moriarty is a spider!


Submitted by anonymous. (Sorry if your favorite isn’t there but I only have 9 slots to work with.)

Sherlock on Charles Augustus Magnussen: I’ve dealt with murderers, psychopaths, terrorists, serial killers. None of them can turn my stomach like Charles Augustus Magnussen. He’s like a shark – it’s the only way I can describe him. I hate him because he attacks people who are different and preys on their secrets. He is the Napoleon of blackmail and quite simply the most dangerous man I’ve ever encountered. 

Sherlock on Culverton Smith: I take it back - he is the most dangerous, the most despicable human being that I have ever encountered and this monster must be ended. That creature, that rotting thing, is a living breathing coagulation of human evil, and if the only thing I ever do in this world is drive him out of it, then my life will not have been wasted.

Sherlock on Jim Moriarty: He isn’t a man at all – he’s a spider at the center of a criminal web with a magnificent brain that I admire. He’s never disappointing and always delightfully interesting, smart, and elegant as one should come to expect from someone who has given new meaning to the phrase “clever as the Devil”. He’s insane, he’s brilliant, he’s me. Also, he’s a shortarse. I miss him.

The Blind Banker, while not many people’s favorite episode, foreshadows so much of the shows intent. Seeing Soo Lin as a Sherlock mirror is essential to understanding the subtext. Soo Lin was involved with drugs when she was young, and moved to London to have a new life. But her brother (M-Theory) has been corrupted, and he now goes by a code name, which translates to The Spider (Moriarty is frequently called a spider by Sherlock himself). But even The Spider is not the true mastermind - A female leader who lies and hides pulls the strings. Mary. 

Memories Are Being Recycled Using The AGRA Acronym

There is nothing new under the sun.”

A.G.R.A is an Acronym for:

A: A Study in Pink / A Scandal in Belgravia

G: Great Game

R: Reichenback Fall

A: A Scandal in Belgravia / A Study in Pink

TST gave us a new acronym order on screen during Mary’s flashback in Georgia: GARA.

Oh good. I love acronyms. All the best secret societies have them.”

G.A.R.A is an Acronym for:

G: Great Game

A: A Study in Pink

R: Reichenback Fall

A: A Scandal in Belgravia

How it Works: Callbacks/memories from these four episodes repeat continuously in a pattern starting with MHR and ending with TFP. It’s like a stream of consciousness on the screen.  

Is this merely a stream of consciousness abuse?”


A: Anderson wearing a similar sweater to John in ASIP

G: The pink phone from TGG

R: Sherlock faking his death

A: Sherlock winking

G: Sherlock’s return in Series 3 is a cliffhanger


R: Flashback to TRF, Richard Brook, Sherlock’s Grave

A: Mycroft saves Sherlock from being killed by a lead pipe vs Sherlock saving Irene from being killed with a sword

G: Trains Trains Trains. John on a train vs John on train tracks

A: Flashback to ASIP “You invaded Afghanistan!”

R: Reference to Moriarty and his network

A: “I am not gay” to Mrs. Hudson vs “I’m not actually gay” to Irene Adler

G: Sherlock disguised as a waiter vs. Sherlock disguised as a security guard

R: Moriarty’s fake kiss. Sherlock begins to explain the fall to John

A: 13 possibilities vs 13 rows in Bond Air plane. “I’m not lonely.” “How would you know…” vs (“Sex doesn’t alarm me.” “How would you know…”). Sherlock’s shadow on door when Mrs. Hudson sees him again for the first time also happens in ASIB

G: Bomb in train car vs bomb strapped to John in TGG

A: Anderson’s sweater similar to John’s in ASIP

R: Sherlock’s explanation of the fall to Anderson. We see Moriarty again.

A: 1:29 on the bomb

G: Bomb doesn’t go off just like the bomb in TGG doesn’t go off

R: John asks Sherlock if he will tell him how he survived the fall. “I asked you for one more miracle”

A: Sherlock putting on the deerstalker and walking out to meet the press

G: TEH has a cliffhanger (Cam watching the video at the end).


A: Mrs. Hudson’s husband. “I’m a high functioning sociopath.” Harry’s alcoholism. Mike Stanford. “So hard not smoking.” Eyeball in cup of tea vs eyeballs in the microwave

R: “Tragic Loss. Sorry about that one.” Reference to Sherlock faking his death.

A: “I know Ash.” vs “I know human ash.” And his partner, John Hamish Watson.” Sherlock using sliding magnifying glass when cluing for looks (this is a callback to TGG as well)

G: The stag night is similar to Joe Harrison and Westie’s stag night at a bar. Alka-Seltzer fuzz is similar to the fuzz when Sherlock is testing blood from Janus Cars in lab. Also used in the show’s opening titles.

R: Courtroom for MP scene vs courtroom for Moriarty’s trial

A: “John Hamish Watson” “The Woman she knew.” Irene Adler. Vatican Cameos

G: “I have to delete something,” on the steps to Sholtos’ room vs “I’ve must have deleted it” in the beginning of TGG where Sherlock explains he only remembers information he finds relevant


R: CAM’s pressure points vs Moriarty saying “Everyone has their pressure points.” Same red writing is used on the hotel video for the jurors as on screen during CAM’s pressure point scenes

A: John dreaming (flashbacks) of the first time he met Sherlock in ASIP while in bed with Mary

G: John has started riding his bike, and goes to a crack house. Joe Harrison rides his bike and sells drugs.

A: “The Game is on!” Anderson looking for drugs in Baker Street

R: Sherlock is a celebrity in the newspapers

A: Janine in Sherlock’s bedroom vs. Irene in Sherlock’s bedroom. Sherlock trying to obtain Lady’s Smallwood’s letters about an affair from CAM’s safe vs Sherlock trying to get pictures of an affair from Irene’s safe. Fireplace parallels as well.

G: Sherlock telling John he’s put on weight since getting married vs Sherlock telling Molly she put on weight since dating Jim from IT.

R: Sherlock explaining to John about the keycard to get in CAM’s Tower vs. Sherlock explaining to John about Moriarty’s keycode to break into the Tower of London.

A: Sherlock falling backwards after being shot by Mary is similar to him falling backwards after being drugged by Irene

G: Louis Moffat playing young Sherlock Holmes. He was the voice of the kidnapped kid in TGG

A: Stairs from ASIP and the hallway where John shot the cabby and saved Sherlock’s life

R: Moriarty. “Off you pop”

A: “The Woman will cry.”

G: John hugs Mary vs John “hugging” Moriarty at the end of TGG

R: Tabloids. Janine in tabloids wearing the hat vs tabloid newspapers in TRF “Why is it always the hat, John.” Beehives vs The Bee Gees (Stayin’ Alive)

A: Red rose from Irene Adler in Sherlock’s hospital room. Lestrade saying he will take video of Sherlock in the hospital.

G: Sherlock vanishes through window vs Joe Harrison going through a window

A: The lie (Mary) hidden in plain sight

R: Mary faked her death vs Sherlock faking his death.

A: Christmas with the parents vs Christmas at Baker Street

G: “The Watsons are about to have a domestic” vs “Did you two have a little domestic?”

A: Irene’s theme is played so dramatically, it’s hard to ignore. Flashback to Christmas with the parents.

G: The AGRA memory stick vs the memory stick at the end of TGG. Mary’s past is similar to Westies (top secret spy)

A: Mary saying to John, “You don’t even know my name” vs John saying to Sherlock in ASIP “I don’t even know your name”

R: “Sodded lawn.” vs “Sod this”

A: “Low tar.” “Your loss would break my heart” vs “Caring is not an advantage. All hearts are broken in the end.”

G: “I’m not a hero.”

A: “Do your research, I’m a high-functioning sociopath.”

G: Red laser lights from snipers on Sherlock. Louis Moffat playing young Sherlock Holmes.

A: The plane on the tarmac vs Bond Air plane on the tarmac. “If you’re looking for baby names.”

R: Moriarty’s return. His face on TV screens vs his face on the TV in the cab


Opening Montage of TAB

A: Unzipping the body bag

G: Dressed up as a security guard

A: Riding crop, John meets Mycroft, “The Game is on!”

G: “Don’t make people into heroes, John.” Bomb strapped to John. “I’ll burn the heart out of you.”

A: Naked Irene Adler. “Are you wearing any pants?” “This is how I want you to remember me.”

R: Moriarty killing himself on the roof

A: Sherlock and John running through streets of London after the cab

R: John and Sherlock handcuffed. “We are going to need to coordinate.” Sherlock’s grave. “I asked you for one more miracle. Don’t be dead.” “I heard you.”

TAB Begins:

A: Recreation of John and Sherlock meeting for the first time in ASIP

G: Sherlock looking out the window, “The curtain rises…”

R: Emelia Ricoletti shooting herself in the mouth vs Moriarty shooting herself. Peter Ricoletti. “How could he survive…”

A: “Come when convenient…”

G: Sherlock doesn’t know how the solar system works

R: Diogenes Club

A: “I thought I looked rather enormous” vs “Putting on weight again?”

G: “You see but you don’t observe.” “Legwork”

R: Orange pips sent to Eustace in envelop vs Breadcrumbs sent to John in envelop. “Means death”

A: “A dead woman walking the earth” vs “you’re a dead man walking” (Jeff Hope)

G: “The Orange pips were a reminder.”

A:  Picture of Irene Adler. “You’re human.” vs “People want to know your human.”

R: Breaking glass vs. Moriarty breaking the glass at the Tower of London

A: Lestrade saying the body (Eustace) had a note vs. Jennifer Wilson having left behind a note. Sherlock rushing down a staircase.

G: “Putting on weight?” vs “How’s the diet going?”

R: Moriarty scene at Baker Street. Emelia Ricoletti vs Peter Ricoletti

A: “Dead is the new sexy” vs “Brainy is the new sexy”

G: “Putting on weight?

R: Ricoletti and Moriarty.

A: The deerstalker is introduced. “You’re Sherlock Holmes. Wear the damn hat!”

G: Spies

R: Ricoletti shooing herself. A substitute corpse. “You can’t kill an idea once it’s exist” vs “you can’t kill an idea, can you?” “Molly Hooper found a body for me when I…” The waterfall with Moriarty.

A: Sherlock looks out the window, exterior shot vs the same exterior shot at the end of ASIB


G: Moriarty. Classified top secret with Mycroft.

A: “High functioning sociopath”

R: “I’m glad to be alive” vs “staying alive.” Moriarty’s revenge after dying on roof

A: Sherlock stabbing the mantel vs stabbing the mantel the first time him and John visit Baker Street

G: John blogging

R: “The spider makes his move” vs “Moriarty is a spider with a web, etc.”

A: “Come back, it’s the wrong thumb” vs Mrs. Hudson saying “Ugh, thumbs!”

G: “You see, Watson, but you don’t observe.” (Baby Rosie throwing the toy in Sherlock’s face)

A: The Six Thatchers case from John’s blog. Using magnifying glass. Dead body in car.

R: Moriarty flashes on screen. Black pearl vs Moriarty’s diamond in the Tower of London

A: “Then he becomes a pirate for some reason.” vs “But initially he wanted to be a pirate.”

G: Sherlock looking into his white microscope, testing blood vs testing blood in Carl Power’s case. Pets are so loyal. “A noose to hang my neck in” vs “Hanged, yes.” “Like hiding a tree in a forest.”

R: Mentions of Moriarty. Glass breaking.

A: “Tell her she’s a dead woman walking” vs “You’re a dead man walking” (Jeff Hope)

G: The memory stick

A: Ajay falls backwards as he is drinking and lands in his room, passed out vs Sherlock falling backwards and landing in his bed after being drugged

R: “Ammunition” vs John tells Mycroft he gave Moriarty ammunition

A: Mary drugs Sherlock vs Irene drugging Sherlock

G: Memory stick

R: A note to John

A: Plane vs Bond Air plane. “You’re at my mercy” vs “Beg for mercy”

G: The curtain rises (text to Mary)

R: Mary’s DVD’s vs “I’m a storyteller. It’s on DVD.” John’s note to Sherlock vs Sherlock’s note to John

A: 13 on the post-it note on the refrigerator vs. 13th row on Bond Air plane

G: Cliffhanger with John’s note and Mary saying “Go to hell, Sherlock.”


(The opening shot of a gun firing could fit in here as John’s gun from ASIP)

R: John’s therapy session with Eurus looks similar to his sessions with Ella in TRF

A: Faith with walking cane vs John with walking cane

G: Sherlock looking out of window onto the street vs Sherlock looking out the window watching John crossing the street

A: Flashback to John with his cane. The whole scene with Faith Smith. Walking around London, eating, Mycroft spying on them. “Amazing” Gun in handbag vs gun in drawer. Throwing the gun in the Thames. Serial killer. 

R: Talk of suicide. Sherlock on the ledge of a bridge vs Sherlock on the ledge of Bart’s Hospital

G: Sherlock shooting the wall

A: Sherlock in the boot of the car vs the dead guy in the boot of the car in ASIB

R: Mrs. Hudson’s having a slow-motion “earthquake” with the tea spilling vs the man at the Bank of London in TRF in slow-motion with his tea rumbling and spilling. Handcuffs vs Sherlock and John handcuffed. Therapy.

A: “I’m not your housekeeper!”

R: “You pretended to be dead for two years!”

A: “The game is on,” said Mrs. Hudson

R: “Thought this was some sort of trick…”

A: Hiding in plain sight. Texting Faith vs Texting Hope

R: Nurse Cornish is a big fan vs Kitty Riley being “a fan.” Both take place in and near the restroom

A: Wear the hat. The queen, her majesty.

R: Bliss vs Domestic bliss

A: The game is on.

R: Return to Bart’s Hospital

A: Morgue with dead woman vs Morgue with “Speckled Blonde” or Morgue scene with Irene’s fake dead body.

R: Culverton’s keys vs Moriarty’s keycode. They can both go anywhere they like.

A: Faith with walking cane. John leaves behind his walking cane as he did in ASIP. Mycroft sends car to pick up John. Mycroft looking for drugs vs Lestrade looking for drugs at Baker Street. John deduces there is a secret brother vs Sherlock deducing John’s sister

R: Mary’s DVD vs Moriarty’s DVD

A: John rushes to save Sherlock from killing himself

R: “Off you pop.” John uses a fire extinguisher to break down the door vs Moriarty using a fire extinguisher to break the glass at the Tower of London. “There must be something comforting about three” vs “Your three friends in the whole world will die.” Molly is the fourth.

A: Irene’s text message. Sherlock wearing the hat

R: The “Miss Me” in black light vs “Help Us” in black light. John in therapy. Eurus with gun on John =  Moriarty’s snipers on John


A: Eye opens vs. John’s eye opening in ASIP

G: TLD left us with a cliffhanger, and John in danger

A: Bond Air plane with sleeping/dead people and the same child actress.

R: Moriarty’s voice “Welcome to The Final Problem.”

A: “John might like to call his daughter vs Why would Jennifer Wilson still care about her daughter

G: The bomb at Baker Street

A: “The pirate.” vs “But initially he wanted to be a pirate.”

R: The guards and the security cameras. Sherrinford Prison = Pentonville Prison. Sherlock walks into Eurus’ cell while she plays the violin, her back is turned vs Moriarty walking into Baker Street as Sherlock plays the violin, his back is turned. Moriarty says Bach would be appalled vs Eurus saying “Not Bach, play you.”

A: Sherlock plays Irene’s theme. Vatican Cameos.

R: Moriarty with head phones and dancing vs the entire sequence of him at the Tower of London with the Crown Jewels. The guards escorting him. The security cameras are similar.

A: Christmas. Moriarty.

R: Five minutes between Sherlock and Moriarty. Moriarty in front of the glass cell vs Moriarty in front of the glass with the Crown Jewels. Sherlock and Moriarty shown next to each other in a cell in TRF.

A: Little girl on plane

R: Moriarty’s Final Problem

A: Little girl on the plane

G: Moriarty going “Choo Choo…” trains and more trains

A: The walls of the second room are red and gray, and similar to the walls where Jennifer Wilson was found dead.

R: Moriarty

A: Bond Air plane and little girl. John says Irene Adler loves Sherlock

G: Molly’s “I love you,” scene is set up like the scene in TGG with the painting and the Super Nova.

R: Moriarty. “Took her only five minutes to do this to us.”

A: Little Eurus in John’s sweater from ASIP

G: Little girl on the plane says, “You mean where the driver is?” vs John talking to the train guy in TGG: “What about the drivers?” “They’ve gotta live with it, haven’t they?”

R: Moriarty’s revenge

A: The plane!

R: Time to solve the final problem

A: Young Eurus wearing John’s sweater from ASIP

G: Shot of pool from the TGG

A: Young Eurus in John’s sweater from ASIP

R: Gravestones. Cemetery vs the cemetery at the end of TRF. Arresting Eurus vs arresting Moriarty.

A: John in shock blanket. Lestrade saying his line “He’s a good one.” Shot of Sherlock opening the body bag and John in bed from ASIP. “You know where to find me…” text.

G: Sherlock shooting the wall

A: Sherlock stabbing the mantel

The Lost Special: The pattern ends with Sherlock shooting the wall and stabbing the mantel. Mrs. Hudson told us what these two actions mean. The case is still unsolved and there are still unanswered questions.

More on The Blind Banker; Soo Lin (a mirror for Sherlock) is approached by a young man, who asks her out on a date. Even though Soo Lin seems reserved, it’s obvious that she returns his interest. She would have gladly said yes would it have not been for her brother, The Spider (Moriarty and Mycroft - read M-Theory). Sherlock did have a great interest in John (which spirals into love) when they only just met, but he was afraid of being hurt. 

“Miss Hooper.” Jim greeted her “IT calling.“ 

 Molly looked up from the disassembled electronics at him, eyes instantly widening. “Jim! Oh My god!” She squeaked, “What are you doing here?” “You said your computer broke down.” Jim said “I thought you wanted me to fix it.” “No! I just wanted you tell me how!” Molly exclaimed, running around the metal table (and Jim) to the door, peering outside in both directions, and then slamming it shut after she had made sure nobody had seen, “You can’t be here.” “Why not?” Jim asked in (mock) disbelief, (genuinely) taken aback. “Because,” Molly began, “Because you well you know exactly why!” “No I don’t.” Jim shook his head, shrugging. Molly stepped around him and went back over to the table. Jim followed her, standing across from her on the other side. “You can’t be here.” Molly repeated, glancing down at and playing with the unconnected computer-mouse, “What if Lestrade were to walk in right now? What if Sherlock? You just can’t be here.” Jim snorted. “And it isn’t funny!” She snapped, looking up and glaring at him, “This isn’t a game! We could both get in trouble…” (‘in trouble’ because she didn’t want to say: ‘arrested and then put in jail. For good this time and never able to see each other again’.) In her anger, Molly had raised her fist. The computer-mouse was still clenched between her fingers, its wire dangling like a tail. Jim caught her wrist, leaning down and forwards across the table to kiss her on the back of the hand. “That’s the mouse, Molly.” His lips whispered against her skin, “I don’t think that’s the problem.” After a few moments of staring into the intense (insane) eyes staring up at her (hypnotizing her), Molly closed her eyes, shaking her head and finally was able to speak. “You can’t be here.” She said again. 

From The Mouse and The Spider

Could’ve, Didn’t.

This is the story of the Consulting Detective and The Woman. Of time and distance, across land and ocean. Of a word unspoken. Of things that might’ve gone alternatively, had he been another man and she a different woman. But this is their story.


For an extended moment, gazing into the mesmerising blue of her enquiring eyes, as they lay on their sides partially covered by the same thin sheet, their bare skin inches apart underneath, he desperately wanted to tell her.

That he was here, in Karachi, because he couldn’t bear the dulling of the sky in a world without The Woman in it.

That the devastation of having played an unnecessarily cruel part sending her to an impending demise had made his every living minute the most agonising hell. His vengeful fury was long extinguished, his ego forgotten, and he just wanted a restart button, or the choice to never have clicked on the game at all.

That he’d travelled over 6,000 km to be by her side, to bid her farewell, to amend his emotion-clouded judgement and overwrite his stabbing last words.

That this was his answer to her question from before, that yes, he absolutely would have ‘dinner’ with her on the very last night. Her last night as Irene Adler.

That he’d wanted her, wanted this, too, and despite his frustration his traitorous heart wouldn’t accept the repeated answer no.

The past 24 h saw further proof that not only was she a formidable opponent, the most brilliant match, she was also his perfect complement. Recent events – fighting terrorists side by side before making a narrow escape; deciding the next course of action as the road stretched on across the desert plain; devising contingency plans, into the night, seamlessly completing each other’s thoughts; their bodies moved together in an incredible way, were once again replaying in his mind, his mind that was dragged along by his heart, irrevocably falling deeper and deeper into a dangerous abyss. Falling into sentiments. Falling..for her.

She was still looking at him expectantly, breathing rate still elevated, and as beautiful as ever in the dim light of the hotel room. He wanted to brush his thumb across her flushed cheek, lightly hold her delicate face in his hand, and kiss her again. It would’ve been far too easy to give in. It would also not have been enough.

But he knew that his life as Sherlock Holmes of Baker Street, London had no capacity to accommodate what his heart was yearning to have. No superlative could describe the ache in his chest that was beginning to consume his mind, at the thought of having to face an Irene-shaped void that she would yet again leave behind, the next morning by the latest, and for good this time.

He took in a shaky breath. Under the blazing sun and blinking stars of Karachi they had each allowed themselves to be more armourless than they’d ever been. Sherlock and Irene, not the consulting detective versus the dominatrix scheming to bring a nation to its knees. These preceding moments when he was by her side and had her by his, however briefly, would soon turn into a memory he’d always hold dear. From the present onwards, through every mile and every year. It would have to be enough. And he would make their parting easier.

He tore his eyes away, curled his lips into a sneer, and abruptly sat up.

“Thank you for the information on Moriarty.”

He bent down to reach for his shirt and trousers on the floor by the bed, and headed into the bathroom. Whether his hurtful response was seen through or not, when he emerged from his shower fully dressed, The Woman was gone, along with her new identity.


Across mountains and plateau, from Pakistan to Montenegro. For the past two years a Ms Wolfe had resided in Podgorica, a thousand miles from London, from her old world, and from.. No, she never dwelled on specifically what or, more accurately, who else was a mere three-hour plane journey away.

His way of avoiding her question, of not saying goodbye, had told her everything she’d needed to know and wanted to hear. It was in his lingering gaze, the constriction of his throat, the masked pain in his expression, the barely discernible wince at his own words – plain and clear. Not to mention what he’d already conveyed through kisses and touches, and what was spelt out in his meticulous measures to ensure her safety. She knew that he cared, that his presence in Karachi wasn’t just out of guilt, and it most certainly wasn’t simply prologue leading to their chat about Jim.

She – the less danger-seeking side of her – respected his decision, for them not to see each other again. But life, ever ironic, had other plans. And the next time she saw him was because of Moriarty. Indirectly. Whilst he was dismantling the spider web, strand by strand.

The day went on just like any other, until she briefly glanced out of her window, and spotted a familiar figure hovering in the shadow.

Her heart leapt at the recognition, but instantly sank in concern and horror as she took in his appearance. He looked..far from his best. Terrible. Worn. Physically and mentally drained. He did manage to retain a trace of the characteristic sharpness and intensity in his demeanour, but was otherwise almost unrecognisable from the man that she’d known, the impeccably dressed London detective that’d always carried an air of exuberant confidence in his sure strides.

Since hearing of his Fall she’d been keeping a diligent attention on the networks of criminal activity around the world, procuring even the most obscure sources of news, holding onto the glimmer of hope that everything was proceeding exactly as Sherlock had planned.

She wanted to descend the stairs of her shared villa. To approach him from behind and tug on his shoulder and arm. To see his surprise as he turned around, fervour in his blue-green eyes. To be assured that the apparent weariness was another constituent of his disguise. Or to softly erase the haggardness from his face, and kiss any scars away. To stand by his side. To hear his deep baritone voice. To tell him about.. About..

She heard a summoning cry resonating from across the hall.

When she returned to the window with a bright-eyed toddler on her arm and a hardened resolve to observe from afar if he’d choose to make a move, Sherlock Holmes had disappeared from sight. Quietly and without trace, like a breeze of Montenegrin wind.

Montenegro, or Monte Nero, “Black Mountain”.

Here for three times they’d nearly met, each just within the other’s grasp, yet neither reached out for that much longed-for clasp. Neither gave in for an ephemeral reunion that would’ve ended in yet another dreaded, unsaid goodbye. And any distraction could mean his mission gone awry. He’d fallen from great heights into the darkest of times, perhaps just knowing that she was there would give him the strength to continue his climb. Next stop, Serbia? Less than two hundred miles away.

Here a child had been born of the inky darkness, of the unknown and silence, but through which he would doubtless shine with a fiery splendour and brilliance, just as – she was certain – his father would soon complete his strike back with unyielding resilience.


[To be continued..?]