“He loves her. Of course he does, he adores her” - Steven Moffat

“Molly’s just this rock for Sherlock” - Amanda Abbington

“No no I didn’t practice it, i just fucking did it. I had loads of glass in my hair and I just go for the girl” - Benedict Cumberbatch

“You can’t have Sherlock Holmes without Molly Hooper” - Steven Moffat

“Molly started really as a one shot character, really, in the pilot, doing that first scene just to help introduce Sherlock. And it’s just one of those magical things because Lou Brealey was so brilliant in the part. And it was so automatically funny to see Sherlock with her. But she’s as a character, she’s grown the most of anyone in that series. She’s so totally different now and continues to be that. I have to keep reminding myself you haven’t seen the next two. So there’s a lot to come with that. She’s the first person to make Sherlock apologize. And in extremis, while Sherlock was faking emotion when he was talking to John from the rooftop, just to make sure he was so totally upset he wouldn’t notice that the man was actually alive and had a squash ball in his armpit, when he goes to Molly, he’s being genuinely emotional. So she’s a hugely important character and a surprise to us because we never really intended to add any characters to the original canon. But here we have” - Steven Moffat

“Look how pretty Loo looks. She’s gorgeous” - Benedict Cumberbatch

“You didn’t have to come in, Molly” - Sherlock Holmes, A Scandal in Belgravia, S2.01

“You do count. You’ve always counted and I’ve always trusted you” - Sherlock Holmes, The Reichenbach Fall S2.03

“You look well” - Sherlock Holmes, The Sign of Three, S3.02

“The one person he thought didn’t matter at all to me was the one person that mattered the most” - Sherlock Holmes, The Empty Hearse, S3.01

“What do I do?” - Sherlock Holmes, His Last Vow, S3.03

“I’m sorry. Forgive me. Merry Christmas, Molly Hooper” - Sherlock Holmes, A Scandal in Belgravia, S2.01

“You can see me” - Sherlock Holmes, The Reichenbach Fall, S2.03

“Would you…would you like to solve crimes?” - Sherlock Holmes, The Empty Hearse, S3.01

“For the sake of law and order, I suggest you avoid all future attempts at a relationship, Molly” - Sherlock Holmes, The Reichenbach Fall, S2.03

“You’ve changed your hair. The style, it’s usually parted in the middle. It’s nice. suits you better this way” - Sherlock Holmes, The Blind Banker, S1.02

“You” - Benedict Cumberbatch/Sherlock Holmes

“I will always ship Sherlock and Molly” - The Oxford English Dictionary

“Molly is so important. So fucking important” - Steven Moffat

long story short:

anonymous asked:

I remember saying that they realized they were writing Oliver and Felicity romantically and decided to run with it. Do you think maybe they realized they were writing towards a Lauriver reunion last season, perhaps unintentionally, and are now course correcting towards that?

“I remember saying that they realized they were writing Oliver and Felicity romantically and decided to run with it.”

Uhm, I can’t really say in absolutes because I am not apart of the creative staff, (yes, that is a disclaimer) so I am not going to speak on their behalf (esp since I haven’t read or seen any interviews claiming that was the case). 

There’s not much I can work off of to even make any theories about the writers “decid[ing] to run with [Oliver and Felicity being a pair]”, Berlanti and Kreisberg were very vocal on the idea of Laurel and Oliver being the “endgame”, when they were writing during S1 and S2. The entire Felicity and Oliver pairing came out of left field, right off the bat, in S3.01 - it was so bad that Guggenheim, who took over the show in S3, tried to justify it by having a S2.5 comic series (which, from what I heard, only showed Oliver being a creepy stalker and obsessed with Felicity).

The only thing I can say for certain is that the only people who were actively campaigning, on the show, for Oliver and Felicity to get together, ever, were the actors of the respective roles

EBR and SA are both Canadian, and Stephen wanted to give her an opportunity, because there are such little Canadian actors, by having her come back on the show - it wasn’t due to fans begging her to come back, the decision to bring EBR back was already made before her first appearance on the show. At the beginning of “Arrow”, Stephen was heavily involved, probably because this is his first major role in any film. Katie Cassidy talks about how Stephen is very dedicated to the show, he would stay, even after all the other actor’s left, for the producing aspect of the show. Stephen’s voice was very heavily influenced in the direction of the show and he boasts about that a lot throughout S1, S2, and S3, claiming he would get the script first, before anyone else, review it, and call the writers out on their “BS”. 

From what I could tell EBR (in S1) wanted a bigger role, so she pursued the idea of having Oliver and Felicity get together with her fans. The fanbase was small back then, but so was Stephen’s facebook fans, where the fans then started commenting on nothing but Oliver’s interactions with Felicity. It’s from this point on, that I think Stephen really believed that the only way to get an accurate portrayal of what fans wanted was from his tiny fan base online, back then. As a naturally understanding person, I’m sure Stephen wanted to see from their point of view, but failed to realize that they are only a small portion of the “Arrow” fanbase and not the entirety, along with the fact that the shows direction wasn’t the same as his tiny fanbase of shippers (who, lbrh, see chemistry in any and everything, that’s why fanfiction was created by us, to appease some of our deranged ideas). 

Which unfortunately, Stephen’s voice about the pair, from his tiny fanbase, poisoned the rest of the show; the idea of 0licity being a vocal minority really is true.

Guggenheim later on, joined the bandwagon (I don’t know when), his tumblr he created was swarming with 0licity shippers, who would praise him for their two second Oliver and Felicity scenes, squeal with him about the tiniest of details (a fucking red pen, really?), and it came to a point where he friended some of the more “vocal voices” or the “head honchos” and would personally message them details, leaks, or scripts. And understand this, these “head honchos” weren’t professionally paid reporters or well-known comic fans, who have a YouTube or a website dedicated to comics or TV adaptions, these are regular people who run a side-blog and get personal interviews with him for their fanbase of shippers. I applaud them for being able to get as far as they did, but they are ultimately the reason why the show was destroyed - and they still managed to whisper into the ears of these writers to get what they want

It’s appalling to me the level of absurdity that happened with the “Arrow” show and this one fan base, that was so small compared to the entirety of the show, and it’s depressing when you really think about it. 

Guggenheim finally thought he had real fans, who cared about him, his work, and his potential, when these “fans” just wanted him to write for their pairing. These “fans” only cared about making their ship as “canon as possible”, even if it meant sending vitriol threats to the female lead, any other possible love interests, and the fans of any of the other love interests. Their entire drive to making their ship as canon as possible is centered solely on trying to prove all the other ships that they are wrong (in particularly the one the EP’s in S1 and S2 spoke about), and that they are the “one love” that supremes above all - how they get there just doesn’t matter to them, the amount of character assassination that happened doesn’t matter, and the story, above all other things, does not matter as long as their ship sails. They aren’t fans of either characters or of the show, only of the idea and shadow that is their ship.

The show never wrote for it or said it in interviews (outside of SA and EBR), so I can’t ever see them saying they decided to run with it for those reasons.

*I am so sorry, that rant overtook me, and I just could not find it in me to stop. Whew.*

“Do you think maybe they realized they were writing towards a Lauriver reunion last season, perhaps unintentionally, and are now course correcting towards that?”

Berlanti and Kreisberg are the very epitome of “respect the comics”. Of course, yes, make your own rendition, but make your piece respect what it’s inspired from, not insulting. Know your characters, what they stand for, and what makes them a hero in order to properly write them. I’ll paraphrase what Geoff Johns said, “You can have Black Canary without Green Arrow, but you can’t have Green Arrow without Black Canary, and to take something like that away or disrespect that means you don’t fundamentally understand these characters.”. Berlanti and Kreisberg will take offense to what Guggenheim did to their first baby.

Even though I am not a big fan of Supergirl going onto a station like CW (notoriously known for only caring about angsty romantic teen drama, killing of any POC characters, female characters, or LBTQ characters - and if you’re all three you will be gone ASAP), I do appreciate that we have Berlanti returning to the forefront

The backlash from fans, the comic community, and the entirety of the comic writers for Green Arrow and Black Canary, ever, on how Guggenheim treated everything, really influenced Laurel’s return (and the fact that Berlanti is back). We got interviews from a grumpy Wendy, claiming that Laurel is dead and not returning, to a sappy Marc, squealing with the shippers that Laurel is dead and it’s “justified”. Then we have a happy Wendy parading around that Laurel is returning and the ship of Oliver and Felicity is done, sounds like Wendy didn’t want to fridge Laurel to start with or cater to that ship

Guggenheim never anticipated for the backlash, and I don’t know if he is genuine about wanting Laurel back or about turning off the flames for the pairing of Oliver and Felicity; but, with Guggenheim’s recent interview, I’m sure he’s closed that possible chapter of “will they, won’t they” between Oliver and Felicity, they’ve hit all their points, milked them dry, and they’re clearly done from a story standpoint.

Guggenheim never anticipated for Laurel to return, he never anticipated for his story to run dry, and he never anticipated he’d have to return to telling the story of Laurel, as a character, or Oliver and Laurel, as a pairing

Berlanti and Kreisberg, the original creators of “Arrow”, are doing damage control on everything Guggnheim has ever written, for the entirety of S3 and S4, and are the reasons why we are getting Laurel back, they are course correcting all of Guggenheim’s mistakes - the ones they can, anyways.

The Holmes parents and how they mirror John and Sherlock

This has been discussed all over but I thought I’d pull it together in one post to save for my own meta files.

In Season 3 we meet Sherlock and Mycroft’s parents. Lovely!  They are played by Benedict Cumberbatch’s real life parents, which is even more fun.

But the ‘rents are not introduced to little effect.  They play a very important subtext role in season 3.  They are mirroring Sherlock and John.  One way to say something without literally saying it is to use an analogy or example.  You know, sort of like Jesus and the parables.  Kinda.

Anywho, here are the appearances of the Holmes and what each scene revealed about Sherlock and John.

S3.01: The Empty House

Right after this episode aired I saw posts on Tumblr that were like “Did anyone notice that Sherlock’s parents were cos-playing Sherlock and John?”  It’s particularly noticable with his mother.  What older woman dresses like that?  She had on a dark coat with a turned up collor, white button down dress shirt, a black pants, and black dress shoes.  Mr. Holmes is wearing a  plaid shirt and neutral-toned sort of Army-style jacket like John.

We’re being told Mrs. Holmes represents Sherlock and Mr. Holmes represents John.

S3.02: The Sign of Three

During the “Who am I?” game, John asks if he (his person to guess) is pretty.  Sherlock says:  "Beauty is a construct based entirely on childhood impressions, influences, and role models.“

Who would have been Sherlock’s childhood impression/role model?  His parents (speciflcally his father, who looks and dresses like John).  In other words, Sherlock finds John attractive because he’s like his father.

S3.03: His Last Vow

At the Christmas party we learn more about Sherlock’s parents.  She wrote a mathematical treatise. She gave up her career in mathematics for children.   

He says:  "Complete flake, my wife, but happens to be a genius. I could never bear to argue with her. I’m something of a moron myself. But she’s unbelievably hot.”

Mary says: “My God. You’re the sane one, aren’t you?”

He says: “Aren’t you?”  (well no, not really).

Later in HLV, Magnussen calls John a “moron”.  Again Sherlock/Mrs. Holmes is the “genius flake” and John/Mr. Holmes is the “moron”.

So what do we take away from this mirroring?  What are the creators trying to tell us?

1. It’s John and Sherlock will will grow into old age together, who are the right couple.

2. John and Sherlock find each other physically attractive, which is something neither one is saying out loud.

Why do they bother?  They may be trying to reassure us through all this angst, and also it’s foreshadowing of what is going to come.

Note that in the “Who am I?” game, we’re being told Sherlock finds JOHN attractive (because he looks like his father) and in HLV we’re told John finds SHERLOCK attractive (unbelievably hot).