, which just reinforces the idea that this episode is likewise in Sherlock’s head. The obvious metaphors of sharks and water, and the big heavy theme of predetermined fate, all make this a very interesting contemplation on the Mary situation. If this is a peek into Sherlock’s mind, well then the subject matter makes sense: he’s just been shot by Mary, and is trying to figure out what sort of other dangers she might pose. TAB was just to sort out Sherlock’s relationship with John, and it came to a neat conclusion (“there’s always two of us;” John won’t leave Sherlock when he needs him most), so TST is his way of figuring out what to do about Mary.

It doesn’t end well.

Unfortunately, Sherlock is probably on a lot of drugs at this point (either in the hospital or on the airplane, depending on what you think Reality is), and it starts to really show. While cocaine came up in TAB, and Sherlock started off TST with a “natural high,” TLD tackles intense drug use and dissociation from reality head-on.

There are a number of things going on here, which I think can be attributed to real-life drugs influencing Sherlock’s thought process. We have John’s issues with hallucinations, shown through Mary (who is still very threatening, if you ask me); Culverton Smith’s memory drug, which could possibly be invented by Sherlock’s brain to explain why he feels like he’s forgetting something important; Eurus’s disguises, and Sherlock/John’s inability to recognize her as a threat; and the crazy drug sequence which just emphasizes how much Sherlock is losing it.

We also see techniques such as slow motion or ambiguous cutting (like in the scene with the scalpel, or the flashes of TV clips), which add to the surreal feeling of the episode as a whole. The fact that things that shouldn’t be there are clearly shown, like Mary’s “ghost,” is also very unnerving. The “case” (if you can really call it one) isn’t very important, in the long run; instead, Sherlock’s deteriorating mental state is given full focus.

In short, TLD is all about Sherlock losing his grasp on reality.

Then we get to TFP, which I would argue is probably another dream-level down, if we haven’t already descended a few. This is because John gets shot at the end of TLD, and so the entirety of TFP might just take place inside John’s head, within Sherlock’s. (Like a dream-within-a-dream, but all imagined by Sherlock.)

Now, at first I was a little bit unsure of exactly what the focus of this episode is: is it Eurus? (Does Eurus even exist? I don’t think so.) It doesn’t seem to be John, nor Sherlock, really, not in the way that TLD focused on him.

Could it possibly be… Mycroft?

Now, of course, I’m not saying that the whole point of TFP is to provide some sort of deep character exploration of Mycroft Holmes, but he certainly gets more screentime than usual. He showed up as a source of advice for Sherlock in TAB and TST, but now is given the chance to do some real leg work. He is also responsible for the Holmes family dynamic, since he has been managing Eurus and Sherlock from childhood, while probably also doing damage control with the parents.

There are plenty of Mycroft moments in this episode: we open with him watching an old movie, then there’s the umbrella-sword-gun, him as the client, the flashback to his childhood with Eurus, the whole Lady Bracknell thing, the patience grenade, breaking into Sherrinford in disguise, and the “brother mine” moment where he offers to die. Personally, I enjoyed him more than any other character in the episode, just because the rest of them felt a little flat. Mycroft, on the other hand, seemed to be softened slightly, and so that at least was interesting to watch.

So, basically, I would explain EMP like this:

TAB – Sherlock examines his relationship with John

TST – Sherlock considers the potential dangers that Mary poses

TLD – *interlude as Sherlock starts really feeling the drugs/dying faster*

TFP – crazy nightmare with some family themes, through Sherlock’s relationship with Mycroft  (Eurus kind of came out of nowhere so I don’t think she counts as a deep familial bond)

This is why it doesn’t feel like the Sherlock-and-John show anymore. If we want to see that dynamic return, we’ve got to get back to reality first.

Keep reading

chriscalledmesweetie

chriscalledmesweetie

Sherlock stared at the four mashed-together words jotted on the scrap of paper he’d uncovered when he picked up John’s laptop.  

Who the hell was Chris?  Why had she (or he) called John “sweetie”?  And why had John deemed this event so noteworthy as to hurriedly scribble it down, careless of capitalisation, punctuation, or even spaces between the words?

John knew that Sherlock regularly borrowed his laptop.  Had he left that message under it on purpose for Sherlock to find?  If so, why?

Was this John’s way of letting Sherlock know that “idiot” was no longer a sufficient term of endearment?  Did he expect Sherlock to start calling him “sweetie” or “darling” or “dear”?  Perish the thought!  

Was Chris one of John’s ex-lovers?  Someone whose standard he expected Sherlock to live up to?  Were pet names only the start of it?  Would Sherlock now be presented with a string of such messages?

chrisboughtthemilk

chrisdidntkeepthumbsinthefridge

chrisletmetop

Oh god.  Where had that last thought come from?

Sherlock stood, frozen, mind whirling, John’s laptop in one hand, the scrap of paper in the other, deaf to the sound of footsteps on the stairs.  He startled as John entered the room.

“Oh, I see you’ve found it, then,” John said, grinning.  “What did you think?  Aren’t our fans talented?”

“Fans?”

“Yeah.  Haven’t you looked at the blog yet?”

“The blog…” Sherlock repeated, feeling uncharacteristically clueless.  His brain was still trying to process his reaction to the imagined future messages John might leave.

John took the laptop from Sherlock’s unresisting hand and flipped it open.  As he waited for it to boot up, he explained:

“You know my blog has thousands of followers, and you’ve become somewhat of a celebrity, right?  Well, I found out that someone’s created a website where our fans can share their artwork and stories and whatnot about us.”

“chriscalledmesweetie?”

“That’s the URL.  Doesn’t make a lot of sense, since it has nothing to do with either of us, but the blog title is ‘you may as well,’ so maybe she wants us to refer to her as ‘sweetie,’ too.”

John sat on the sofa and patted the spot next to him.  Sherlock plopped down and leaned close to peer at the laptop screen.  As John scrolled down, Sherlock gasped.

“What are we doing?!”

“Did you delete sex ed along with the solar system?”

“That is not something I was ever taught in school.  Is that position even anatomically possible?”

“Hmm…  You are pretty flexible…”

Sherlock’s mind finally caught up with the situation.  Here he was, pressed against John, looking at pictures of the two of them in compromising positions.  Yes, he was pretty flexible.  And apparently, so was John…


Written for the @sherlockchallenge February prompt: /tumblr url/

Tags under the cut - please let me know if you’d like me to tag or untag you

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anonymous asked:

I'm curious: what do you make of John's love for the hat? The metas I've heard identify the hat as the persona Sherlock feels like he has to put on for the rest of the world (a persona including his straightness), and that makes a lot of sense to me. But in that case, why would John always want him to wear it? Do you read that as John trying to avoid hoping for a romance between them? Or do you not interpret the hat that way? Thanks!

In direct reference to what I added to that Moffat quote, literally on the show Mary is John’s subconscious, so the direct conclusion to draw is that John wants Sherlock to wear the hat. That is the the surface level reading of TLD, so that’s what Moffat should have said if there was nothing else to Ghost!Mary’s existence.

Except we know that she does have more meaning than just being John’s subconscious, and so does Moffat, which is why he said Mary wanted Sherlock to wear the hat.. If Mary represents Heteronormativity (”I know what you could be now that I’m gone”), then Ghost!Mary is John’s heteronormative thoughts and his ultimate struggle to overcome them - his unhappiness in the life he thought he wanted, his desire to cheat but it still not being enough, and his feelings that (gay) Sherlock and his (gay) love for him are “monsters”.

If we remember in TAB when John told Sherlock to “wear the damn hat”, that moment gave us helpful symbolism - the storyteller is asking Sherlock to be the man he writes about, not who he really is. The hat is what the people want to see, but not who Sherlock really is. It masks Sherlock’s true (soft, feeling, gay) self. Sherlock throws it off the cliff into the waterfall in rejection of this fake identity, which John helps him realize.

But the hat returns in TLD as Ghost!Mary repeatedly suggests to John that Sherlock should put the hat back on, perhaps as a sort of: “LOL what are these, gay thoughts?? Wouldn’t I/the kids like him better if he was straight? LOL check yourself John.” But John finally comes to terms with these thoughts at the end of the episode, and they finally disappear when he realizes that it is what it is, and he can’t change Sherlock or his own feelings for his friend. 

After John’s speech about not being able to be the man Mary(/heteronoramtivity) wanted him to be, putting the hat back on is a subtle say for Sherlock to complete the thought that was interrupted. It’s a way to show John that he is Sherlock’s “piece of that”, that he can be the man John writes on his blog, the man he thinks John wants him to be. But remember that “wear the damn hat” is something TAB John said, so TLD John has no idea what it means, which is probably why Sherlock is still wearing it the first time we see him again in John’s TFP dying horror-themed nightmare.

Alternatively...

Sherlock was staring at him as though he was an idiot, and John wanted to scream.

It was too much. It was all too much. John could feel the tight ball in his chest tensing even more, to the point of it being painful. With each word he said, he could feel himself inching closer and closer to an explosion.

“She’s out there, she likes you, and she’s alive.” He was shaking. When did he start shaking? “Do you have the first idea how lucky you are?”

He wasn’t even upset to learn that Sherlock had deceived him into thinking Irene – the Woman – was dead. At this point, it was just another disappointment, another tiny, piercing lie to add to the pile of other piercing lies that had accumulated over the years. Lies told by Sherlock, by Mary. By John himself.

But he was upset that Sherlock was wasting the very opportunity John so desperately wanted. Although upset didn’t seem like the right word. Angry. Angry was good.

Furious was better.

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anonymous asked:

So yesterday I mentioned our little trio visiting Sherlock's parents the odd weekend? Well, of course, now that they have a granddaughter, they make the trip up to London now and then too. Let me tell you about the first time Rose officially dubbed them 'Gram'ma and Gam'pa'. It was an impromptu visit, meaning Mummy Holmes didn't tell Sherlock that they were on their way until they were on the motorway so he couldn't say no. On the first evening, they came for tea and Rosie was very pleased (1)

to see them both, even if she went a little shy at first. She even fell asleep cuddled into Sherlock’s father, which made every one else in the room’s heart ache just a little. ‘Just like you used to,’ his mother murmured as Sherlock carefully lifted her into his arms for bed. On their second trip to their cottage about a year before hand, John had more or less given them the go-ahead to dote on her (as if they needed to be told!), and it meant a lot seeing as his own parents were gone. 

On the Saturday afternoon they went to pester Mycroft so they Baker Street trio could go about their day, however Mummy Holmes had uncategorically insisted that they would babysit that evening so Sherlock and John could go out. Though reluctant at first, John and his Mum talked Sherlock into it. It would only be a few hours and well, Rosie loved them. So they went out to Angelos for some dinner, stayed to share tiramisu and another bottle of wine, making gooey eyes at each other before heading home. They had got a text to ensure them that Little Watson had been bathed and read bedtime stories without any trouble, accompanied by a picture of her fast asleep. The pair were sitting having tea and biscuits when Sherlock and John arrived home. At once, Sherlock could tell what had transpired. His mother’s eyes had a sentimental sheen to them. 'Alright Grandparents?’ he asked, tilting his head in that ohso Sherlockian way. 'Oh Sherlock, you’ll set me off again. She’s perfect.’

His Mum stood and hugged them both, before telling them that Rosie had, without prompt, claimed them both as Gram'ma and Gam'pa. They were over the moon. Once they had left, and Sherlock and John were both in bed, they happened to turn their head at the same time, mouths open to speak. 'Have you been..?’ 'I might have…’ With a smile and a giggle, they curled up, Sherlock’s head on John’s chest. 'It was only a slight reference to them as such.. I didn’t even realise,’ he murmured. John just smiled and pressed a fond kiss to his head. For someone who had once claimed to despise sentiment and attachment, he had bagged himself the most caring and sweet partner he could have ever wished for. ((That wasn’t up to my usual standard, sorry <3 ))

NEVER APOLOGIZE FOR ANYTHING TO ME EVER THIS IS PRECIOUS

@ebaeschnbliah I found another Bohemian reference in BBC Sherlock, re: your Wenceslas post - but now I mean bohemian, as in a lifestyle context.

JOHN: Are you still at Bart’s, then?
MIKE: Teaching now. Bright young things, like we used to be. God, I hate them!

You know who the Bright Young Things were?

The Bright Young Things […] was a nickname given by the tabloid press to a group of bohemian young aristocrats and socialites in 1920s London. They threw elaborate fancy dress parties, went on elaborate treasure hunts through nighttime London, drank heavily and used drugs—all of which was enthusiastically covered by journalists such as Tom Driberg.

Among them were Cecil Beaton, Arthur Jeffress, Oliver Messel, Beverly Nichols, Stephen Tennant (go take a look at him, isn’t he gorgeous), Evelyn Waughn, the Midford sisters, Sylvia Townsend Warner and many others.

Is the mention of the Bright Young Things here a reference to Sherlock Holmes’ bohemian side: drugs, music, ‘moods’ - that ACD describes? 

Let it also be noted that one feature of the Bright Young Things that made them both fascinating and a source for gossip and scandal was their sexual ambiguity and sexual experimentation: many men and women in this circle conducted same-sex relationships (at least for a while).

So, we have Stamford talk about Bright Young Things at Bart’s - and in the next scene, John meets Sherlock there.

I leave you to your deductions…

Ok, I can’t - take a look at Stephen Tennant and tell me this did not influence how Sherlock was portrayed in the BBC version… fight me!

The effect of John's blog on EMP

This is all pretty interesting because I believe in EMP, but I also really like the idea that series 4 follows the style of John’s blog. I guess that sort of makes sense; the end of HLV had a touch of that, but was still an immediate continuation of the real narrative, so Sherlock was able to imagine it realistically. Then he passed over to the next dream level for TAB (he probably has John’s blog entries catalogued in his Mind Palace, which is how he could remember A Strange Meeting through John’s eyes, and which later contributed to the fuckiness of series 4); the Victorian setting worked well as a metaphor for his suppressed feelings, but also aided in distinguishing dreams from reality, although we saw in the graveyard scene that you can’t trust all “modern” scenes to be real.

BUT - here’s the weird part: we thought that Sherlock woke up for real at the end of TAB, right? Well, there are two reasons why this might not be the case:

  1. According to EMP, none of the tarmac was real, so unless he wakes up in the hospital bed, that isn’t very convincing.
  2. We get the very last scene with Holmes and Watson in front of the fire AFTER the tarmac. This shows that he is still in his Mind Palace, and also that (as the camera pulls back) this dream can bleed into the “real” world setting.

Does Sherlock know that he’s not awake yet? Maybe he’s been submerged too long to remember that he’s dreaming (and he’s probably being given drugs in the hospital, inspiring the tarmac-level overdose, and the Victorian-level cocaine use. This is why he’s acting so manic and citing a “natural high” at the start of TST; in his mind, he hasn’t taken any drugs lately, but the reality is that his body is still hooked up to the morphine, along with anything that Mary might have given him), or maybe the weird haircuts for John and Mary are a way for him to keep track of reality. Either way, he’s slipping.

Upon “waking up” for TST, he begins solving cases very very rapidly, completely throwing himself into the Work. Maybe this has to do with feeling unable to confront his feelings for John directly… OR it’s because he feels like John only wants him for the exciting cases, and he’s worried about letting John slip away. Just think – he’d come back from the dead, used cases to distract from the impending wedding but then watched the wedding go through anyway, and then John disappeared for a whole month and he relapsed on drugs. He managed to rope John back in for the Magnussen case, but that went spectacularly wrong. John forgave Mary. (But only in Sherlock’s head; in real life, he still doesn’t know who shot Sherlock.) So now, Sherlock is trying to be exactly what he thinks John wants him to be. That’s why there’s such a huge fixation on the blog. We get Sherlock analyzing the blog content, trying to see things through John’s eyes. He’s looking for the elements of the cases that John likes, but inevitably begins to pick up on the negatives, which is why we get Sherlock The Semi-Sociopath again (not paying attention to John, always on his phone – versus series 3 Sherlock, which was from his own POV) and John’s feelings that he’s nothing more than a sidekick.

Sherlock is using the blog entries that he’s catalogued as a template for TST, but also trying to resolve the Mary storyline that he set up in HLV. (Remember, we still don’t know the truth about Mary; these are all predictions by Sherlock.) He gets the A.G.R.A storyline from H.O.U.N.D. and from his own torture experiences (which is why Ajay is a Sherlock mirror), and the Thatcher busts from The Six Thatchers blog entry, and never quite figures out if Mary is a villain (she shot Sherlock) or a hero (John loves her). So he writes her more action scenes (remember what he imagined her telling John in TAB: “it’s not your going that bothers me, it’s your leaving me behind!” based on how she rushed after them at the wedding reception, and how she insisted on coming along for the Happily Ever After case on John’s blog), and gives her a heroic death, trying to figure out how John would react once she’s out of the picture.

He imagines that John would not react well at all. He is probably thinking about how greatly he underestimated John’s grief at this own fake death, and mentally combines that with all the times John has ever been angry at him and blamed him for things (especially the Fall). So Sherlock imagines that not only is John taking Mary’s death very hard, but he is blaming Sherlock for it. Sherlock tries to figure this out by imagining John’s therapy sessions, although he changes the therapist because it would take to much effort to also imagine Ella, who he doesn’t know too well (and he had tried imagining her in TST). Remember, Ella was the one who made John set up his blog in the first place. Maybe Sherlock consulted her to get a better idea of how to structure the narrative.

Meanwhile, someone must have just given him another dose in real life, because in TLD, he’s absolutely losing it. He points out his ability to predict people’s behavior up to two weeks in advance; this is proof of the possibility of EMP, since he could easily imagine those situations in his head. (But this also shows that Sherlock thinks he always gets these predictions right… but we know that some of these characters seem to be acting a little off, so we know that he hasn’t gotten it completely accurate.) He pictures Bill Wiggins keeping him company… is this how he acted when he only had Billy the skull? We clearly see that Faith was inspired by John, specifically by their first meeting in ASIP. In the hospital, a number of people bring up John’s blog, stating that it’s gone a bit downhill (rather like this show has, now that Sherlock’s spiraling into blog-style characterizations instead of realistic depictions), and he gives a speech to the kids about how logic and reasoning is the most important aspect of crime-solving, not John, because he thinks that’s how John sees him.

He imagines a plot line with a memory drug, because he’s starting to forget what the purpose of this whole exercise was, or whether or not he’s still dreaming… and a killer… there was murder somewhere, wasn’t there? And a hospital? He remembers a hospital, and a sinister blonde person threatening to kill him if he spills the secret of their murderous tendencies… but he’s got it wrong, all wrong, and Mary has told him to do something, and John is in the dark, and he’s really dying this time. (Is someone trying to smother him in real life?)

But then – John saves him. Because of course he does. John, who saved his life in ASIP and who has always followed and protected him. “There’s always two of us.” But he remembers how much Mary’s death must be affecting John, and he imagines that John would still be angry with him. He saw John speak to him at his gravestone, and so he personifies Mary, to try to guess how John would act with her shadow still over him. (Also, a part of him remembers that John is still in danger from Mary, hence the sinister ambiguity of her first scene in TLD.) Rosie is off somewhere – who knows, who cares. Sherlock remembers the wedding, which was supposed to be perfect but which featured an attempted murder anyway.

Perhaps the TLD hug reminds him of the Stag Night, when he thought they were headed for something big but weren’t quite able to reach it. That was the Mayfly Man case… he thought is was unrelated, but it turned out to be tied to John and his wedding, and his previous romantic interest… and so we get Eurus, the unexpected danger. Because Sherlock can’t actually imagine anything past that hug; he’s still unsure of how John would react.

TFP could be a number of things:

  1. Sherlock’s imagining of what John’s Mind Palace would look like after he gets shot (because they can’t have a happy ending; John is in danger and Sherlock has been stupid and now he might lose John forever).
  2. Sherlock has fallen down another dream layer, like the waterfall scene in TAB.
  3. Sherlock is on so many drugs and/or he’s been in the Mind Palace so long that everything is getting reeeeeeally weird.
  4. Someone has the TV on and is watching horror movies and Bond, and/or Sherlock has taken the blog influence too seriously, and now things really are written in the style of John’s blog: romantic and clipped and half unbelievable.

—–

TL;DR: Assuming that S4 is all EMP, Sherlock is using John’s blog as reference when creating the narratives for the three episodes. We saw him read the entry about their first meeting in TAB; this shows that Sherlock likely has some (if not all) of John’s blog entries stored in his Mind Palace, and he is now drawing from them.

anonymous asked:

i don't understand why they called the episode The Six Thatchers when there's already a case called the six thatchers on johns blog??

YUP, THAT’S SO TELLING.

Honestly, I can’t believe this hasn’t been a question asked @Mark and Steven yet. Just having it on John’s blog is one thing but they even have it on display in A Scandal in Belgravia:

image

It’s obviously not just a simple ‘continuity error’ to me- they had that case written out in advance for John’s blog, chose to show that specific one in that specific episode… and yet, we have Series 4, Episode 1: The Six Thatchers. The title deliberately refers back to all of this, during the episode where John’s blog is arguably mentioned the most… and yet John’s blog isn’t updating. Damning! They;re deliberately repeating the titles.

So I’m still stunned that no-one’s asked them about this, yet! I’m sure they must have a planned response for this, it’s damning evidence not to trust the surface narrative. Basically, someone please ask them about this, complete with screenshot proof or I will ;)

posh-boy-clever-boy  asked:

Hi there! I stumbled across your John meta today and I really enjoyed it. I struggle so much with John so it was so helpful to read that as it validated a lot of my personal feelings and on going discussions. Here's a question for you and forgive me if you've already discussed it. Why do you think they had Sherlock put on the deerstalker? Also- why the fade shot and then show John's mood improved? I'm not hinting at sex as I am not in that camp but it is curious as it's a deliberate decision.

This was cute, wasn’t it? Though it’s a bit weird, yeah. On the one hand, this is a parallel to TAB, where John told Sherlock to ‘wear the damn hat’ and get himself together (’cause he’d just come off a bender). Since he calls it the ‘damn hat’, it’s a direct reference (and John seems to think it’s cute and is clearly pleased). The hat generally represents Sherlock’s public persona– being ‘Sherlock Holmes’ (as we saw in TRF, though more explicitly in TEH and TAB). Being Sherlock Holmes isn’t a bad thing, or even necessarily a false thing (if one believes Mary’s narration at the end of TFP). It’s just something to cover up the vulnerability and the naked, flawed awkwardness of Sherlock’s gooey center. And here, of course, Sherlock’s about to go with John to meet Molly for cake, of all things! Because it’s his birthday! Very awkward indeed.

Basically, Sherlock is not really ‘back to normal’, though as John says to Eurus the Therapist, “obviously ‘normal’ and ‘fine’ are both relative terms when it comes to Sherlock and Mycroft”. We had a fade to black after their intimate moment– probably to show time passing, though it’s unclear how much time. I definitely want to know what happened, what they’d talked about. In terms of implicit Johnlock (I am mostly in that camp, because that’s my happy place camp), I don’t think it happened yet by this scene. They’ve clearly gotten better, of course– look at John’s happy John smile!– but it’s not ‘back to normal’. More domestic, certainly. Warmer, clearly. But Sherlock needs armor just to get through an ordinary birthday gathering (not that it’s that ordinary– in the context of all their messed up lives recently, perhaps it’s rather extraordinary, after all). Though as John says, that really is such a relative thing for them all, isn’t it?

Still. I do think that we’re meant to think they’ve progressed. They’ve gotten closer, because they had nowhere else to go but up. They didn’t want to actually show the details of John and Sherlock rebuilding their normal relationship, so they sort of– pointed to it. Waved a hand and did a fade to the facade of Baker Street, which is nothing if not representative of John-and-Sherlock, the Baker Street Boys, back together at last.

Sherlock is sort of wobbly, though. His voice is kind of uncertain. He is uncertain. It hasn’t actually been very long, because his eye is still bloodshot, and the cut by his brow from John’s blows still looks pretty bad. He’s recovering, they’re recovering, but their conversation about Mary and Irene is fresh enough to still be on his mind. And it is on his mind, though I think John is happy to put things behind them. ‘Behave’, he gamely tells Sherlock after he snarks a bit about cakes and sugar and birthdays– he’s definitely trying to get back to normal in his own way, to wear the ‘hat’ of John Watson, Sherlock’s Minder (the one he wore in TRF, which that bit references).  I suppose it’s just that John’s hat is invisible. They both need a bit of normalcy, but they’re not necessarily certain how to get there from here. It’s going to take time. And it’s probably going to take a case, or multiple cases, as well as therapy– and this does work, as we see by TFP, even if the therapist shot John with a tranquilizer. That is their life, so in the end that’s pretty normal too.

Still, as I said, their conversation is definitely on Sherlock’s mind. And what part of that conversation? Oh yeah, the bit where John told him he should text Irene Adler more. That part’s apparently haunting him, because he brings it up out of nowhere, right as they’re leaving the house to go have a party. “It’s not my place to say,” he says awkwardly. “But… it was just texting.”

He seems to view it as part of ‘human error’; that thing that he accepts in himself and others, and we see him integrate by TFP (as I described re: the Molly scene). It’s not a big deal though. He doesn’t think a relationship with Irene would be a good idea. Just wanting a bit of human connection, you know, ‘just texting’. Keeping up. Being human. John shouldn’t read into it. Sherlock wants to make sure of that, you know. No particular reason. ¯\_(ツ)_/¯