Watching John and Sherlock’s meeting, in ASiP, we can see that they both look pleased to meet each other. John readily offers his phone (heart) and Sherlock readily takes it. There’s a reciprocity there that is obvious: Sherlock is flirting up a storm and John is loving it.
The recreation of their meeting, which Sherlock reconstructs in his Victorian mind palace, shows us a significantly more enthusiastic Sherlock and, I think, a more lukewarm John. It is possible that in Sherlock’s mind when they first met, he was the one who was immediately obviously besotted whereas John maybe was not. He may not have been as sure of John’s attraction as the audience is.
I was inspired by this post by @merillock of John’s reaction to seeing Sherlock beating a corpse. I realised that his smile is not a genuine smile, it doesn’t reach his eyes. His eyes look more concerned or bewildered, even. A smirk momentarily reaches his lips and then is gone. He finds this peculiar, it seems. Interesting enough but not necessarily pleasing.
Sherlock beating the corpse is one of his gayest moments, and he is now beating that body harder and longer than ever. Maybe this could be showing us Sherlock seeing John seeing how very gay he is and having a lukewarm reaction to it. John is not pleased, he’s bemused, maybe. But his eyes are not warm, they’re standoffish.
In contrast to their actual meeting where John looks guarded but actually pleased, in his own mind he may not have perceived just how much John was really into him. Sherlock knows for sure that he was into John but he doesn’t seem as sure how John felt. Not just about him as a potential mate but about him as a gay man.
Later, when they find Mary at Baker Street, Sherlock will refer to himself as, ‘an unsavoury companion of dubious morals’. On the train, on the way to the Carmichael estate, he will say (as John) that he is, ‘an unprincipled drug addict’, that John convinced everyone is, ‘some kind of gentleman hero’. I think we can also see this depiction of himself as he introduces himself to John. Immediately after saying his name and address, half his face is dark, signalling that he may be a morally grey or morally ambiguous character. He puts on his deerstalker (his straight façade) and his face is entirely in darkness. This could be because in Sherlock’s own narrative he’s not an especially good person: he’s not a hero, he’s a person of bad morals whom probably no one should trust. This also works as a kind of Victorian gay-coding. Sherlock may be a great person but during this time, ‘shady morals’, easily equaled, ‘gay’, and this introduction also reinforces that.
Anyway, I feel like John looks tolerant but reticent and that Sherlock looks cautiously hopeful yet fears that his nature will turn John off. Both his nature as possibly not a good dude but also his nature as a gay dude.
This hallway they only show for a hot second in Oklahoma! but yet for some reason still made it into TAB? (x)
The desanctified church that we only see for a hot second in both Oklahoma! and TAB yet they show us the same-shaped dumb building from the exact same dumb angle with the same dumb coloring??? (x)
6. A crack of thunder, signalling the scene transition to a one-on-one confrontation between the Romantic Lead and the Villain. A storm rages, and the True Love appears with a GUN aimed at The Villain! A tragic ending wherein the True Love dies ensues, an ending absolutely begging to be rewritten to foreshadow an unambiguously happy one? Like a similar story we’ve seen??? SLAM THIS MFING (X)
ALL THESE LINKS LINK TO THE VIDEO OF THE EXACT MOMENT I’M TALKING ABOUT THERE’S NO WAY I’M GIFFING ALL THIS PICK YOUR POISON THIS IS INTENTIONAL THIS IS REAL
okay but au where the deal with the Moriyamas for Neil goes through and someone in one of Andrew’s Fosters Homes sees Andrew’s violence way earlier in his life. And they become Riko’s Number 4 and 5 when they’re still children.
And yet, even though their numbers mark them as Riko’s, they have been each others since they met.
The two of them learning Japanese and French alongside the others, then picking German up so they can talk to each other
Andrew who takes knives as his weapons and makes it clear to Neil that these ones are for protecting him, not hurting him.
That same night, the two of them pool some money together and buy a book of baby names. They choose the name Neil to replace Nathaniel because Nathaniel will always be afraid of knives, but Neil will never be afraid of them in Andrew’s hands.
The two of them always by each others side. It is never like Riko and Kevin, wherein Riko walks in front like a king and the others fall into line behind him, because they are always equal.
Andrew who has already been through enough foster homes to slice into hands and forearms anytime someone touches him, but who walks thigh-to-thigh and shoulder-to-shoulder with Neil always.
Andrew and Neil who know each others bodies inside and out because while they were growing, they were also exploring.
Andrew and Neil who share their first kiss at fifteen without any though because they have always been a “we” because there is no one else for either of them.
No one ever flat out says it, but Andrew and Neil make a more deadly team on the court then Kevin and Riko ever will. Kevin and Riko may be synced perfectly, but Andrew and Neil know each other inside and out not because they were forced on each other but because they wanted to be with each other
Neil and Andrew holding down the defensive line almost single handedly because Neil and Andrew don’t need to communicate, they just know what the other is thinking.
He’s Always Like That. He’s Always Been Like That.
So, this is a pretty facile observation, but I haven’t seen it laid out anywhere else, so I’m going to put it down here.
In the retelling of John and Sherlock’s (or Holmes and Watson’s) first meeting in TAB, Stamford’s Victorian introduction is not significantly different from the one he gives in the modern timeline of the show. The two moments are shown within only moments of each other in the special, with the modern first meeting shown in the “Previously on Sherlock” callback before the Victorian MP stuff properly begins.
The interactions mirror each other so closely (except for instead of John giving Sherlock his heart, Sherlock gives John his dick??? I don’t know…) that the little differences that aren’t mandated by historical accuracy bear particular scrutiny. There’s one moment in particular that stuck out to me as I was rewatching it just now, and though it’s not as earth-shattering as some of the other meta that you truly ridiculous geniuses are coming up with, it’s a nice little reinforcement of what has kind of been established is the writers’ mission statement and the driving argument behind TJLC.
Sherlock (To John): The name’s Sherlock Holmes, and the address is two-two-one-bee, Baker Street. (To Mike) Afternoon.
Mike (To John): Yeah. He’s always like that.
Holmes (To Watson): The name is Sherlock Holmes, and the address is two hundred and twenty one bee, Baker Street.
Stamford (To Watson): Yes. He’s always been like that.
The tiny little difference in the phrasing of this interaction, which I have watched in its modern iteration upwards of eleventy kabillion times, definitely twigged something as I was watching TAB the first time. It certainly doesn’t take much to connect the dots, though, once you put the two scenes together and consider their context.
We’re inside Sherlock’s Mind Palace, and he’s just been reading about his first meeting with John Watson on his phone (textually stated in ASiB to be a representation of the heart). We’re about to watch the gayest 90 minutes of television ever committed to film, and yet somehow the general population will still be able to believe that John and Sherlock are just bros, just as they have been able to for 130 years.
Heteronormative assumptions will stubbornly preclude any reading of Holmes and Watson as lovers for a whole big swath of the viewership, even when their actions are most easily explained by romantic feelings between them. When Johnlock finally becomes canon, it’s going to be a game-changer for the way these characters are read in all previous and all subsequent adaptations of their story. They will finally be out, and it will be impossible to shut them back in the closet again. Why is that?
Because the writers are playing the long game, and their entire argument is laid out by Stamford when he facilitates the first meeting between the most famous and culturally-pervasive queer couple in the world.
Sherlock Holmes is gay. He’s always like that. He’s always been like that.
And not only in the BBC version written by a gay dude and his friend the plot-twist guy. Always. He was gay in the original ACD stories, and he’s gay now, and he has been in love with John Watson in every permutation of their story ever set to page or screen.
Not revolutionary, by any stretch of this fandom’s considerable deductive skills, but maybe a nice little clip for the news shows to use when Mofftiss finally blow the doors off this big gay circus.
TAB members, don’t forget there’s a meeting this Friday, 12/14, at 5:45pm in the Library’s Meeting Room. (Stop by before you see THE HOBBIT!) Pizza will be served, and I have some exciting updates to share! Let me know ASAP whether you can or can’t make it so I know how much pizza to plan on getting.
Hey, you guys. I was planning on having a Girl Meets Movie Night marathon based on the movies the clique six pointed out in Girl Meets Jexica. I’ll be having the marathon each week throughout the rest of the summer. The first movie will be next week, and the schedule will be posted after I get enough information from the polls. Future updates about this movie night will be posted to my blog. You can find it under the tab that says “Girl Meets Movie Night” or you can find it here! The poll will close this Saturday.