Just so you all know, any one of you reading these Sherlock scripts, regardless of what you ship or which bloggers on this site you hate, you are absolutely, 100% playing what’s called “The Sherlockian Game” whether you mean to or not. This game has been around for one hundred years, look it up of you’d like. The purpose of The Sherlockian Game is to flush out anomalies, differences, and implied details regarding Holmes’ personal life. You’re playing and you don’t even know it.
Are you seeing the discrepancies in the script? I’m sure you are. One scene shows new lines, another takes them out. These discrepancies change the way you interpret the show. THIS is The Sherlockian Game. I don’t even need to try to recruit you all to play – you’re playing on your own.
Conspiracy theorists in the Sherlock fandom don’t need to do anything to get people to start questioning these anomalies on screen – the BBC is making you do it and you don’t even realize what you’re doing.
You don’t believe there’s a game? Or if there ever was one, that the game is over? Far from it. The game is never over.
You know how Doyle had all those discrepancies and incorrect details in his text, making readers think he must’ve been a lazy writer and apathetic toward his own creation the whole time.
You know how Moffat and Gatiss have all those discrepancies and incorrect details in their script, making readers think they must’ve been lazy writers and apathetic toward their own creation this whole time.
And you all still won’t entertain the notion they’re intentionally recreating the social phenomenon surrounding The Final Problem of 1893?
Mycroft as The Record-keeper: The Six Thatchers is Mary’s alibi
“DNA tests are only as good as the records you keep.”
“And I bet you know the record keeper.”
“I know what he likes. And I needed to disappear.”
This is exactly what happened in The Six Thatchers. Mary needed to disappear, so she went to Mycroft and demanded he orchestrate a completely false narrative.
Mark Gatiss said this script had to be read back-to-front for the actors to have any idea what’s going on. That’s because Mary’s death (the end) is a direct result of Mycroft manipulating footage (the beginning). Because Mark Gatiss is Mycroft, he wrote an episode that creates Mary’s alibi for the viewer.
***This works because they’re breaking the fourth wall***
Mycroft told a verbal story of Mary, AGRA, her death at the aquarium in order for Sherlock and John to both believe she’s dead.
Mark Gatiss created the “video” of Mary, AGRA, her death at the aquarium in order for the viewers to believe Mary is dead.
This whole series has been about characters “breaking free” and coming to life. The takeover of Amazon.com, the baby announcement in the newspaper, the hack of Twitter – What happens in their world happens in ours now. Therefore, Mycroft creating a false narrative to help Mary escape is EXACTLY what we saw in real life. We saw the altered footage Mycroft/Mark made that lead us to a false conclusion.
This is why cameramen can be seen in shots. This is why the transitions were weird. This is why the script had to be read back to front.
We were literally watching false footage. We were literally watching one of Mycroft’s altered films (verbal stories). Now the question is, what parts of TST are salvageable, knowing Mary is actually alive but no one knows it?
As far as I’m concerned, only the large over-arching themes of the episode are real: John wanted to cheat on Mary with E, Sherlock blames himself for not being able to save her, John hates Sherlock for no actual good reason, they both believe Mary to be dead.
Mycroft knows the true story and he’s the ONLY one who knows it still to this day. The footage we saw? Sherlock solving The Six Thatchers again, even though that was a case five years ago? That’s just Sherlock filling in the blanks where Mycroft couldn’t.