reichenbach is going to kill me

ASPHYXIATION  &  DROWNING

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Double-Pictures: Sherlock considering to take the pill.  PILOT vs. ASIP

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An overview regarding the concept of suffocation in Sherlock BBC. All variations I could find:

  • those that end deadly or are meant to kill
  • those that are meant as a threat
  • those that are not intended for the above mentioned reasons
  • notwithstanding if occuring inside ones head or in real life

While writing on another post I noticed that asphyxiation, suffocating, strangling, choking and drowning are indeed a main themes in Sherlock BBC. In total I was able to find 23 occassions where one or another variation of it happens.

Details under the cut ….

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 @moriartysgrimmfairytales asked: Just popping in to see if you’ve succeeding to come to terms with TFP? And in which case, share your secret? Saw your post about Jim recording those gifs, made me giggle for the first time in a long while (Sherlock related, I mean). Still struggling.

oof, good question.  Humor definitely helps!  In addition to thinking about how much fun Jim and Eurus must have had together, planning this whole ridiculous game, I’m also developing headcanons about the Holmes siblings as practical jokers.  One of the things that had bothered me about TFP was how artificial everything on Sherrinford seemed, and how different it was from the style and structure of ordinary episodes.  But it helps to think of it as a culmination of the cruel and fucked up experiments/games we’ve seen Sherlock and Mycroft playing all along.  From Mycroft kidnapping John in the first episode, to the “flight of the dead”, to Sherlock drugging and tricking John in THoB as an experiment, to the cruelty of the Tube car scene “just to see John’s face”, to the over-the-top confrontation with Mary at Leinster Square, to the scary clown in Mycroft’s house…  It actually makes sense to me that if Mycroft and Sherlock have a sister, she’d be into this drama/silliness too.  And if they had an ~evil genius~ sister, she’d have to go even darker and more fucked up than they did.  Which is already pretty dark and fucked up!  So, viewed in that light, Eurus’s experiment/game kind of makes some sense. It feels more like a natural culmination of the show, or at least of an element of it.  Rather than a completely bizarre left turn. 

It also helped me to headcanon that Sherlock is ~kind of~ a willing participant in the game.  And in fact, so is Mycroft.  It’s not like Saw or other horror movies, where the heroes are regular people who are completely horrified by their situation.  I think both Sherlock and Mycroft know they could think their way out of this “game” if they really wanted to, but they choose to play along.  Maybe because they genuinely want to reach their sister, maybe they think they owe it to her.  Maybe because they’re dramatic weirdos too, and they just like this stuff.  This is the Holmes family idea of a fun afternoon.

And I think this is something Moriarty has always enjoyed too.  As consulting criminal, the crimes he set up were just to make money or get revenge or whatever – ordinary human motivations that he always found boring.  Sherlock intrigued him because he had this concept of crime as a game they could play together/against each other, and Moriarty discovered he loved that.  So I can imagine that he was thrilled when Eurus invited him to play along in the Holmes Family games.  I prefer not to think that she mind-controlled him or used him.  It makes more sense to me as a real partnership, where they sat around together planning out these ridiculous games for Sherlock and Mycroft to play.  And Jim would have found that endlessly amusing.

(and no, it wasn’t all accomplished in five minutes.  Five minutes was the time Eurus needed to introduce herself to Jim and tell him about Redbeard.  After that, she and Jim together could certainly manipulate or strong arm the Governor into giving her whatever she wanted, so I’m sure they spent more time together—on skype if nothing else. )

Does any of this make sense with the idea that Jim thought Sherlock was going to kill himself on Bart’s roof? No, it doesn’t.  There’s no point in trying to think about that too much, because it honestly does not make much psychological or logistical sense.  But you know what?  Reichenbach never did.  The explanation we got for Reichenbach about who knew what when never made a lick of sense, and I made peace with that ages ago.  I don’t think it was even supposed to make sense, really.

That too has helped me come to terms with TFP.  I don’t think it’s great that they took a lot of stuff that *did* make sense, and retconned it to make *less* sense (like Redbeard, and Sherlock’s parents).  But that’s always been a premise of this show too – best not to look too closely at the details.  To a certain extent, this show demands that you make the choice to just go with narrative and have fun with it.  

And in that respect, it’s very like ACD canon.  There are a million plot holes, contradictions, inconsistencies, and implausibilities in ACD.  Every reader of ACD has to figure out how to make peace with these at some point. Some ignore them, some develop hyper-complicated backstories to justify them, some accept them as just part of the fun and silliness.  I tend to be in that last camp, and I think Moftiss are too. So I’m willing to accept any plot holes, etc. as a kind of homage to Arthur Conan “I can’t remember my main character’s first name” Doyle.  I mean, the Moriarty storyline if anything makes even *less* sense in Doyle. 

The other thing that has helped me appreciate TFP is thinking of it as a showcase for the actors.  I still pretty much feel that the story Moftiss were telling came to a natural and basically satisfying conclusion at the end of TLD.  So that left Episode 3 as a coda where they could have some fun/do whatever they wanted. And I think one thing they decided to do was give the actors (especially Benedict and Mark, and to some extent Loo) a lot of super intense emotional scenes to play, which may not have made tremendous sense within the scope of the story, but are a lot of fun for the actors. This show has always primarily been a story of the relationship between John and Sherlock.  With that thread more or less resolved in TLD, I think Gatiss particularly decided it would be fun to spend the last episode digging deeper into the Sherlock/Mycroft relationship and giving them some powerful scenes together. Sure, some of it was a little OTT and OOC, but after all they’ve given us, how can I begrudge Mark Gatiss a little fun? 

So that’s pretty much where I’m at right now in my efforts to come to terms with TFP.  I’ve watched it a number of times now, and there really is a lot to enjoy: powerful acting, enjoyably loopy story concepts, some great lines, and a lot of gorgeous imagery.  Yeah, they made some narrative choices I would have advised against, but… it’s okay. I can accept it.  Nothing is perfect, but overall, Sherlock came very very close.  

THE  GOVERNOR  AND  HIS  WIFE

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The first task of Sherrinford involves the governor of the island and his wife. Like the other tasks I view this one on a metaphorical level.

Again each character … except one …  represents a particular part of Sherlock himself.

  • Sherlock - the soul - who lost his other half long ago
  • Eurus - the other one - the lost part of Sherlock’s soul - including emotions and specific memory
  • Mycroft - the concept of logic and reason by which Sherlock tries to align his life - in short: just brain
  • John - Sherlock’s heart - steadfest and true - the one to rely on
  • Governor - extended arm of Mycroft and the concept represented by him
  • The governors wife - she is the exception -  she is a mirror for John

Why could the governors wife be a mirror for John?

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The bit in The Reichenbach Fall when John is staring at Sherlock’s empty chair just killed me because I just kept thinking that John had to look at that chair and know that it would always be empty now, and then you’ve got Sherlock in Series 3 looking at John’s chair knowing that’s it’s always going to be empty now as well.

How I think S4 is going to end

I don’t know if anyone has said this before me but here we go.
Remember the end of the second trailer?
“I love you”, the gun, John and Mycroft?
Okay bear with me

Loads of people (like myself) think that Sherlock has to choose between John and Mycroft and kill one of them.

However we all know how much Moftiss like to hurt us *cough reichenbach cliffhanger cough*

So this is what I think is going to happen.
Sherlock says that line, turns and shoots- but we don’t see who,

The screen goes black; we don’t hear or see anything for another two to three years :)

Sherlock & John
  • I faked a suicide and stayed away for two years simply because I didn’t want to endanger your life (and came back because I thought you were in danger)
  • I was a huge part of a birthday video for you even though I hate people and can’t stand cameras
  • Although I will never admit it, I was crying and terrified on that bike, coming to save you, because now I’m here, and now that I’m here, something bad immediately happens to you that might cause me to lose you forever
  • I dove into a fire to rescue you
  • The only thing I wanted on that train was for you to get away so that you could survive, even if it meant leaving me behind with the bomb
  • I was terrified that you would never forgive me, and broke down into a crying mess when you said that you would
  • I got a better understanding of some of my faults, and regularly crack silly jokes just to see you smile again
  • After two years of being away from you, I fully understood what being lonely meant, to the point where I can pity my own brother
  • In attempts to fill the hole you left in me, I try getting closer to my brother, because it’s the only other person that I can turn to in this way
  • I learned how to make origami napkins so that your wedding would be wonderful
  • I personally did “background checks” on Mary’s past relationships
  • I moved your chair because I couldn’t stand seeing it empty
  • I still care enough about your opinion of me that I hide cigarettes in a persian slipper under the couch because i know you don’t approve
  • I relapsed into old habits and made the quick excuse of being undercover, because you were my rock
  • Instead of becoming defensive during the wedding speech when I was interrupted, I immediately though I did something wrong because please I’m so sorry if I did, I didn’t mean to, I’m trying so hard
  • Instead of accusing your wife of being an attempted murderer (among other things) like I would do about anyone else, I slowly eased you into the discovery because I wanted to lessen your pain with the truth
  • I didn’t care if I died so long as you were safe and knew who you were really with
  • The only reason I forced myself to live is because I knew you would be in danger if I didn’t warn you
  • Even the darkest parts of me understand just how important you are to me and the rest of the world
  • I didn’t turn in your wife for trying to kill me
  • I still want to be a part of your life and if that means I have to be a part of Mary’s then I’ll make this shit work
  • I drugged my entire family plus a pregnant woman to get into a secure area with a highly dangerous “criminal” just so that I could help your wife stay safe even after she tried killing me
  • I tell you my full name as a last attempt to say goodbye and just how much you mean to me. Will you think of me when I’m gone? Maybe even name the child after your best friend.
  • Being sent off to another country to live undercover for six more months before being killed was better than allowing a man to live who had dirt on your wife that could ultimately harm you in some way, shape or form
  • The thing that pained me the most at going onto that plane to leave was the knowledge that I would never see my best friend again

anonymous asked:

nooo omg don't say moriarty didn't survive!!

This should not come as a shock—I’ve been saying it for two years now.

In fact, back in March 2012, I answered a question about why they didn’t include Jim’s death in the Reichenbach news reports and said:

Do you want the honest truth, though? Promise not to hate me if I tell you?

I’d probably do the same thing if I were writing the show. I’d kill Jim and have him stay dead, because that’s the part he’s there to play in the story. But I wouldn’t be in any hurry to publicly slap a toe tag on him right when there’s a lot to be gained by having another confusion factor in the mix as fans go crazy speculating on what happened in Reichenbach.

I don’t think they were exactly trying to suggest Jim was still alive, but they knew people would guess he was. And why should they stop people from guessing that? It only works in their favor. As long as people think Jim could be alive, they’re all set to manipulate the hell out of us in the future if they choose to.

This is it. This is the manipulating the hell out of us. Right now.

So I’m not even really allowed to be annoyed at the writers for this one, because I saw it coming and already said I’d probably do the same in their place. (Granted, I might not have done it over a hiatus, but that’s a whole different issue.)

Yes, I’ll do some more posts and talk about bits of why I still think Jim’s dead. No, I may not hurry to address every single theory or straw grasp someone comes up with about how Jim could’ve survived. Because there hasn’t actually been any new evidence that he did survive presented in the show, so spending a lot of time on the same old stuff from Reichenbach is pretty “been there, done that” for me. I only have so much time, and other stuff’s more interesting.

John and Sherlock – a Relationship in Haiku

After HLV, John sees his therapist again. She urges him to talk to the person whose behaviour confuses him or, if talking is impossible, to write to them (John didn’t say who he was talking about).
As can be expected, Sherlock flatly rejects talking or writing. But then he comes across a book with haiku and suddenly discovers that the strict form of these poems makes it possible to say things that have been left unsaid for far too long.

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