sherlock is impressed


Molly Hooper’s kitchen appreciation post

Dear Mark Gatiss,

A day later I am:

  • on rewatch #3;
  • parsing what I saw and working out what we should take as read and what we shouldn’t, a fun game if there ever was one;
  • thinking about all the consequences and implications inherent in this leg of the story;
  • deeply sad for everyone involved, because so many hearts are broken and lives altered;
  • concerned about John in particular, he’s in a bad way and that’s worrisome and wonderful;
  • sad for Sherlock and wishing someone would give him the hug he so desperately needs, everyone loves Sherlock pain;
  • questioning everyone’s motives and emotional journey, because often there are many ways to interpret the same dialogue or set of actions, which is delightful and a gift to any fan;
  • reconsidering everything I thought I knew about Mary, and how I feel about that, which is welcome and confounding;
  • Wondering about Mycroft’s fridge and what it’s for;
  • giggling about the funny bits;
  • teary about the sad bits;
  • stuffed with 483902843092583290843290 new questions about pretty much everything, from Sherrinford to Elizabeth to Sherlock’s twitter account;
  • impatient, excited, and a tiny bit afraid, to find out more.

I think that’s a raging success. What could be better? Huzzah! Hip hip! Slow clap, and well met! Congratulations on a Sherlock episode well-written and well-executed! I respectfully doff my hat in your direction.

Very sincerely your fan,

Ivy Blossom


Sherlock fandom productivity on AO3 since series 4

With the flurry around the surprises in the new series, some of us longtime Sherlock fans might have the impression that everything is going up in flames. The tides of tumblr are hard to read, but a clearer view might be offered by looking at what the fandom is doing on AO3, our favourite archive. 

Above is a plot reporting the number of new and returning creators posting Sherlock works per month, since 2011. This and more plots below the cut show that Series 4 really energized the fandom, in particular fanwork creators that have been around for a few years. 

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the entire bit when John first going into 221B like “wow we gotta clean out this place” right as Sherlock’s like “I already moved in and them doing the 👀 exchange and sherlock suddenly like kiCKING INTO GEAR tossin papers in a basket and making the fastest automatic attempt to Clean Space and John is like "oh-” and Sherlock is like 😰😰😰😰😰😰 gotta impress the army doctor man gOTTA IMPRESS HIM KEEP IT COOL is like. One of my favorite things. To date.

Do you understand how much Sherlock wants to impress John? That man didn’t give any fuck about knowing the solar system. But then John expressed his amusement over the fact.

And then Sherlock is learning The obliquity of the ecliptic in his Mind palace.

So John being abusive. It’s easy to miss, like his drinking problem, but he treats Sherlock like shit quite often, and has for a very, very long time. Have you paid attention to how he talks to Sherlock after the “amazing"s and "brilliant"s wear off, especially in TRF? Nobody could be such an annoying dick all the time, the little "jokes” with Lestrade about how he’s a demanding childish asshole, the “try not to be yourself” comments, I always hear “punch me in the face” when you’re talking, etc.

And given that Sherlock can’t actually see inside John’s head, the impression Sherlock gets from how John treats him is pretty clear, at least up to the point where John starts opening up to Sherlock a little bit. See also the John voice Sherlock’s his head in TEH, how surprised he is that he’s John’s best friend in TSOT, etc. I’ve said before, I can see why Sherlock would think John wouldn’t miss him if he died, and might even be better off without him (thus leading to the fall, magnussen, several drug ODs, etc).

And then you throw in all the torture. And now the gross beating scene. I really think they’re not just casually or accidentally making John into an abuser, guys. I don’t think they would go that far for any reason except to deliberately make a point. I think abuse/torture/sadism is as much a major theme of the show as suicide, and I think they’re going to resolve John’s abusiveness as much as they resolve Sherlock’s suicidal nature. Nobody’s going to justify John being that way, or let him off the hook, they’re going to hold him to account for it.

TL;DR - I totally understand if anyone thinks it’s just too dark a theme for them, or personally disagrees with how it was resolved in the end (once we get there), but I don’t think TPTB are just somehow not aware of what they’re doing and how gross it is.

Liquid Snake prank calling Master Miller like 40 times to try and get a good impression of what his voice sounds like so he can work on his impersonation. The calls get more and more absurd.

Later he tells Ocelot about his brilliant operation and Ocelot’s just like “yknow we have tapes you could’ve listened to..” 

Read ‘Mary saved Sherlock’s life’ as 100% symbolic, and it works.

Here’s how i interpret all this hogwash. Mary’s reveal as a murderous assassin back in HLV was symbolic of the revelation that the promise of heterosexual domestic bliss is a lie. John and Mary’s shotgun marriage had moved, within a month, to the “This was a fucking huge mistake” stage. The show hinted heavily at their failing marriage as HLV opened, then symbolized this very relatable experience in a more dramatic way than how it generally unfolds in real life; the reveal that Mary was, in understated terms, not who John thought she was

The villain reveal also guaranteed Mary’s departure, and John’s eventual freedom. Which opened John up for a relationship with Sherlock. If Mary hadn’t been revealed for what she was (good at crimey/evil tasks), she possibly wouldn’t have been “helping them on cases”. In TST, Sherlock used her impressive CV to justify inviting Mary to help on a case. If her secret was still safe, she wouldn’t have ended up shot while out on a case. If Mary hadn’t been revealed for what she was, or in fact, not even been what she was, then John might have stayed with her. Forever. 

To John, Mary Watson represents heteronormativity as a prison, but AGRA is the discovery that heteronormativity is a deadly lie and an empty promise.

Sherlock’s apparently unavoidable ‘death in Samarra’ is a major theme that comes to a climax in TST. The inevitability of Sherlock’s death is symbolic of the persecution and death of gay people, of gay characters in stories (i see him as symbolically trying to outrun the bury-your-gays trope). The world wants him dead. Well, not really, it’s not personal. They just don’t want him to remain alive. He could be anyone, it doesn’t matter. Because history says he’s gay and therefore he should be dead, especially before he experiences anything resembling happiness. 

So when Mary takes the bullet, she dies for him. That is to say, she dies instead of him. The slow-mo bullet was the death that has been coming for Sherlock all his life, and Mary jumping in front of it was heteronormativity dying, and the gay surviving. 

We interpret the death in Samarra story to mean that Sherlock will always be running from death because the question is asked, ‘can Samarra be avoided?’. But I think the reason we hear the monologue at this moment in TST is that… Sherlock escaped his fate, because Mary died instead. Not for him, instead of him. [Remembering that Sherlock’s death is a metaphor for heartbreak. To quote Dale Pike, “love is murder"]

The suppression of the love story symbolically destroys Sherlock and John, gradually and painfully. S4 was the climax of the love story’s death, with heteronormativity victorious and Mary [the napoleon of het] narrating and literally dictating the terms of the relationship that would be “canon”, from beyond the grave - her posthumous revenge.