but also notice the parallels

The Space-Time Continuum in BBC’s Sherlock Part II: Reflection and Reproduction

So, @tjlcisthenewsexy made some great comments on the original The Space-Time Continnum in BBC’s Sherlock meta and I started to reply, but then I had a big breakthrough and I feel it needs its own post.

The amount of parallels and direct homages to previous episodes in Series Four are more than numerous at this point. There are so many that its almost like they are re-doing entire episodes. Well, they are. The reason and method of which was confounding me for awhile, but I figured out the reason with my original Space-Time meta, and the method I just discovered this morning.

Here is a basic timeline of episodes in BBC’s Sherlock

Now, accounting for what we learned in The Space-Time Continuum Part I meta, here is some additional information:

The glass in TAB serves as a reflection or mirror between Series three and Series Four, which is why the Series MIRROR each other, as in literally mirror. 

EDIT TO ADD: @tjlcisthenewsexy pointed out the awesome phrasing that Molly gives us in HLV during Sherlock’s MP fall after being shot. She wonders if he should go forwards or backwards. This moment could easily be considered a second zero null vector because it is at this point Sherlock decides to start going backwards-towards TRF. Didn’t it seem odd how quickly he forgave Mary and how quickly The Watson’s marriage was back on track? That’s because he started rewinding the state of their relationship to the beginning of that episode!!!

(Interesting Side Note about Peppers Ghost, the parlor trick used in TAB. (Taken from Wikipedia)

The basic trick involves a stage that is specially arranged into two rooms, one that people can see into or the stage as a whole, and a second that is hidden to the side, the “blue room”. A plate of glass (or Plexiglas or plastic film) is placed somewhere in the main room at an angle that reflects the view of the blue room towards the audience. Generally this is arranged with the blue room to one side of the stage, and the plate on the stage rotated around its vertical axis at 45 degrees.[2] Care must be taken to make the glass as invisible as possible, normally hiding the lower edge in patterning on the floor and ensuring lights do not reflect off it.

When the lights are bright in the main room and dark in the blue room, the reflected image cannot be seen. When the lighting in the blue room is increased, often with the main room lights dimming to make the effect more pronounced, the reflection becomes visible and the objects within the blue room seem to appear in thin air. A common variation uses two blue rooms, one behind the glass and one to the side, which can be switched visible or invisible by alternating the lighting. (x)

This would explain Blue light hell @skulls-and-tea!! Every time we see a blue light, what we are witnessing is a reflection of something else from the series!)

So, the three episodes of each series literally reflect each other like this:

So the episode breakdown would look like this:

Do you see how the series are literal reflections of each other? There is of course still parallels to each of the episodes outside of this flow chart (like illusions to Sumatra in TEH and TST), but that can be accounted for by the fact that time isn’t actually linear. While these series reflect eachother as a basic method of understanding, the space of each episode still exists all in one time, so there will still be homages to “other” space-times.

The reflection of the two series explains why The Six thatchers is so similar to His Last Vow, with the guns and the slo-mo gunshot and Mary’s secret assassin storyline and would help a lot of us EMPers who are so attached to HLV being the beginning of EMP realize why we thought this so vehemently after TST. TLD and TSoT are connected by their emotional focus and their progression of John and Sherlock’s relationship. They are also linked by the only two JohnLock hugs in existence. TEH and TFP are very similar in the countdown/bomb motifs, bond-esque baddie plots, A focus on Mycroft and Sherlock’s relationship, and the inclusion of The Holmes parents. 

Now, if you notice, Series Three and Four also has A LOT of parallels to Series Two, but they don’t work as a mirror! Series 3 & 4 are not a reflection of Series 2, but a reproduction of it! If Sherlock is working is way through how to defeat Moriarty at point zero, then he will need to work through all the steps (Absolute Past) that led him to that point- (i.e Series 1 and more specifically, Series 2). So the entirety of Series 3 & 4 is a retelling of Series 2, folded in on itself. Why? Because TIME IS NOT LINEAR! For the visual learners (that’s me) this explanation would look something like this:

Its a circle, folded in on itself. Its literally the space-time continuum come to life!! If we want to break it down episode by episode I made table for that! (I’m really getting a lot of use out of Word today)

This is just a short list off the top of my head, so Im sure there is more- feel free to add on! Like John being kidnapped ASiB, TEH, and TFP!  

As I stated before, there will definitely be parallels within every episode to every other episode because time has folded and twisted in on itself in Sherlock’s mind. Its all existing at once. So the parallels in ASiB to TST or in TRF to TFP, are purposeful and a reminder that time is not linear. 

I hope these charts helped explain the theory a little more!

Tagging some people that I think might enjoy it based on their comments on the first part!

@ebaeschnbliah @isitandwonder @longsnowsmoon5 @loveismyrevolution 


the first avenger  |  civil war

​A little observation about Bellamy’s “There was no hope. Now, there’s hope.”


Watching the teaser trailer for DNR and the final episodes of season 4, my spider senses started tingling when Bellamy said: „There was no hope. Now, there’s hope.

You could say that it rang a bell but I couldn’t put my finger on it what exactly caught my interest.

I was pondering over it for the last few days until it hit me and I finally remembered. Clarke said those same words in the sizzle reel and teaser trailer for season 4 on SDCC 2016.

Here the first part of the transcript (interesting parts highlighted):

In the beginning, there was no hope.

We were just another generation born to die in space.

Then, they sent us to the ground.

And we found a strength we never knew we had.

Strength in ourselves, strength in each other.

Suddenly, we had hope.

And we discovered that hope is something worth fighting for.

  Looking a bit closer at the montage, it’s interesting to see that we have an overall progression of hopelessness to finding strength and home in each other, finding it in friendships and camaraderie, to familial and romantic relationships; all tied to the word




In the beginning, there was no hope.

(We see the Ark and how the kids were sent to the ground. We know that the reason for it was the Ark’s system failing.)

We were just another generation born to die in space.

(-> hopelessness)

Then, they sent us to the ground.

(-> homelessness) Bellamy’s “There was no hope” reflects their previous and current situation. They are about to lose their home. Again. They have no hope of survival because all viable solutions seem to lead to a dead end. Again.

And we found a strength we never knew we had.

Strength in ourselves, strength in each other


Now, we see the beginning and forming of friendships and bonds in camraderie; brothers in arms. They slowly learn to rely on each other. Their home is in each other now which is emphasised by the conversation between Octavia and Monty as well as Indra’s words of warning playing between Clarke’s voice-over. [Octavia: “I’m not Trikru, I’m not Skaikru. I’m nothing.” – Monty: “You’re one of the 100.” // Indra: “The only way out of here is together.” aka the Bellarke catchphrase] )


Suddenly, we had hope.

Here, we see scenes of familial and/or romantic relationships -> among them Abby and Clarke, Octavia and Lincoln, Lexa and Clarke)

And we discovered that hope is something worth fighting for.

-> Bellamy’s “Now there is hope” is quite self-explanatory. The bunker is a solution for all of them to survive; for his new home and family which are his friends and fellow citizens of Arkadia as well as the remaining survivors of the orginal 100 now. Together.

-> As you might have also noticed, on another level, the above described progression of relationships parallels Bellarke, going from ‘no hope’ to ‘hope’; similar to what Bellamy said in the trailer and Clarke in the sizzle reel. They are each other’s hope and strength; home basically. We also have the catchphrase “together” and  that “it’s worth fighting for”… its up to you to do the math, peeps. ;)  

Here the second part of the transcript which is a lot more speculative on my part than the first:

Against all odds, against all enemies.

And so we fought, we bled and sacrificed. We killed and were killed.

All for the hope that our future will be better than our past.

[Brian asking Miller: “Are we ever gonna be done fighting?”]

For the hope that someday the violence will end

(we see Kane and Abby)

and we can be free.

(we see Bellamy and Clarke)

But now, our enemy isn’t something that can be fought. It can’t be reasoned with. It can’t be killed. It can’t be stopped.

And so we ask ourselves when all is lost,

(we see Mount Weather: Octavia holds Jasper in her arms with him crying for Maya -> we know that those two are the most central characters at the moment who think that everything is lost // Luna raising her glass during the funeral on the rig -> she lost her people. What else is there to lose?)

can hope survive?

Can we survive?

(We see Clarke, Bellamy, Octavia, and Jasper at the beach -> so far, all of them have lost their hope at some point. C & B are the only ones who have regained it or are about to, same as Octavia. They and their hope will survive. Sadly, Jasper probably won’t according to the DNR trailer. Early foreshadowing?)

And after everything we’ve done, do we deserve to?

Where did I wanna go with this? The author is clueless.

Maybe someone else who wants to add something I missed? Then feel free to add. :)

When I found out that 6x20 was going to be the musical/wedding episode, I decided to re-watch 1x20, since there have been a lot of elements of season 1 in this current season.

What I have noticed from it was that there are indeed a few elements that have already been paralleled in the show so far; and others that could be very telling of what might happen in the remaining episodes.

The elements already being paralleled:

First of all, the episode is titled “The Stranger”, and it tells us the story of Pinocchio; which has been brought back this season already.

Most precisely it shows us how Marco built the wardrobe, and how August got to our world. We have already seen this paralleled in Season 6, with wish realm August building the wardrobe to allow Emma and Regina to go back to Storybrooke.

What I found interesting is how the Blue Fairy kept saying that its magic was only powerful enough to transport 2 people, but then she wanted Snow (carrying Emma) and Charming to go through it. Does that mean that when Emma and Regina went through it this Season and brought back Robin was kind of the same thing it would’ve happened if the original plans had gone through? Is Robin “part of” either Regina or Emma, and that means only 2 people actually went through it? Or is it because Robin, as everyone else keeps reminding Regina, is not real?

Another thing was August telling Emma about where he was when she decided to stay in Storybrooke, and he does it in these terms:

August: You ever been to Phuket? It’s beautiful. Amazing Island. Full of pleasures. The perfect place to lose oneself. That’s where I was when you decided to stay in Storybrooke.

Amazing island. Full of pleasure = Pleasure Island? Which has been brought back up again in 6x12. And 6x11, if you take a look at what August is writing with his typewriter.

In both episodes (6x12 and 1x20) the pages August has added are mentioned. In 1x20 Henry notices that Pinocchio’s story isn’t completed, and then later on August tells Emma he was telling her how the story ended. But then in 6x12, he tells Charming that he was ashamed of that part of his story, that’s why he hasn’t included it in the book.

This has been told already, but I really think August represents Regina somehow.

In the episode of Season 1, they both tell the story of how they respectively found Emma and Charming. It’s interesting how August tells Emma he is going to tell her his story (the story of how he was the boy who found her in the newspaper) and the next scene we see Regina and David, and she tells him the story of how she found him.

August: “We’re going on a trip, Emma.” who has been going on road trips with Emma so far?

I also noticed another two parallels between the two (Regina and August)

When we see August and Emma at the forest home, we see August being yelled at by an adult for touching the toolbox. That immediately reminded me how in 5x19 Cora tells Regina not to touch the box containing the wand.

Both stories end with the redhead (August/Zelena) leaving Emma/Regina. Zelena, we know was Regina’s half sister, and in the foster home Emma might have as well been considered August’s “sister”.

Then at the beginning of the episode, Mary Margaret tells Regina this: “Your life must be filled with such incredible loneliness if your only joy comes from destroying everyone else’s happiness.”

And at the end, August tells Marco this: “I just feel like fixing things.”

Which at first could be seen as a contrast, but if you see August/Regina as the same person, it looks more like a reaction.

As for what I think could happen in the next episodes:

Snowing vs the Evil Queen

Snow will come back from the curse the Evil Queen has put her and Charming under, just as in 1x20 Mary Margaret has just come back from jail. We even have this conversation between MM and Regina:

Regina: Ms. Blanchard. I see you’re back.

MM: Isn’t it wonderful? Everything worked out.

Which I would see as how Regina would react when the curse finally gets lifted.

I also see how the Evil Queen might react to it. This is another part of their conversation:

Regina: Are you insinuating something?

MM: Yes, I am. But I forgive you. Even if you can’t admit what you did, I forgive you anyway. Your life must be filled with such incredible loneliness if your only joy comes from destroying everyone else’s happiness. It’s so sad, Mayor Mills, because despite what you think, it won’t make you happy. It’s only going to leave a giant hole in your heart.

Which is exactly what the Evil Queen has stated already, about wanting them to feel what she has felt: loneliness. And what Regina has told the Evil Queen: “You still have a hole in your heart, just like I did when I first came here.”

Maybe the Evil Queen will try, just as she did in 1x20 by trying to seduce David, to keep Snow and Charming apart; but ultimately she will have to realize what Henry tells her in “The Stranger” is true:

Henry: Go ahead and try. It won’t work. No matter what you do, Snow White will have her happy ending. She and Prince Charming will be together. The curse will end. Good will win.

And maybe the Evil Queen just needs her family’s “forgiveness”, to know that she is accepted as a whole, and not for just the “good parts”.

Emma and August:

At first August, as he is trying to convince Emma to go on a trip with him, he tells her this:

August: You need to look at the big picture. That’s the only way you’re gonna understand what you’re up against. That’s the only way you’ll know how to beat Regina.

We know that Emma now isn’t trying to beat Regina, but she is still not looking at the big picture. I kind of believe that August will have a part in Emma seeing all the lies H00k has told her so far. August might know some things that have happened that are missing from the book, just as he was about to tell her the rest of his story. He might know what really happened with Ariel for example.

In Season 1 August was supposed to make Emma believe she was the Savior, and needed to bring back everyone’s happy ending. This time, I think he will have to remind her that it is not her job to give H00k is own happy ending.

August: Your denial is more powerful than I thought. It’s preventing you from seeing the truth.

The denial can be both about her feelings for Regina, and her relationship with H00k. And the truth she is not seeing now is the fact that her relationship is built on a bunch of lies.

She literally can not see what’s in front of her.

Emma + Henry and Regina

At the beginning of the episode, we see Emma trying to build a case against Regina to get custody of Henry. And at the end, we see her trying to bring Henry out of town, stating they have to leave Storybrooke.

We know from what Regina tells Emma in the wish realm, that they kind of share custody of Henry now. Maybe they are working on the legal aspects of it?

I also think Emma didn’t leave Storybrooke in Season 1 because, just as in Season 3, there was a “piece” missing in their family: Regina.

Bonus, because I don’t know where to fit these:

1) Regina and David have this conversation just as they are about to enter her house:

Regina: Thank you for being my knight in shining armor.

David: Well, it’s more like flannel, but you’re welcome.

We perfectly know by now who has been Regina’s “knight in flannel armor”, if you need a reminder, here she is:

2) Mary Margaret at the beginning, when August installs a new lock on their door, says:

“As long as it keeps Regina and her skeleton keys out.”

But from Shady’s post here, we can see the key that opened MM’s door wasn’t a skeleton one.

3) Marco, as he wakes up on the shore after having being through a storm with Pinocchio: “Pinocchio? You saved me.”

Which as been said a lot between people who I think share TL - Snow/Charming - Emma/Henry - Emma/Regina. So, that made me think… maybe the TLK effect when getting out of the tree for both August and Emma only happened because the people who put them there (Marco and Charming) did it out of True Love? They were giving them their best chance, as the show likes to tell us.

So, the True Love colors showed as Emma got into the wardrobe and Regina getting out of the tree, are separated, but for now, because they haven’t been “united” yet? Both Emma and Regina are still in denial, and don’t realize the other feels the same.

4) After Pinocchio has turned into a real boy, the first scene we see of him and Marco at the workshop, shows us Jiminy Cricket (the conscience) being trapped into the clock. Which reminded me of how Gideon, of all things, broke the tower clock from the inside out. Is that a way to bring Emma back to her conscious? 

My Amazing Theory (Tye/Legend spoilers)

Right so I’ve been getting a ton of people not asking to hear my theory on how Marie Lu’s books are connected, so just to appease the crowds I will explain.
So let’s start with the Rose motif. That showed up in Champion on the cover and in the Rose Society as (surprise surprise) the name of the Rose Society. But the thing is that the only actual place that the rose shows up in Champion is in Day’s nightmare about Eden, where his sick younger brother (the one that he’s supposed to protect) is taken away from him and he is faced with this origami rose. So I was thinking: maybe there’s some connection between Day and the Elites in TYE (like some kind of trace of psychic connection). But then also Adelina just kind of came up with the name ‘the Rose Society’ kind of out of the blue, so I was thinking that maybe this is a connection between mortals and the gods. The gods in TYE seem to like fucking with people at least a little bit, i.e. Adelina spent her years taking lives and the only way she can get what she wants (her sister back) is by giving her life. SO THEN if this is the gods being sadistic shits then it would fit well with the end of Champion when June is literally praying that Day will survive, saying that she would give ANYTHING to let him live, and then ends up with a living Day with the catch that he doesn’t remember she exists. Both of these situations involve a higher power giving you what you want but with a painful twist, and in both situations what they want is for a loved one to be alive.
So I’m saying that I think there’s the same gods in both stories. And on the topic of the rose motifs kind of popping up in the minds of different characters, I think that maybe the rose has some sort of meaning to the gods which gets transferred to the Elites, but then even after the Elites are destroyed there are still traces of their of divine power left over that get carried to certain individuals in the future (Day in this case). Also this would make sense because in Warcross, Day’s ancestor makes an appearance. So maybe this is being passed through bloodlines of some sort. I have to wait until Warcross comes out to see if it also has a Rose motif as well, but I’m pretty certain it will.
Also just another thing I’m noticing is the parallels between Day and Adelina. Both are criminals and cast outs from society with younger siblings who they are supposed to protect. Both siblings get horribly sick (Eden with the plague and Violetta with the weird Elite sickness in TMS). Both Day and Adelina end up sacrificing themselves for their younger siblings at the end of their series. Both were subject to a failed execution attempt. Finally both ended up rising from being criminals and cast outs to having considerable power by the end of their trilogies

Parallels in VKM Part 2:

Hino Deconstructing Yume Through Zeki (+more)

Here is the second installment of my Parallels in VKM posts! This time, I’ll be examining the parallels between Yuuki’s relationship with Zero and her relationship with Kaname, as well as the contrast between Zero’s relationship with Ai and Kaname’s relationship with Yuuki.

My personal belief is that Hino has chosen these particular parallels to deconstruct the relationship between Yuuki and Kaname, as well as to further highlight Yuuki’s growing similarities to Kaname’s character and how that has impacted her relationship with Zero, who is now, in a sense, fulfilling Yuuki’s role from the Kuran Manor Arc.

Disclaimer: Due to the controversial nature of this post, I have tagged it as anti yume out of consideration for those who might take offense. With this warning out of the way, the rest of my post can be found behind the cut.

Keep reading

y’all motherfuckers need Beesus

Bumbleby fandom (and neutral parties curious as to the evidence supporting the ship, for that matter), it’s time for us to sit down and have a talk. We’ve had a rough hiatus. Both the long, painful wait after the emotional orbital nuke that was late V3. And then, much more recently, the news that Sun actually will be part of Blake’s journey in V4. It doesn’t actually change much of anything, but I still know how it feels, and why the Bumbleby fandom was worried–some of you loudly, and some of us quietly (myself included in the latter). And even before that, I saw dispirited Bumbleby shippers who can’t see the OTP actually becoming canon, whether because of Bl*cks*n or some other reason, on a daily basis. And on the other end of things I see Bumbleby shippers who make weak-ass arguments as to why Bumbleby is already canon and shit like that. Put that subtext bullshit away; subtext is for 20-year-old network TV shows. No. It’s time for the lot of you to see Beesus.

But before you get ahead of yourselves, first I’ll tell you what this post is not. It’s not an argument that Bumbleby is already canon, as opposed to heavily foreshadowed. I actually plan to avoid a lot of the stuff other analysts focus on, like the general “but they’re so close” or “they complement each other really well,” because those aren’t specifically romantic, and the partner pairs in general were designed to play off of each other (like how Ruby and Weiss were designed as a clashing-opposites buddy comedy duo). Those things aren’t unimportant–they are key to a good relationship–but they’re not what I’m driving at here.

This post is about foreshadowing. (Not subtext, foreshadowing; the distinction is important here.) ‘Cause I dunno if you noticed, but the CRWBY loves their bloody foreshadowing. They also love their parallels and repeating themes. So we’re gonna be talking mostly about writing tricks we know the CRWBY uses, like the aforementioned foreshadowing and parallels and also stuff like foils. And some cinematic tricks. Before I continue, I’d like to thank brilliant minds like Chained-Prometheus and the crew I roll with on Discord, whom I’ve learned a great deal from. Also Anny Gomez and her sharp eye for parallels; y’all should check out her videos. @chained-prometheus @s-assy-girl

I’d also like to thank the CRWBY for making the show. And if anyone involved in the show actually ends up reading this by some miracle, keep reading, because I am actually going to say Good Things about M&K’s writing and directing instead of the flak I see them getting all the time.

Evidence-fest begins under the cut, because this’ll be running a bit long–about 4.6k words, or a mid-length one-shot fic. Also lots of pictures, as a warning for those of you using mobile data.

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this is one of my favorite Bakugou scenes and i’m kinda surprised i’ve never seen anyone talk about it before

right here, Bakugou is trying to help Todoroki in his own particular way. he’s telling Todoroki that he doesn’t care about his family situation, not to be a jerk for no apparent reason, but because he’s trying to help him

look at Bakugou’s face here. he’s saying he doesn’t care, but he does. he’s lying to Todoroki about how he feels about his family situation. hearing Todoroki’s story clearly left an affect on him.

part of it is probably because he’s worried that he’ll end up like Endeavor one day, being so focused to be number one as he is. he’d have to be blind not to notice the parallels between himself and Endeavor.

but it’s also because Bakugou now knows why Todoroki is hesitant to use his fire side. he overheard the conversation. he knows Todoroki’s personal demons, and he’s trying to help Todoroki overcome them.

of all the characters in the series, it was Bakugou who explained that a quirk is just another natural function of the body, no more, no less. Horikoshi chose Bakugou exactly because of the earlier scene. he understands that a quirk is just another function of your body. and he, just like Izuku, is trying to help Todoroki understand that in his own way. 

regardless of his personal demons and his family situation, Todoroki’s quirk is his own and it’s a natural part of him. regardless of where he got it from, it’s still his quirk.

by telling Todoroki that he doesn’t care about his family situation, Bakugou is trying to help Todoroki overcome his issues, accept himself for what he is, and use his quirk. 

a large part of it is because Bakugou doesn’t want to be beaten by Izuku (in that, Izuku got Todoroki to use his fire side in a fight), but i’d bet that a big part of it is just Bakugou trying to help Todoroki realize that his quirk is simply a part of his body, nothing more.

have you also noticed the parallels between throne of glass and now the last book in the series yet to come, both will be starting with Aelin as a prisoner being tormented and whipped. I don’t know why I just feel like this was very intentional and I’m sad because Aelin goddamn deserves to be happy and safe together with her mate and friends and kingdom, she’s been through enough pain.

Sorting out some of my edits. 

A couple of thoughts: 

  • The Sokka and Aang friendship is really underrated, I think. I’m just looking at some of my screenshots, and they’re such awesome, supportive bros. 
  • I also discovered a couple of parallels I failed to notice, which have also been queued. 
  • I also never really realized how many times Iroh places a hand on Zuko’s shoulder, and their their relationship is really something. 
  • Katara and Sokka’s relationship gives me so many feels. 
  • I’ll probably sort my screenshots in various ways, but I definitely think I’m going to do an “evolution of so and so’s relationship through touch” sort of deal for some people like Zuko and Katara, Aang and Zuko, Aang and Katara (maybe), and Mai and Zuko. Although, I should note that “evolution of” is probably more appropriate for the enemies to friends relationships that Katara/Zuko and Aang/Zuko have going, as well as the evolution of how Mai and Zuko express their affection. 
  • So many Momo screenshots, it’s adorable.