you know what makes me mad? the death of my precious son, remus john lupin, was entirely unnecessary. like jkr claims it was to emphasize the “orphans of war” with teddy, but that point doesn’t need to be emphasized because the entire series was about an orphan of a war. and yes, there are orphans of every war, but that point is just as easily made by simply saying something like “harry saw one of his classmates knelt down next to the body of their mom/dad”. and yes, his death is also meant to break off the last tie harry had with his parents bUT YOU DIDN’T HAVE TO DO THAT. but what makes me the most angry isn’t the fact that he died. it’s the fact that he wasn’t even given a good death scene: a death scene that is heart wrenching and makes the reader cry for an extended amount of time. like trust me, i wanted to cry over his death, i really did, because if one person deserves my tears, it is remus john lupin, but i couldn’t bring myself to cry over one measly line that simply says something along the lines of “lupin and tonks were laying there among the others who had died”. and then we don’t even get harry’s emotions, like we do with sirius’s death, to make it really hit home. it’s unjust.
all im saying is that if remus john lupin had to die, he deserved a good death scene that makes us sob and makes our heart breaks not only for the loss of one of our favorite characters but also for harry for losing yet another person who is so important to him, and we get neither of those.
-it’s disconnected from the first movie so you don’t have to watch the first one
-jude law confirmed that sherlock and john are in a romantic relationship
-sherlock and john wear each other’s clothes a few times
-moriarty lit sherlock’s pipe while it was in his mouth
-mycroft calls sherlock ‘sherly’
-sherlock’s in drag for the first ten minuted of the film
-moriarty sings opera
-Reichenbach falls was an actual waterfall
-sherlock and john slow danced
-no actually they did, after the fact sherlock was like “wHO TAUGhT yOU TO DAnCe?” and john was like “you did”
-Moriarty low key wrapped a blanket around Sherlock and I thought it was John just because I couldn’t see his face so kudos to this movie to just letting me assume that John would slowly wrap a blanket around Sherlock and having it make pretty decent sense
-the hand on hand fight scenes are lit
-the whole reichenbach fall scene was handled really well and it was very wrath of the lamb so
-jude law is a really really good actor
-mycroft holds an entire conversation with mary watson while being completely naked
-after he “dies” sherlock breaks into john’s house and blends into his chair, effectively disguising himself so he can drop hints that he’s not dead
You're always so lovely I love your blog. I have a question, I've just seen that post about all the things that are wrong in tst and I remember a moment in the ep that I found very strange and no one mentioned but I really don't want to rewatch, maybe you remember. When John is going to the aquarium he's talking to someone on the phone, at the time I thought he was warning Mycroft, that would make sense w/ the theory that John was working w/ him but maybe he was calling Lestrade, backup idk
Yeah, It’s never really stated who he’s talking to, nor can we see who it is John is talking to, but we can presume that it is either Lestrade or Mycroft, since both DO show up at the aquarium. I personally think it was Mycroft since, like you said, I believe that John is working with Mycroft. But yes, there’s really no point to this scene at all, other than to make sure they explain why Myc and Lestrade show up… which then begs the question: THEY MADE SURE ABOUT THIS, but we only got 5 Thatcher busts(though Sherlock may be the 6th), constant repetition of scenes, 4th wall breaking, and just… this is one of those really tiny things that the detail was paid attention to, but those other things were not!
AN: this is a mess and way longer than I thought it would be. Enjoy.
Request:@ash-the-shadowhunter - Hello! So I love your writing and I would absolutely love to see a lams fic where someone starts flirting with John (or Alexander) and then Alexander (or John) gets all possessive/Jealous. Maybe even John has to calm Alex down possibly? Thanks again! I really love your writing
John and Alexander were at the reception after Aaron Burr’s wedding. Neither of them particularly wanted to go, but Alexander and Aaron were colleagues and it would have come of as rude if they hadn’t attended. John had spent the evening trying to get Alexander to enjoy himself at least a little, without much success. Now, he was going to hope that dancing would loosen him up.
I know Sherlock is a totally hyper-real universe where stuff like this happens and people get over it but if I were John I never would have forgiven Sherlock for his fake suicide. Plus, I really hate what Sherlock did in the train car scene in TEH. I don’t know that John ever really did forgive him. So that complicates the whole matter.
Please don’t forget that, no matter how much we empathise with how John has to have felt, Sherlock DID NOT HAVE A CHOICE about said faked suicide. He was blackmailed into it, and part of everything else he was forced to undergo in order to save John’s life for the next two years, was that he had to keep John in the dark about it. He sure as hell could have explained that better when he came back, but that doesn’t change the fact that it wasn’t his choice. I still have a need to hear John thank Sherlock for everything he went through in saving his life that way! I agree, it complicates the matter that the writers never saw fit to give John the explanation that he deserved to hear, nor Sherlock the proper moment to tell the full story. Sigh.
The pilot episode of Sherlock (dubbed ‘The Gay Pilot’ by many fans) is the initial result at the first go at BBC Sherlock that was proposed. It’s on the bonus features of the Season 1 DVD and Blu-Ray, I know. It was initially named ‘A Touch of Pink’ and it’s called the gay pilot because in it Sherlock and John are like full-blown gay for one another and many people think they had to tone it down a notch for the real deal so that it wasn’t so obvious.
It’s about half an hour shorter than most episodes of the show, doesn’t feature Mycroft at all, has a different actress for Sally, and Anderson looks in the pilot like he does in Series 3. It’s super gay with skinny jeans, bad special effects, bad music, 221B had a different set that looked like a rockstar-themed child bedroom from a Pottery Barn catalog, the cabbie and Sherlock have their ‘good bottle v. bad bottle’ showdown in 221B and Sherlock looks like the Most twink you would not believe.
This is one of my favourite scenes from TLD. Just look how John (through his ‘Mary’ ghost) is so interested in the exact mechanism of how, even after stating clearly to Sherlock that he didn’t care about how he can predict the future, but really wanted to know why. It’s like a whole new John, isn’t it?
And isn’t it amazing how brilliant John has become in the science of deduction? He can figure out anything now, he doesn’t really need Sherlock any more, does he? I mean, with this impressive brain capacity, with this mature level of self-insight and all… Oh, wait…
Seven (Sober) Things About Supernatural: 12x21 - There’s Something About Mary
So yeah. Thursday night.
For the record, I was not nearly as hung over as I deserved to be. Y’all could have hit me with that greasy pork sandwich bit, and my only complaint would have been that a) the ashtray was dirty, and b) I couldn’t even eat the sandwich because gluten.
(I was out of bed at 6 AM. I had hot wings for lunch. Fear me.)
And now, notes from my sober rewatch. Because profanity and flailing around aren’t the best tools, even if they feel right in the moment.
So I’m going to open up with Crowley, because as we move toward the end of the season we’re seeing him repeat some mistakes – specifically trying to harness things too powerful for him to harness as well as how widely he’s tampering with and trying to play all sides.
BMoL? He’s had an agreement in the UK, with Hess in on it, and provides the hellhound to them. Lucifer? He took Lucifer prisoner instead of returning him to the Cage, tries to play to Lucifer’s sympathies to find the Nephilim. The Winchesters? Crowley keeps them close because they’re assets, or at least frenemies who can easily kill him. And does he really think he can raise Lucifer Jr. to be his pet? After Amara?
And so here we are with things going wrong, and while they’re not all Crowley’s fault directly, he’s getting something of a karmic whammy for the Lucifer thing in particular – the channel goes both ways, and Lucifer’s hard on his toys – and his position with the BMoL isn’t terribly unlike the position vampires were in under Dick Roman in the sense that demons working in collusion with them/under the radar are still ultimately vulnerable.
Crowley made himself powerful almost by accident. He was in charge because the only thing worse than being in charge is not being in charge, and as the series goes on we can see that a lot of energy goes into maintaining the fragile balance of his actual position.
Which is why I’ve latched on to this little brown rat that shows up when Lucifer stabs him. We see the rat approach, Crowley looks directly at it, the shot breaks, and then Lucifer stabs (a very still) Crowley. Later, we see the rat follow down the corridor when the demons drag away the body.
Y’all, I will put actual money on Crowley being that rat right now, and I love it.
We’re also reminded this ep that Crowley is still a monster – he provided the weapon that killed Eileen, and it’s ambiguous how much he knows about the effects – but he also gets a very particular look in his eyes when Hess mentions the Winchesters.
Crowley can’t run from his past. He’s no pushover, but he’s no Lillith, no Prince of Hell. He’s just a soul broker who took the crown basically by accident, struggling to keep it together.
So Mary and her situation right now feels like an entire house of mirrors. Mary’s hunting and nobody’s heard from her in a few days. Checking the motel room for clues like they did with John. Dean checking the bathtub recalling Charlie. Mary having reality issues and a cut on her hand like Sam did. Toni brainwashing Mary with some of the tools she used on Sam – I think she possibly induced the entire Rick scenario – and the BMoL “realigning” her to lose her will and obey them like Cuthbert Sinclair intended to do with Dean. Mary the Killer as “pure” recalling Dean in Purgatory. Mary being remade by torture into a monster like Dean was in Hell. Ketch looking at Mary in the car afterward, and her not really being Mary anymore, like Alicia isn’t Alicia anymore.
We see more of Ketch’s chewy center this episode. In particular, we see that he’s socially vulnerable – Hess has all the power and has no shame about the way she treats the operatives under her, or the way she plays him against Toni, and did Hess actually slut-shame him? – but also his scenes with Mary are heavy in a lot of ways.
His line about how she wouldn’t want to know him keeps coming back to me because I can’t decide how much of Ketch was like this before Kendricks, and how much of this the BMoL did to him, but he’s self-aware enough to mention it with a certain amount of…sorrow? Longing? Regret? Resignation? His comforts are terrifying: that the process won’t take much longer, that he kills people he cares about all the time, etc.
And in the end, in the car, I wonder if I saw something in him that’s disappointed or sad that Mary isn’t fighting anymore. That she’s fine, that who she is isn’t her anymore.
Patented Buckleming weirdness: reversing the polarity of the neutron flow the direction of the control mechanism.
Patented Buckleming skeeviness: “Well we were having a lot of sex at the time,” Toni delivering the predicted “Ketch banged your mom” thing to rile Dean.
Patented Buckleming dialogue WTF-ery: “You keep that up we’re gonna have to start dating.” Dean, we know that sometimes you want to get slapped during sex by someone wearing a Zorro mask, but, uh…none of this makes sense.
She does terrible things, but I’m narratively really pleased that Lady Toni Bevell came back, though I have a lot of questions about her absence. It was implied that she was being dealt with in unpleasant ways, but we see her back here in a full working capacity. I’m curious about this, and I don’t know if the show will have enough time to feed me data about the particulars.
(Specifically, I wonder how much of her own medicine she was given.)
Toni also wants to please Hess. That’s incredibly human. She’s a high achiever, and the responds to praise. Which, in an environment like this, is (or can be turned into) a sign of weakness. I also really kind of loved her scene with Ketch and the hellhound, and it’s dramatically interesting to put her survival in the same basket as the brothers’ own chances.
Also, her speaking about John, and using ugly truths to do evil is…well, it’s a thing. Because she says about John the things the Winchesters rarely really come out and say, and they’re things as true as the other things they say. You don’t build a lie or gaslight without a tether of truth.
There are actually some lines and scenes in this episode I liked a lot.
Dean calling Ketch was great. That whole string of lines was good.
Toni’s line about “repeal and replace” is kind of fantastic, because that term is so synonymous with shittiness and ill will that it just infuses this whole thing with Mary with some very specific connotations.
Sam and Dean searching the bunker and staging a fake meet was beautifully done, as was their showdown in the bunker with the BMoL. That last scene in particular was, until they were screwed over, pure competence porn.
I’ve been stalling, but I have to talk about Eileen.
I am upset about Eileen. I am heartbroken about Eileen. And I keep coming back to whether or not they had to kill her. And while the truest, clearest answer is that they didn’t have to – you can always change what you’re writing – they’ve been telegraphing her death to us. She’s been marked since she took that shot with the Colt, maybe even since we learned how little being Legacies means to the BMoL.
That they get the call from Jody – who gets namechecked enough this ep that I am Profoundly Uncomfortable About That™ – which in my mind makes it a family affair. It’s not really an Asa Fox mirror, except that it kind of is. Sam’s reaction to her death, and the way Dean behaves around Sam are so suggestive of where that relationship was going, where it could have gone. In the morgue, they shoot Dean from an angle where he’s looking at Sam. We’re acutely aware of his attention. Sam’s coverage is practically from Eileen’s PoV. These moments are between Sam and her with Dean as a spectator.
(Hi. I’m crying now. There’s a reason I gave this a while to percolate).
Sending a letter…that they get it after…it’s fucking tragic. That kind of message from beyond is never not a fucking knife to the gut.
And I keep coming back to whether they could have done something else, and knowing that yeah, they could have, but not as written.
It doesn’t feel like Alicia – I have a particular, different sort of anger about Alicia Banes’ death – but it feels like Charlie. Too short, too brutal, too horrible a fucking loss at the hands of people using the tools of the supernatural in ways that make my stomach turn.
And at the end of the day, I’m choosing to accept this death narratively, because I understand the machinery that made it happen well enough to say okay, I get why the writers made this choice. And by “the writers” I mean more than just Buckleming. This is a big enough story beat that Dabb and Singer were in on this.
But I don’t like it. It’s unfair and it hurts and it bothers me. It didn’t have to happen, except that they chose to write that path into the story. And yeah, it bothers me that this is yet another loss of positive representation – which means a lot to me, and I want to scream at the writers to start picking targets that don’t make the show live down to some of its less positive associations – but that’s secondary to my heartbreak.
She went down fighting, and she did her best, and I’m fucking devastated, and I wish I couldn’t see the logic in how we got here. Because as upset and angry as I am, there’s too much built in here for me to handwave it as just cheap shock, or just a sympathetic kill to tug our heartstrings.
Hi. I’ve stopped making sense. Sorry.
Am a little bummed that my belief that Dean knew they were being surveiiled got busted. Also, that they only found one of the mics. So that’s fun.
Bonus Thing #2: So uncomfortable with the constant Jody namechecking. Like, really uncomfortable.
Bonus Thing #3: Lucifer, why are you hanging out on Pride Rock? Can you not?
The only episode that remotely worked in S4 was TLD, because, eventually, there was no (living) women beween Sherlock and John.
I remember that, after watching TST, I felt zero Johnlock vibes. The whole episode was just centred around Mary and getting rid of her. We were only told that John and Sherlock chased Mary together, but we never saw it. Instead, we got scenes with Mary alone, or between Mary and John, and Mary and Sherlock, or all three of them - but not one single scene just between John and Sherlock - there were always Greg or clients or whoever present. But it were those scenes just between Sherlock and John that, in previous episodes, were the most intense, intimate and touching moments.
I don’t really have to talk about zero Johnlock in TFP, have I? John saying vatican cameos and Sherlock biding his time; Sherlock trying to shoot himself and John looking on. Even the ‘John is family’ scene played out in the presence of Mycroft; it sounded more like John being a brother. And during the final scenes, we had Mary’s voiceover.
So, Mofftiss tried really hard to eliminate the Johnlock moments i S4 - and it killed their show. All characters seemed OOC, it got boring, there was no real character development, no motivation, TST and TFP seemed filled with meaningless rug pull scenes just for the sake of it, not even Mary dying has left a lasting impression or was particularly touching.
But then, in TLD, there once again was the feasible chemistry between Sherlock and John; they interacted, they touched, they talked. True, ghost!Mary was present during some of those scenes - but she couldn’t interfere, couldn’t interact with them - and the show thrived. The acting got better, the punch lines hit home, the timing worked. It once again was hilarious, funny, moving, sad, even clever. True, it might have been because even the format was more traditional Sherlock - with a case, a villain, a plan to take him down that again threatened to fail spectacularly - but it all worked beautifully. You could see that this was how the show should be - the two of them against the rest of the world, facing an external enemy (Culverton Smith) as well as their inner demons (John’s guilt and self-loathing, culminating painfully in the scene in which he beats up Sherlock, who lets him; Sherlock’s drug addiction because he had lost everything when John sent him away without even talking to him face to face at the end of TST).
And it all culminated in a scene in which they for once declared their special kind of love for one another without the need to define it (it is what it is). They were raw, honest, they interacted, they opened up. This is such a beautiful, intense, honest scene, superb acting, you can see a whole character study in just a small gesture - this is what made Sherlock the biggest show on earth. Not James Bond analogies or the killer sister from Saw crossbred with The Ring mocking ACD canon (3 Garridebs!).
Sherlock did not need all of this beefing up. It was and is at its best when you just let John and Sherlock be together.
But I fear, in their attempt to get rid of each and every Johnlock vibe, Mofftiss simply killed the show. They couldn’t or wouldn’t see that this relationship was the heart of their show - and in suppressing it, they burnt its heart out.
I still don’t understand why. But it shows to me that we didn’t halucinate these vibes, the subtext, the chemistry. It was there - perhaps only to be acknowledged even by the casual viewers when it was gone.
Something felt wrong, amiss, in TST and TFP. It felt like a whole different show. I think, in a way, it’s a case of ‘you don’t know what you’ve got until it’s gone’. Which, in reverse, proves the presence and importance of Johnlock for the quality the show once was so proud to deliver.
Welcome to the world of the rare pair. D: Sadly, most fics tagged Laf/John are either in context of poly (which is fine, I mean look at my stuff???) or they are a background ship. There are three I revisit a lot:
Sweet For You by @smilingsarah10: Laf is a billionaire and takes college student John Laurens on as a sugar baby and it is sweet and cute and sexy (does have background Whamilton)
I’ve Really Got My Heart On My Sleeve series by StrikerEureka: John is in school, Laf is a model. Really fucking romantic, I love this incarnation of both of them, it’s a really good series. (There is minor background Jamilton like…hinted at but nothing ever happens. I actually like this version of Thomas he and Laf are good friends and I like their friendship.) Great sex scenes in this series too.
If I Could Fly by founders aka @gaylams: Really romantic long distance relationship. First half is like…well done pining and navigating an LDR second half is some hot and emotionally fulfilling sex. Good fucking stuff