miss wenceslas


(Has this been done already? Probably. Maybe even by me. Tch.)

S1-3. How many times do people say “fake”? 24. Wow. That seems like a lot. Working backwards….

S3: Sherlock’s fall and death are called “fake” 4 times.

TRF: “Fake” shows up twice. It’s about Sherlock himself.
“I’m a fake.” (Don’t believe in me). 😰
“Nobody could fake being such an annoying dick all the time.” (I believe in you). 😥

ASiB: Sherlock calls Irene’s death “fake” as he’s working out her scheme (nice foreshadowing there).

TGG: The Vermeer painting is a “fake”. 17 times. Wow. That seems like a lot. 🤔 *thinks about it* 😳 SEVENTEEN TIMES. That seems like a LOT. Like something to pay attention to.

It made me think of that cold, white, almost empty gallery in TGG. Of Miss Wenceslas, her long stork legs like Sherlock’s, her false bravado hiding the fear of discovery. How the neckline of her dress exposed her- and how her necklace, an oversized pale silver disk, shimmered like… (a moon? a DVD? a piece of armor? a target?) on her chest.

I think I need to do more thinking about design and dialogue around Miss Wenceslas. More to come, maybe.

Thanks to @ebaeschnbliah, for the post on Wenceslas. It made me sit up and take notice.

Thanks, as always, to Ariane DeVere for the transcripts!

Hello Detective (Chapter 24)

Part 1   Part 2   Part 3   Part 4   Part 5   Part 6   Part 7   Part 8   Part 9   Part 10   Part 11   Part 12   Part 13   Part 14   Part 15   Part 16   Part 17   Part 18   Part 19   Part 20   Part 21   Part 22   Part 23   Part 24   Part 25   Part 26  Part 27  Part 28  Part 29  Part 30  Part 31  Part 32  Part 33  Part 34   Part 35   Part 36   Part 37   Part 38  Part 39   Part 40     Part 41   Part 42   Part 43   Part 44   Part 45   Part 46   Part 47   Part 48   Part 49   Part 50  Part 51  Part 52  Part 53  Part 54  Part 55   Part 56  Part 57 Part 58 Part 59 Part 60

“It’s a fake. It has to be.” Sherlock said, standing in front of the painting, surrounded by Lestrade, John, the gallery owner Mrs. Wenceslas, and yourself.

“That painting has been subjected to every test known to science.” She argued.

“It’s a very good fake then. You know about this, don’t you? This is you, isn’t it?” Sherlock retorted, turning to face the owner. She rolled her eyes and turned to Lestrade.

“Inspector, my time is being wasted.” She said, neither confirming or denying Sherlock’s statement. The pink phone rang suddenly.

“The painting is a fake.” Sherlock said into the phone, no voice followed.

“It’s a fake, that’s why Woodbridge and Cairns were killed.” Sherlock spoke again. Still no answer.

“Oh, come on, proving it’s just a detail. The painting is a fake. I’ve solved it, I’ve figured it out. It’s a fake, that’s the answer, that’s why they were killed. Okay, I’ll prove it. Give me time. Will you give me time?” Sherlock asked.

Ten.” A chilling voice came from the phone that gave you goose bumps. It was the voice of a small child.

“It’s a kid. Oh, God, it’s a kid.” You muttered to Lestrade.


“It’s a countdown. He’s giving me time.” Sherlock said, bending down to look at the painting. He was muttering to himself as his eyes scanned the painting.


You placed your hand over your mouth in shock. If Sherlock didn’t prove it in the next 7 seconds this kid was going to be killed, along with anyone in a one block radius of him.

Seven, Six, Five.” The boy said, speeding up.

“Oh, at the Planetarium, you heard it too.” Sherlock said, his mouth forming an ‘O’.


“Oh, that’s brilliant, I love this.” Sherlock said, stepping back and typing something into his phone.

Three, Two.”

“The VanBuren Supernova.” Sherlock said into the phone.

Please, is somebody there? Somebody help me.” The kid spoke, and the countdown stopped. You let out the breath that you didn’t realize you were holding in.

“Go find him and pick him up.” Sherlock said, handing the pink phone to Lestrade.

“VanBuren Supernova, so-called. Exploding star. Only appeared in the sky in 1858.” Sherlock said pointing to the painting, cockily. He then stalked off to follow Greg.

“So how could it have been painted in the 1640s” John smiled, looking at the painting, relieved that Sherlock had solved it.

After Lestrade picked up the boy you took the gallery owner down to the station. Lestrade met you there and Sherlock joined along.

“You know, it’s interesting. Bohemian stationery, an assassin named after a Praque legend, and you Miss Wenceslas. This whole case has a distinctly Czech feeling about it. Is that where this leads? What are we looking at, Sergeant?” Sherlock asked you.

“Criminal conspiracy, fraud, accessory after the fact, at the very least. The murder of the old woman, all of the people in the flat.” You spoke confidently.

“I didn’t know anything about that. All those things, please, believe me. I just wanted my share. The 30 million.” She pleaded as Lestrade entered the room and sat down next to you. Miss Wenceslas sighed before she began to speak again.

“I found a little old man in Argentina. A genius… I mean, really. Brushwork, immaculate. Could fool anyone.” She said.

“Mmm.” Sherlock muttered, raising his eyebrows.

“Well, nearly anyone.” She said looking over to Sherlock. “But I didn’t know how to go about convincing the world the picture was genuine. It was just an idea. A spark which he blew into a flame.”

“Kdo?” You asked her. Who?

“Nevím…” She said. I don’t know… You scoffed.

“It’s true. It took a long time, but eventually I was put in touch with people. His people. Well, there was never any real contact. Just messages… whispers.” She said.

“A to ti šeptá nějaké jméno?” You asked. And did those whispers have a name? She nodded for a moment, almost afraid to let the name slip.

“Moriarty.” She spoke, and a hush fell over the whole room. You looked to Sherlock and his eyes widened.

After writing up the paperwork for Miss Wenceslas’ indictment, you and Sherlock left in a cab. You knew John had gone off on Mycroft’s case so the two of you were going to surprise him.

“I didn’t know you spoke Czech.” Sherlock said, as he sat back in the cab.

“I told you there were a lot of things you didn’t know about me.” You replied.

“What other languages do you speak that I don’t know about?” He asked with a smirk.

“Vous allez juste devoir attendre et découvrir…” I spoke with a smirk. You’re just going to have to wait and find out.

“Ooh, French. There’s another one.” He said, impressed. The cab stopped and you realized you were at some sort of train service station. A bunch of tracks converge around here. You saw John crouched down, examining some of the lines. You and Sherlock quietly snuck up behind him.

“The points.” Sherlock said.

“Yes!” John said, turning around, caught off guard.

“I knew you’d get there eventually. West wasn’t killed here, that’s why there was so little blood.” Sherlock spoke.

“How long have you been following me?” John asked.

“Since the start.” Sherlock said, confirming your suspicion that he wouldn’t pass up on an interesting case just on account of Mycroft.

“Come on, we’ve got a bit of burglary to do.” Sherlock said walking off, you and John in tow. You travelled a few minutes outside of the city to a flat.

“Missile plans haven’t left the country otherwise Mycroft’s people would have heard about it. Despite what people think, we do still have a secret service.” Sherlock said as we approached the flat.

“So whoever stole the memory stick can’t sell it or doesn’t know what to do with it.” You said.

“My money’s on the latter.” Sherlock said, turning up the stairs to a fair sized apartment. There were garbage bags outside, cluttering the porch. Sherlock picked the lock and pushed the door open hard with his shoulder.

“Jesus.” John muttered, clearly not okay with breaking in.

“Where are we?” You asked Sherlock.

“Oh, sorry, didn’t I say? Joe Harrison’s flat. Brother of West’s fiancee. He stole the memory stick, killed his prospective brother-in-law.” Sherlock said, looking out the window. Conveniently, behind his flat was a train line. On the window sill was blood, which had to belong to Andrew West.

“Then why’d he do it?” John asked. Suddenly you could hear keys in the door.

“Let’s ask him.” You said, pulling out your gun.

You walked slowly into the hallway until you could see Joe Harrison with his bike. He saw you and raised his bike, possible preparing to throw it at you. You raised your gun to him and he lowered it, defeated.

He continued to explain to us that him killing West was an accident. He explained how he started dealing drugs, that the bike messenger was a good cover. He got in too deep, owed a lot of people a lot of money. At West’s engagement party he was drunk and started talking about his job. He said West told him about the missile plans, beyond top secret, he even showed him the memory stick. Harrison thought it could be worth a fortune. West came to his flat because he knew Joe had stolen it. They got in a fight on the porch and he accidently pushed him down the long flight of concrete steps. He brought him back inside and heard the train stop outside of his window. He dragged his body out the window and onto the top of the train, taking him far away from here. He would have gone on for ages if it weren’t for the points, the train changes tracks and West’s body shifted off the top and fell to the ground.

Joe Harrison left the room to fetch the memory stick.

“Distractions over, the game continues.” Sherlock said.

“Maybe that’s over too. We haven’t heard anything from the bomber.” John whispered.

“There were five pips, we’ve only had four.” You reminded him.

Sherlock obtained the memory stick and left to give it to Mycroft as you and John shared a cab home. Considering you had to be at the office early in the morning to work out Miss Wenceslas’ arrest, you decided to go home and John continued on to Baker Street.

When you unlocked the door you noticed that you hadn’t seen Mrs. Astor all day. You went to check on her and found her asleep watching telly. You smiled and continued up to your flat. You locked the door and slipped into the shower. You got out and turned on the light. You slipped on a silk robe and stepped out into the kitchen for some tea. You heard a shuffle behind you and before you could turn your head you felt a spark pain in your neck. Someone had jabbed a needle into it. Their arms wrapped around you, holding you as you tried to wiggle free, your vision became increasingly blurry as you descended into unconsciousness.

anonymous asked:

I can understand that the empty house style showdown in HLV means Mary is BBC Sherlock's Moran but what does Mummy homes' math book named after Moriarty mean? I donno, was Jim once moonlighting as her research assistant to get to Sherlock or something? Lol or did Mummy homes steal Jim's work and took all the credit? Well Moffitson are definitely hinting that JIm and Mummy Holmes are linked. Love to hear your interpretation on this.

ACD Moriarty’s book: The Dynamics of an Asteroid

Mummy’s book: The Dynamics of Combustion

Redbeard is The Other One (they’re the same person, who is, in fact, a person, not a dog) who was killed when Sherlock was about ten. Everyone blames themselves and everyone else, but I think the whole thing started because some bad guys wanted Mummy Holmes’s research that’s based on the book.

That information that the bad guys wanted? It ended up safe … mostly. I think we’ll be seeing it again.

Jim’s got some Big Secret Project Thing going down in Eastern Europe that we’ve been getting clues for since TGG. It’s going to be the crime in 5x3.

Here’s what we know:

If you recall the very beginning of TGG, there’s a scene with Sherlock interviewing a prisoner (Barry Berwick) in Minsk:

I think this is could be an explanation of the emotional reasons for the case, but I think it’s likely there’s a plot motivated reason, as well. That’s how the show works. TGG has a bunch of Eastern European references in the Five Pips case that Jim sets up; Sherlock even points it out for us:

SHERLOCK: You know, it’s interesting. Bohemian stationery, an assassin named after a Prague legend, and you, Miss Wenceslas. This whole case has a distinctly Czech feeling about it. Is that where this leads?

So it would’ve been easy to tie this case back into the TGG somehow, but they didn’t. It’s such a pointless scene: why didn’t they cut it? It’s more than just pointless; it’s sloppy, and I really don’t think this show is sloppy. If you go back and watch that scene, it actually makes no sense at all: Barry’s story doesn’t even close to line up. So I don’t think it’s supposed to line up; I think it’s a Clue.

Eastern Europe was also in TRF:

Some of these surveillance networks have Eastern European languages. (Yes, I am aware that Eastern Europe is not one big thing; however, I think it’s being treated as mostly one big thing in this show, or at least that Mofftisson want to tell you that Jim is involved in all of Eastern Europe.)

And it’s huge in S3:

1) Sherlock starts off TEH in Serbia where he’s rescued by Mycroft.

2) CAM’s documents on Mary are in Cyrillic, the alphabet used in a lot of Eastern European countries.

3) Mycroft is tracking something in Poland in HLV:

4) Sherlock is supposed to be sent on a suicide mission to Eastern Europe.

5) The newspapers Janine brings Sherlock mention “Eastern Europe Erupts!” 

(The best theory I’ve got is that Jim’s Big Project is a real/more real version of the key code, but IDK. So I will call it the Thing.)

Anyway, I think that the info the bad guys stole from Mummy Holmes when Sherlock was kid - the information that’s based on the book that’s titled like ACD Moriarty’s book - is the foundation for the Thing. Basically:

1989: The bad guys took info from Mummy, but they only got a little bit of info and/or the Thing takes a long time to develop. (My guess is that the Thing is some sort of last-ditch effort by the USSR - because it would have to be a big country to afford something Jim’s interested in later - and when the USSR breaks up, several Bloc countries all end up with pieces of the Thing, hence why it takes so long to get it even close to working.)

2010: The CIA wants the Thing/wants to destroy the Thing so they send some agents to Eastern Europe to steal it, including Mary. (I think Mary is both Moran and Birdy Edwards.) At this same time, Jim also learns about the Thing and someone sends him a Dear Jim, Will you fix it for me? so he agrees to help this someone steal the Thing, except he’s going to sell them out and take the Thing for himself. (This someone is probably the Waters Family.) There’s also probably other intelligence agents from other countries, doing the same thing Mary’s doing - trying to either steal or destroy the Thing.

So there are four sets of people there:

  1. The CIA/Mary
  2. Jim/Waters Family
  3. Other intelligence agents
  4. The government in Eastern Europe that has the Thing

In The Sign of the Four (where we get Mary Morstan), there’s a treasure that this guy has: four people steal it, and then two people steal it from them, and then the Four plot epic revenge. That’s exactly what happens here.

Four of those other intelligence agents band together and steal the Thing from the Eastern European government to sell on the black market. These four people are AGRA: four people: A, G, R, and A. (AGRA aren’t Mary’s initials; they’re the people after her.) However, before they can sell the Thing and escape:

Jim meets Mary and she agrees to become a CIA mole and help Jim steal the Thing (from the four agents) and then work for Jim. She kills basically all the other CIA agents and the Eastern European people and the Waters and the other intelligence agents so that everyone thinks the Thing is destroyed, but actually, Jim has it, and it’s in still in Eastern Europe. There are a few people who she didn’t manage to kill: the people that CAM talks about wanting to hurt Mary. (Much more about Mary’s involvement and the people after her here.)

So what exactly is Mummy’s Holmes’s research?

1) The change from “Asteroid” to “Combustion” must be about burning Sherlock’s heart out, though I think that’s just a nod to it and not directly related.

2) I think the important part is “dynamics” because applied combustion is just basically bombs, and - while Jim likes bombs - a giant bomb doesn’t seem like a very interesting last crime for the series and obviously the Thing will be at the end. Dynamical systems is the branch of mathematics devoted to the study of systems governed by a consistent set of laws over time such as difference and differential equations. So I think it’s likely that 1989 bad guys (who are probably Eastern European since it ends up there) wanted Mummy Holmes’s research to apply her theories about dynamics (of combustion) to the dynamics of something else.

Anyway, this was probably more complicated than you expected, but basically:

  1. There’s a Big Thing Jim’s working on that’s connected to Eastern Europe.
  2. The Thing is based on Mummy Holmes’s research.
  3. The Thing may or may not work/be real.

I also think Mummy Holmes being linked to ACD Moriarty via the book is a hint that Mummy definitely isn’t as sweet as she seems.

I’m guessing that Sherlock will be able to defeat the Thing because he will know it’s based on his own mother’s research. Jim almost certainly doesn’t know that - Jim only got involved with the Thing in 2010, and when it was connected to Mummy Holmes, Jim would’ve been about eight. So Sherlock will have some kind of inside info (from being involved in the 1989 part) that Jim doesn’t.

If you’re curious about what the Thing actually is, Barry Berwick is a huge clue to it. I talk about that more here.

There’s a name no-one says. Who is ‘Moriarty’?

The devil’s finest trick is to persuade you that he does not exist.

I was talking to @ebaeschnbliah and during that conversation an idea popped into our heads. I don’t know if anybody had the same thoughts, if so, I’m not aware of it. Please point it out to me.

@ebaeschnbliah has written a lengthy and very profound post about this.

There’s also her excellent post about The Big Four.

Ok, here we go:

We watched Agatha Christie’s „The Big Four“ again, written by Mark Gatiss and Ian Hallard sometime 2012/13. There are numerous Sherlock/ACD parallels in this adaptation but our main point here is: The Big Four are described as an international crime organisation, responsible for attacks all over the world. At the beginning, their identities are unknown but are slowly revealed one after another. The press writes extensively about them, thus enforcing a state of panic.

The showdown takes place in a run down theatre where it is revealed that there is, in fact, NO such network, it has all been smoke and mirrors, fabricated by an actor to woe the love of his life who had rejected him years ago. This actor goes by many names (Whalley/Quentin/Darrell/Four) and he reminded me heavily of Andrew Scott as Moriarty.

This gave us an idea: What if there is NO criminal network run by Moriarty in BBC Sherlock either? What if there is no supervillain behind all the crimes allegedly committed by ‘Moriarty’? What if it’s all just smoke and mirrors, created by a puppet master who is pulling the strings form the shadows?

If so, who could that be?

As we thought this through, we arrived at a point where, as we had eliminated the impossible, whatever remained, no matter how improbable, must be the truth.

That’s why we think it has to be Mycroft.

But… why?

Well: cui bono?

On a political level: To cause chaos and a state of panic, thereby emphasising the need for increasing governmental control. A nation unites in the face of danger. Unpopular decisions are much more easily enforced.

On a more personal level: ‘Moriarty’ is a much more intriguing motivator for Sherlock than raison d'etat.

I have to insert here that, at first, I thought that ‘Moriarty’ is impersonated by the almost unknown actor Rich Brook, engaged by Mycroft. However, I don’t think so anymore. I am convinced that the explanation by @ebaeschnbliah is much more likely, or that ‘Moriarty’ is some kind of janus faced double agent.

Let me elaborate:

Mycroft wants his brother Sherlock to work for him/the British government. Sherlock is a brilliant mind that should be engaged by his country, not waste his talents on mundane pedestrian crimes. ‘My brother has the brain of a scientist or a philosopher, yet he elects to be a detective.’

When Mycroft presents the Irene Adler case as well as the Bruce Partington Plans robbery to Sherlock, Sherlock is obstinate to take these cases. He doesn’t care about Queen and Country. He loves to be dramatic. ‘He wanted to be a pirate.’

So Mycroft gives him drama. If Sherlock doesn’t want to work for him (MI6?), he might be more motivated to chase a supervillain.

Oh, and he is, isn’t he? And in passing retrieves the Bruce Partington Plans and hacks Irene’s phone, handing her secrets over to his brother. He even messes with CAM.

I gathered some clues to proof this theory. I’ll voice some ideas how things might have happened below the cut. They are by no means complete nor final. But take a look for yourself:

Keep reading

"This whole thing has a decidedly Czech feeling about it. Is that where all this leads, Miss Wenceslas?"

I dont usually think TPTB are messing with us on this level, but seriously? I know that trailer may have been an error, but how freaking cool is it that today all things led to the Czech Republic?

An ask sent to @thesetison that I’m answering here instead:

Hello! I was rewatching “The Great Game” recently and I noticed that we don’t get a real explanation for the envelope with Sherlock’s name at the beginning. I’ve always assumed it was from Miss Wenceslas from the Gallery, but she only confesses meeting the painter in Argentina and being in contact with Moriarty’s people. And again, she says “his people”. So who wrote the name? Do you know of any theory about it or do you have any thoughts?Thank you in advance! 

I think a fair few people do assume that it was Miss Wenceslas–Moriarty’s people could have easily told her, we need you to write this name on an envelope and put this phone in it. But I personally don’t think that’s true. I think if it had been her, they would have explicitly said it was her as part of the reveal of her involvement with Moriarty, which they clearly didn’t do. 

My theory instead (and there’s prob actual meta written about this somewhere out there that is much more eloquent than what I’m writing here) is that it was written by Mary. There are lots of theories about Mary being this story’s version of Sebastian Moran or at least connected to Moriarty (I think TAB in particular really underscored that), and I think this is ultimately going to be tied to that. They specifically pointed out the writing on the envelope and then didn’t go anywhere with it, so that seems to me as if they want us to kind of forget about it so that they can reveal it as part of a bigger plot later on, and revealing Mary’s connection to Moriarty would work perfectly for that. We flash back through the past episodes to see where she’s had a hand in things–maybe she’s the sniper who takes out Shan in TBB, maybe she’s one of several at the pool in TGG, maybe she helped set up Jim’s break-ins in TRF, etc. We see that she’s been in on things from the very beginning, and as part of that reveal, we see that she wrote Sherlock’s name on the envelope.

If you recall the very beginning of TGG, there’s a scene with Sherlock interviewing a prisoner (Barry Berwick) in Minsk. I think this is could be an explanation of the emotional reasons for the case, but I think it’s likely there’s a plot motivated reason, as well. That’s how the show works.

I know Sherlock takes the case because John wants the money:

But since that was never referenced in the episode, I don’t think that’s a good enough reason to include the whole scene.

TGG has a bunch of Eastern European references in the Five Pips case that Jim sets up; Sherlock even points it out for us:

SHERLOCK: You know, it’s interesting. Bohemian stationery, an assassin named after a Prague legend, and you, Miss Wenceslas. This whole case has a distinctly Czech feeling about it. Is that where this leads?

So it would’ve been easy to tie this case back into the TGG somehow, but they didn’t. It’s such a pointless scene: why didn’t they cut it? It’s more than just pointless; it’s sloppy, and I really don’t think this show is sloppy. But whatever Barry’s case is about has been hanging for a long time; most people probably don’t even remember it.

Eastern Europe was also in TRF:


And it’s huge in season three:

1) Sherlock starts off TEH in Serbia where he’s rescued by Mycroft.

2) CAM’s documents on Mary are in Cyrillic, used in a lot of Eastern European countries - including Serbia.

3) Mycroft is tracking something in Poland in HLV:

4) Sherlock is supposed to be sent on a suicide mission to Eastern Europe.

5) The newspapers Janine brings Sherlock mention “Eastern Europe Erupts!” 

So I think Barry Berwick is a hint to something - the really big something that Jim’s got going - all the way back in season one. Here’s how we know Jim’s involved with Barry:

These are definitely set up the same. That means Barry is tied to Jim: the cabbie is Jim’s agent; Barry is Jim’s agent (whether or not he knows it). 

Barry repeats this idea that someone has told him about Sherlock in the episode, so it must be important:

BERWICK: … Everyone says you’re the best!

Sherlock has been recommended to Barry by someone: I really can’t imagine that it’s anyone except Jim as Sherlock isn’t even close to famous in S1 yet. Also, the fact that it's so long-term can really only mean Jim.

The more you look into the dialogue of this scene, the stranger it gets. Go back and watch the video - here’s some stuff to look for:

Keep reading

anonymous asked:

I was re-watching TGG and I noticed a few... features of interest. First, when Sherlock receives the initial envelope from Moriarty, he deduces that the handwriting was clearly a woman's. This remark is never revisited later in the episode, and I'm now inclined to think it was Mary's. Secondly, Sherlock explains how the five beeps the phone makes are a form of threat, literally like "orange pips", a direct connection to TAB. Anyways, I just thought I'd share. Thanks & I love your blog :)

Hi Nonny! Thank you so very much! 

OOOOOOOOOOHHHHHHH You have NO IDEA how MUCH I ABSOLUTELY think Mary was involved with TGG. The envelope is just the tip of the iceberg, and YES, the pips, absolutely, I think were meant to remind us of TGG; there are lots of callbacks to TGG in TAB, if only to associate Mary with the episode. The envelope, absolutely. There’s also this exchange here:

MISS WENCESLAS (looking at him briefly): Well, nearly anyone. (She turns back to Lestrade.) But I didn’t know how to go about convincing the world the picture was genuine. It was just an idea – a spark which he blew into a flame.
SHERLOCK (sharply): Who?
MISS WENCESLAS (shaking her head): I don’t know.
(Lestrade gives a disbelieving laugh.)
MISS WENCESLAS: It’s true! I mean, it took a long time, but eventually I was put in touch with people … his people.
(Sherlock slowly begins to sit up in his chair, his expression becoming more concentrated.)
MISS WENCESLAS: Well, there was never any real contact; just messages … whispers.
(Sherlock leans closer to her, his face intense.)
SHERLOCK: And did those whispers have a name?
(She gazes ahead of herself for a moment, then looks across to Lestrade before nodding. She turns her head to Sherlock.)

Wenceslas never actually talked to Jim, but his people; I think this was Mary (or whoever she was beforehand).

As we know from HLV, Mary is not English; there’s some speculations on her country-of-origin: American, Russian and – because of this case here – Czech. But remember, Sherlock deduced she’s also a linguist, so she also fluently speaks multiple languages (none of which we are, I think, purposely not given any information about), so she could have easily “played” a Czech role as well. There’s also this here, from earlier in the episode:

OLD WOMAN: He was so … His voice …
SHERLOCK (urgently): No, no, no, no. Tell me nothing about him. Nothing.
OLD WOMAN: He sounded so … soft.
(The laser point from the sniper’s rifle moves onto the bomb. A single shot fires and the phone instantly goes dead.) 

Yes, it says “he”. But it’s an easy enough mistake to make when you’re under duress, and let’s be real, Moriarty REALLY doesn’t have a soft voice… but Mary does, especially when she’s speaking very low (”is John with you?”) and is attempting to be intimidating. I speculate she was the sniper who set off the bomb on the woman (Jim doesn’t get his hands dirty, after all) and she is the one who talked to the woman during her capture.

There’s been speculations that the fifth and final pip has never actually been given, and that is what Sherlock was deducing with the orange pips in the mind palace… ‘The Great Game’ was never a fully completed ‘case’. See, I never caught on to this because I assumed JOHN IN THE VEST was the final pip… except after I saw a theory about the pips in the palace hinting at the game not being over, I suddenly clued in that we never actually got a final pip noise on the phone. John in the vest was simply to reveal Sherlock’s pressure point, and to try to scare John away from Sherlock. That’s it. There’s still a game going on. The questions now are: What was the final pip that was sent, or is it still to be sent, and is this what Sherlock has figured out in his mind palace? Hmmmmmmm. 

But yes, Nonny, you are correct in your assumptions. I do not doubt for a second that the people who don’t analyze this show as much as us (ie, the casuals) are supposed to now be associating Mary with TGG. I really believe she was involved as a sniper at the pool, and I really honestly hope that she gets revealed as one.

Sherlock; a complex network of mirrors

In the midst of all the wank about Johnlock and Mary in light of series three I’d like side step that and chat about the fabulous use of mirrors in Sherlock’s writing. :) A lot of people deem them coincidental and that the oft pointed-out parallels in the writing are either lazy or accidental occurrences that don’t mean anything.

You are wrong. The reason you are wrong is because the same writing method in creating mirrors is employed in every single episode, and following that method and placing the mirrors correctly and in context creates a cohesive, evolving romantic arc within the show. That hasn’t happened by accident. It is completely impossible. :) Of course, that doesn’t mean you need to heed them, if you don’t want to. I’m just a reader who really enjoys this kind of thing, so.

For a very brief example of mirroring, in the 1970’s film The Haunting of Julia, Julia is the mother of a child she accidentally kills while performing an emergency tracheotomy. In light of the tragedy she immediately leaves her husband to be alone with her grief, and starts to be visited by a beautiful child that used to occupy her new home, who it turns out mutilated and murdered a young boy at her school. After a series of “hauntings”, Julia faces the girl in the end and she finds her redemption in suicide. In films like this, the ghost’s murderous hands are often in actuality the protagonists own, the external force that haunts and undoes them a mirror for what is in reality self-inflicted ruination [one could say this is what Moriarty is to Sherlock in The Reichenbach Fall]. So it’s fitting that the child “haunting” her in this case killed and castrated a male child, illustrating Julia’s resentment of her own husband and intense guilt over the fact that her daughters death allowed her to escape her marriage.

Mirroring is not a new or unusual storytelling technique, neither is using it to hide a story inside another story, and it is especially common and effectively used in genre films & literature, of which Mark Gatiss is a known enthusiast. In Sherlock, the mirrors create a romantic arc for Sherlock and John that also involves Moriarty and Mary, that deals with desire, doubt, repression, bitterness, insecurity, anxiety, guilt, abandonment and transformation. The mirrors illustrate everything going unspoken and provide context and humour to a lot of the seemingly outlandish or confusing dialogue. Occasionally they show you something that takes place offscreen. Like the waltzing lesson in 221B that’s mentioned at the end of The Sign of Three, they show you a few minutes earlier through Sherlock coaching Janine. :) How cute is that.

And obviously, if you’re to understand these mirrors you really do need to just understand that Sherlock is gay and John is bisexual and move on. Their orientations are not the focus at any point, and they are not meant to be yours as the viewer either.

Of course, it doesn’t end with the other characters in the show, there’s a lot of other stuff as well, and when things like Coventry & Claire de la Lune feature it’s VERY relevant to the context.

As you can see below, the pervasive locked room is always a metaphor for Sherlock’s heart. Death is always synonymous of heartbreak, and there is an important running thread throughout the show of Sherlock as The Deadman and John as The Ghost/Invisible Man. You’ll notice Sherlock’s mirrors are always the victims, and the murderer is always a mirror for Moriarty, even when those mirrors are initially thought to be John, that is only ever to show us Sherlock’s fear of him, fears that always prove to be unfounded. Food and drink are the other big one. They work food and drink in as metaphors for the presence of desire and love and concern absolutely flawlessly from the very beginning of A Study in Pink, when Sherlock grimaces and shudders after he takes a sip of the coffee Molly makes him after she asks him out.

So, the mirrors! I think this is most of them and they’re all correct, though I’m unsure about Mycroft in general, there’s no way to know if he’s still a mirror for Jim in series three. :) If you want to add or discuss anything please do! This is just a summary, as going in to detail about each mirror would take tens of thousands of words per episode, and I’m also not going in to John’s Blog, which would require a separate post. And a big BIG shoutout to loudest-subtext-in-television for pretty much nailing the method in their fabulous SiS post on The Blind Banker! Without that it would have probably taken me 10X as long to figure this stuff out. :)

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