A friend of mine made a “Corrected” version of the Autism $peaks logo.
He wants people to use this however they like! Profile pics, shared, reblogs, whatever.
He does not want his name to be attached. He’s heard stories about A$ ‘attacking’ people who have 'defaced’ their logo in the past.
Image description: A stylized drawing of someone with a mask covering their face, with tape over the mouth and black circles for eyes. The person is holding their hands to their ears. Above this image is text reading “Autism Speaks it’s time to listen.” All of the text is in black except for the “s” at the beginning of “speaks,” which is replaced with a dollar sign in bright green. The rest of the work 'speaks’ is struck out. All of this is superimposed over faded text on a notebook-paper type pattern, text from the wikipedia article.
Symbology description (from the creator) : The $ is because they only care for the money. The struck-out text is because they silence autism and autistic people. They cross out it’s ability to speak. The mask is because they don’t see autistic people as people, they just see cash and 'disability’. The Tape over the mouth is because they make autism unable to speak. The Hands over the ears/mask is because people cover their ears so they are deaf to the evil of this OR reiterating the silencing thing again OR the person trying to take the mask off OR the person being overwhelmed and covering their ears OR someone holding their head in pain/sorrow/confusion. The word listen is almost all the way erased because they DON’T listen. The words in the background just represent people’s need to analyze the unusual and it’s meant to be overwhelming, adding to the covered ears feeling the mask gives.
Let’s look at these many, many little things that make mecertain most of TST was either Sherlock’s mind palace version of actual events or his projection of future occurrencesor a dream or something else but drug-induced.
This is surely not complete yet, so this post will be edited. I also have a list of questions at the end, both timeline-related and more general.
The over-arching message, for those wanting a quick summary:
There are too many things wrong or wonky in this version of reality for it to be actual reality. It’s rather a mirror verse (indicated by the many, many mirrors akin to TAB, or the reversed layouts of places like the Watson flat) or a dream sequence to enable Sherlock to process or work through something (see @shawleyleres meta on the recurring dreams).
Everything after that first fishy fin transition (at least) is mind palace or a distorted/mirror version resp. dream.
I’m going to show you why I think this, with the aid of a lot of pictures and links to other people’s metas. If you’re skeptical, please give this a chance. Hell, they literally told us right at the beginning that they are going to manipulate actual events:
Cabinet Member: That is now the official version, the version anyone we want to will see.
Having taken care of the threat of incarceration by doctoring CCTV footage, a “naturally high” Sherlock decides to wait since he is the “target” of a posthumous ploy by Moriarty. Then we get new credits and Sherlock telling us the original story of a tale he re-wrote as a child when he couldn’t do much with premonition.
We also get this fish-y transition into a rather wonky 221B:
The skull is facing the other direction and now wearing a magnifying glass. Most curiously, though, is the fact that John is typing on an iPad while it’s obvious he has the photos open and not a web browser:
John blogs about the many cases that Sherlock solves - during which we get the second “It’s never twins” from Sherlock - and yet the initial shot of his ‘blog’ show it’s just as inactive as the blog the BBC had set up. (More on this here, by @glenien).
Keep in mind we already had TST as a case on John’s blog, wich was different. And they neither acknowledge nor resolve that in any shape or form. Lestrade actually tells us repeatedly to read John’s blog!
Oh, also: the one client, with the Mary-esque wife, had a fish tattoo. And something about the gf’s name was also wonky, as @tigressthetiger explains here.
Then, there is the negative of a skull that has replaced the skull poster we are familiar with. And the skull GETS BRIGHTER (x).
The Watson flat, too, is mirrored. And I’m not only talking about John sleeping on the wrong side of the bed and there being a mirror through which this position was established, but that’s a great point as well. (See also @gosherlocked‘s post here).
The flat’s entire layout is also REVERSED.
In His Last Vow, the front door was on the other side. See, John opens the door with the window at his back:
In TST, it’s reversed, just like the bedroom.
From the Christening, we again have a watery transition to Sherlock explaining the way of life to Rosie:
The next bit was the only thing that really struck me when I watched TST for the first time: the time loop on the bus.
We transition from a sleeping John at 221B to a John dozing on the bus with a daisy in his hair, which he showed to Rosie (who has a fish mobile! and really weird wallpaper, featuring the magpies from TSoT and clowns/jesters). Sherlock texts him about Greg coming by Baker Street the following day (why only this late? I thought Lestrade was feeling the pressure to solve this?), and we get a house reflected in balloons when Greg explains the case.
Another weird transition happens via the magnifying glass on Sherlock’s side table, motivating some split-screen action, as well as the door window transition leading to the case.
Back at 221B, the brunette forensic officer is carrying a file tied with a pink shoe-lace. She is waiting outside the door while Sherlock is dealing with a client… and yet, the file (or one also tied with a pink shoe-lace) is already inside 221B:
Curious, isn’t it? HOWEVER - at the end, after Mary’s death, we see Mrs H and Sherlock in 221B and there are two files in the flat, one back there and one on the desk. So it’s likely these are simply two files from the brunette forensic woman.
Fast forward a little bit into the cave-like secret base (lit by candles and electricity), we also get to see Sherlock and Mary via a mirror:
Mary renders Sherlock unconscious and flees. Cue weird fish eye transition and we see Redbeard as well as two children playing on a stony beach - one of them, presumably Sherlock, is pretending to be a pirate.
Once Sherlock is awake again, he seeks out his brother… whom is introduced this time as two people:
He’s also not the Mycroft I remember - the one working to ensure the stability of the British government… since Sherlock says, when enquiring about A.G.R.A.:
Sherlock: Well, I mean the British government. Or whatever government you’re propping up.
Very weird. So we’re led to believe Mycroft is morally grey (also wearing the suit for it) and is for hire, rather than motivated by loyalty to his country? (This ties in nicely with @delightedwhenz‘s theory on Mycroft being Amo here).
The Mycroft-Amo connection is also furthered by the superimposed text of AMMO being mirrored when Sherlock turns the pad he wrote it down on.
We get another mirror when Sherlock and John catch up with Mary:
Sherlock calls about having made the faulty “Amo” connection to Lady Smallwood. Sherlock and Mycroft are juxtaposed on screen during their phone call, then move in the same direction:
Sherlock’s over-imposed shot prevails, however we stay with Mycroft on English soil.
On the flight back, we catch the first glimpse of E (aka Faith, Culverton’s daughter? See @abitnotgood‘s great find here) in the plane window and are given a flashback to John presumably cheating/flirting with the Lady in Red/E/a literal red herring:
Now, during the flashback, I noticed an inconsistency in the background. In the twoshot of John and E, we see a firetruck in the background. In John’s subsequent close up, there is a police vehicle, but no firetruck.
As someone who as filmed before, this is something I’m prepared to accept as being a genuine blooper. You don’t control the street when you’re filming outside (at least not unless you close it off, and I doubt they did that, please correct me if I’m wrong).
Still, it’s another particularity.
John saves her number (which is a fake tv number, as @warmth-and-constancy points out here) and certainly texts her an “Hey”. We have no definite proof, however, that she is the one on the other end of the night owl/vampire debate. @jenna221b (I think, can’t find the post rn) suggested it’s a code, like Vatican Cameos, and Vampire signals which plan to execute, like Lazarus did on the rooftop. @the-7-percent-solution, however, suggests he might be texting Harry here.
We also get John composing a breaking it off text, only to find her at the bus stop (Culverton in the background on a poster saying “murder” and “business”). We never find out if he really breaks it off or not.
We do get - after Mycroft interviewing Lady Smallwood (with another mirror) - another moment at the Watson flat, talking about bedtime stories, and then Sherlock realising how wrong he was on the Vauxhall Bridge, the shot finishing with the MI6 building prominently featured.
Mary gets a longer message (a code, a cypher, idk, but something is weird about it. “The curtain rises” is a meaningful quote, in any case, as @eleclectichas shown) than John. Why would Sherlock comment on Mary’s final act? Premonition? It has to be more than simple foreshadowing for us viewers.
We return to the final show down at the aquarium, with John lagging behind due to having to find a babysitter first. And the more I re-watch this scene, the more likely I find it that the secretary was forced to pretend she was Amo by, if not Mycroft then someone. (Seriously, if she really had a lucrative side business, how come she only bought a cottage and still lives in a tiny flat??).
During the scene, we also have jellyfish in the background, which cease flapping about in their pool after Mary pushes Sherlock out of the way. John and Sherlock previously discussed a case with jelly fish, and them stopping their movements in sync with Mary’s heart stopping might open up a connection.
More importantly, though: Why doesn’t Sherlock move himself? Why is he paralysed? If Mary had enough time to jump into the trajectory, Sherlock would have had time to evade the shot, too. He must have seen it coming, he’s Sherlock after all.
We get another shark fin transition from grieving John to the secretary being taking in (via a very weirdly lit tunnel of mysterious location):
And THEN we switch elements. We stay an eerie blue but rather than water, it is fire. Fire obscuring something I have no idea how to name, and giving way to the cemetery:
Edit: This might very well be a coffin! Aka Mary’s coffin.
A grieving John ignores his phone (phone as heart? Is he ignoring E or Harry/second recipient?) and Sherlock pays Ella a visit.
Ella: But I can only help you if you completely open yourself up to me. [said no therapist ever, as @merlenhiver pointed out]
Sherlock: That’s not really my style. I need to know what to do.
Sherlock: About John.
Meanwhile, Mycroft returns to… a mirror verse version of his flat (or a secret safe house for people to retreat to?), where he stretches his spine (like John did after the Christening). There are Asian cuisine take away menus on his fridge, as well as an elephant and the number 13. Or rather, the 13th - a date? Since Mycroft looks at his watch immediately, I’m inclined to call it a date of some significance.
Mycroft calls Sherrinford and WAITS for this person.
Also, the empty state of the fridge for me is a direct contrast to TAB Mycroft who is obese and always surrounded by food.
Then we see parts of Mary’s very curious DVD, hear Mary repeat certain phrases over and over, and Molly tells Sherlock that John doesn’t want to see him anymore.
Sherlock, voice over musing over avoiding Samara and death, ‘walks’ from London into the watery blue imagery again.
And we close on what, to me, looks like a POV shot from below water upwards, where the sun is showing the onlooker which direction to turn to come up for air…
… before the post-credit “Go to hell, Sherlock.”
What’s my point?
It’s simple: we are not in reality. This is a mirror universe, or a dream. If it’s a mirror version/Mind Palace, it’s either
a) what Sherlock thinks will happen (all the talk about probability and extrapolating behaviour on the basis of mathematics)
b) or a distorted/filtered version of what actually happened, which Sherlock is processing in his mind palace.
Alternatively, it’s a dream helping Sherlock solve the mysteries of Moriarty and Mary.
I contend that everything after the first fishy fin transition is mind palace/dream (if EMP ever since the HLV hospital scenes proves incorrect after all). Sherlock is still high, after all, even higher than before due to the “natural high” maybe?
Why did it get dark before the boy brings the tea to Sherlock, John, and Mary? Or is this a second tea?
When did Mary’s hair have a chance to grow so much?
I’ve also read that the baby looks older earlier in the chronology than later… there is definitely some time-related inconsistency happening.
A few additional questions:
How does Sherlock know about “The problems of your future are my privilege”? He was in the kitchen at the time.
Likewise, when did Mary find out about Sherlock being a “dragon slayer”? (x)
Why does AJ conclude Mary is the traitor, or why does Sherlock conclude AJ is looking for HER, when she isn’t even an English woman? Sherlock deduced that in HLV, after all.
Why did Mary get herself a new fake ID between shooting Sherlock and Appledore? It was issued 14 October 2014 (x)
Why does John, a trained soldier, not use a gun when he has one when he could (probably) have incapacitated AJ?
What about Charlie and his parents, or rather, making Charlie so explicitly camp, growing up with a father who worships Thatcher, and not mentioning it once? Also, His parents, or rather, his mother pretends like there is no such time when the hadn’t been together (which was after the father’s 21st birthday), and she asks Charlie about “eating properly”, a question which Charlie evades (food = sex?).
On the topic of food, what is the deeper significance of Sherlock openly eating ginger nuts (and talking about food) while high and waiting to become a target, or how can we connect this to existing theories/metaphors?
Is E wearing a rose necklace a connection to Rosie/Mary?
What’s with the daisy John has in his ear?
What’s up with the Black Pearl? Redbear/Barbarossa the pirate connection? Why is the issue dropped?
I’m sure there’s more and I’ll add to it when I come across something.
If you have ideas about answering them, or additional stuff to add to this, let me know =)
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You decide to make a dual account for you and your spouse and name it something like Mary n JohnSmith.
You comment on someone’s status about the weather in a city states away from yours with a full weather report from your city for the last five days and the next five, then ask about the family.
You really like ellipses……because…..when you’re not sure what punctuation to use…………
You’ve never seen such deep wisdom as you have on jpgs of sunset with superimposed text.
eCards about liking wine never get old.
Millennials spend too much time on their computers and aren’t ambitious enough. But also, Facebook flash games, amirite?
You wade into debates on socioeconomic issues you are not equipped to debate about and settle everything with “Let’s just agree to peace……..stop overcomplicating things……..if you can’t say anything nice to say don’t say it at all…..sticks and stones…. peace ^_^”