then i rewatched it and actually appreciated the story better this time around

8

“Tu pourras te promener où bon te semble sur mon domaine. Mais quand la nuit sera tombée, je t'interdis de sortir du château.” ■ “You can go for a walk anywhere on the estate. But when night falls, I forbid you to go out of the castle.”

La Belle et La Bête ■ Beauty and the Beast (2014)

Fatherhood

Originally posted by marksheppardischarming

Summary: Dad!Crowley & Daughter!Reader - Crowley comes home to find his daughter playing hide and seek.

Word Count: 1877

Triggers: None, just father/daughter fluff

Y/N = Your name ¦ Y/E/C = Your eye colour ¦ Y/H/C = Your hair colour

Note: So, as promised, a little fluff after yesterday’s angst in Phone Call. This was fun to write so might do more little one shots featuring this duo!

Crowley had been called a lot of things through his well over 300 years alive, or well… Somewhat alive. Demon, sure constantly. Bastard, pretty much his middle name. Vindictive, who wasn’t? Son of a bitch, well, they’d clearly met his mother. King of Hell, soulless, heartless, crazy… Hell the list went on and on… But father, that was not a title he’d ever thought he’d hold again.

Fatherhood never suited Crowley. Therapists would likely say it was his own issues with his wench of a mother, or possibly his lack of a father figure or some similar obnoxious bullshit. He himself however just believed there wasn’t room for children in his existence, more now than back then. Emotions were chains and children were an extra weight on those chains made to slow you down on your rise to greatness. And he wanted to be great. Roman emperor level great, except of course without the backstabbing, iron poisoning and inevitable loss of power.

Plus, as all the stupid souvenir t-shirts said… He’d been there, done that, and completely screwed up his first child. His philosophy was simple, really. Child-rearing wasn’t one of those get back up on that horse kind of moments. If you failed the first time around you shouldn’t try again.

So, when Juliet, his favourite trusted hellhound, brought a crying infant back with her after reaping the ripe soul of a dealtaker, Crowley was clearly… Well, in a bind was putting it mildly. The hellhound was somewhat smitten with the baby girl. Taking a protective stance in front of the child if anyone but Crowley tried to come near and curling up around her to calm her hiccuping sobs.

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Seven Things About Supernatural: 12x20 - “Twigs & Twine & Tasha Banes

So tonight I’m going to be realistic and admit that rewatching this ep in the next 24 hours is not high on my list of things to do, and just get this written so I can have an emotional palate cleanser. 

  1. This episode is a perfect circle, and I appreciate that structurally.  We get that first visual of “Mary” in the chair – in this case a shifter trying to use her image against Ketch – and then end with her there after the events of the episode.  It also brings the season around full-circle: A Winchester in the BMoL’s clutches, being interrogated, Toni working with Ketch (an associate she rejected as “a psychopath” at the beginning of the season), etc.  
  2. I absolutely love the Banes twins.  Love them.  And that love hurts a lot right now because of how this episode worked out.  

    There is no faulting Max for his choices.  Dean may have tried to stop him, help him make a better choice (just like Bobby did with Dean in the wake of Sam’s death that first time around), but it’s Max’s choice to make, and if you’re gonna fuck up, fucking up for love is probably the most okay way to do it.   

    I also think Max got a shitty deal here: that’s not his sister.  She’s close, but this faux!Alicia is always going to be something a little less, a little wrong, and he lost his soul to get her.  And they both lost their mom.  And fuck, my heart is fucking broken. 
  3. Pulling back from that, out from the story view and into the world of media, I am so tired of watching PoC, esp. Black women, get killed on this show.

    Our four regulars are white dudes, and that is what it is, but the supporting cast rotates a lot.  It’s not fucking rocket science to add some recurring allies who aren’t white dudes – like, say, THE BANES TWINS – into the mix without fucking that up at the first opportunity.  

    Like, the optics this year have not been great in terms of PoC and life expectancy.  It’s great to have more diversity on the show, and a show like Supernatural requires a body count.  I’m good with that.  But shit, this year’s optics have not been great, and maybe we could let women – and especially Black women – survive now and again?  

    These were writing choices.  And yeah, taken in a vacuum, they’re even kind of interesting in the sense that they’re callbacks with their own contexts and implications (e.g. Max as a queer dean mirror), but I’m too disappointed about it tonight to really dig in there.  
  4. As much as I am upset about the A plot of the ep, the B plot with Mary seeing Ketch for what he is, discovering the cover-up with Mick’s murder, and finding out about the order to kill American hunters, punching him in the junk, etc. was very satisfying.

    Seriously.  I was ready for her to kill him with that goddamn stapler.  And hey, brass knuckles are still brass fucking knuckles.  I approve.  Fuck ‘em up, Mary.  Fuck ‘em up.

    Also, did anyone else get a Bluebeard vibe toward the end of the ep? 
  5. So hey, Dean’s emotional intelligence when he’s not in immediate contact with the source of his distress?  Pretty good.  Dean using his words to call his mom because he’s struggling?  Pretty good.  Dean actually checking his voicemail when he sees it’s from his mom?  Pretty good.  

    Good job, Dean.  Good job.  
  6. Can we take a moment to feel for Sam in his moment of Having To Cope With His Brother Who Is Upset About His Boyfriend Getting Mind-Whammied By Lucifer’s Baby?  

    Sam has been hearing this all night.  Sam cannot fix this, Dean.  Sam is worried too, Dean.  Sam would like it very much if you could just deal with some of these feelings more productively, particularly by admitting that Cas is your boyfriend and you are worried about your boyfriend, Dean. 

    Oh hey, here’s a gun.  Maybe that will distract you, Dean.  Please, in the name of Chuck and all of his (douchebag) angels, please let it distract you, Dean.  Sam is tired.
  7. OH HEY, KETCH’S REVEAL ABOUT FUCKING UP THE WINCHESTERS’ WORK.  Mary’s in captivity now, but just fucking wait until she tells her boys about this shit.

    Because hey, Mary’s a hunter of an older school, but she’s either learned some discernment or is expressing it a lot more now that she’s confronted by the alternative.  

    I am not going to be sorry to see Ketch go.

Bonus Thing: 
Much as I was not enthused about things about this ep, it was beautifully shot/directed.  Go Speight.  May you (and Amanda Tapping) have many more eps in your future.  Yes. 

Bonus Thing #2: 
Novelty yarn, pink velour, and HSN jewelry?  How are those things NOT an immediate tell for evil?

Bonus Thing #3: 
Somebody please let Dean use the grenade launcher.  Please.  

Dare I say it, because the cool, trendy thing to do is to hate on PLL. But season 7A is my favourite season to date.

I’ve spent the past few days rewatching 7A, and I hit a level of appreciation that I think I slightly missed the first time around. The story progressed dramatically from episode 1 to episode 10, and yes, there are answers in every episode as promised. I don’t think Marlene meant ‘answers’ in the sense of “who killed Garret! - episode 1″ and “why Ian committed suicide! - episode 2″ and “Jessica’s I can’t protect you email! - episode 3″ and “who is Charlotte’s father! - episode 4″. That’s not what she meant. Loose ends like those will only make sense with the endgame reveal in the series finale. By answers in every episode throughout 7A, she means actually dropping CLUES to the endgame, that will all culminate later. Killing Sara, revealing Elliot’s true identity to be Archer, Charlotte and Archer had a romantic history, Noel was in the dollhouse, Spencer is a Drake, the doctor dealt with “two of Mary’s babies”, Mary had another child, the wording of AD’s threats are clues in themselves, Jessica is the evil twin and Mary was the victim of her cruelty, Grunwald bleeding when Noel is near, Grunwald saying the source of the threat is very close, Jessica never stopped searching for Ali… the list goes on. I could break it up per episode if I really wanted to. We get blinded by the fact that these answers raise more questions, so we feel like we got no answers. But we actually did get answers. Every single episode of 7A reveals something new towards the endgame, which will all culminate in the series finale. The answers we get are indeed brief, and they raise more questions, but each episode gives us something new to think about until the series finale. And the romance is interesting too. I love these characters. I’ve known them for almost 7 years now. So seeing that Spencer is able to love again after her breakup with Toby made me happy. Watching Hanna be in a difficult position giving Spencer her permission to be with Caleb, and watching Aria delete Nicole’s call to save her marriage… the content is incomparable to Aria dating her martial arts teacher, or Spencer flirting with a random dude in London.

I also hear from too many people that the writing is exponentially worse in recent seasons. I couldn’t disagree more. Many people are searching for answers and answers only (regarding the mystery), and so they mentally ‘switch off’ when they feel the scene won’t give them any. I appreciate every word said and the meaning behind the words. For example, in 708, Emily asked Paige how long it’s been since they last spoke. Emily says 2 years, and Paige says it’s actually been 3 years. “Here we go, why do we care about that?” Well, don’t take it literally: the point of that line is not to give us a number as to how many years. The point of that line is to show us that Emily has moved on from Paige - time is flying without her, hence she recalls only 2 years, meanwhile Paige feels the distance more as she misses Emily dearly, and she’s counting the days that go by without Emily, and so she recalls an extra year (3 years). As we can see, it took me a paragraph just to explain one line. I won’t explain the other 10 examples I had, some even in the mystery aspect of the show, not the romance. (This appreciation for the lines is coming from a person who doesn’t even watch PLL for the romance; I’m here for the mystery.) I’m okay to admit the writing is just fine.

Is the show perfect? Hell no. Answering questions in interviews and not in the show is a big no-no. I won’t let that bother me. Yes it sucks, especially for those who don’t go snooping the web for these interviews. But I do. I see the answers. I’m happy. I move on with my life. Plot holes?? Nope. Charlotte lied about her story in 610 for very specific reasons, and they’ll be fixed soon. Yes, some storylines are dropped faster than they’re written (#Who’sInTheBarrel). This tells me they mustn’t be important, so I’ll move on with my life. Also, if the story has been dropped out of nowhere, the writers must feel they’ve appropriately concluded that story. So I’ll dig and find the answer myself. And I successfully do find the answers myself. Heck, I’m keeping a record of them here

Long time followers of my blog know that season 4 is my all-time favourite season. (Well, now, used to be.) Actually, everyone always says the earlier seasons of PLL are the best. I think we enjoyed the earlier seasons more because the story was new and fresh, and not so convoluted. Now 7 years in, we know these characters backwards, there’s a list of more than 150 questions, the ‘high school drama’ and ‘queen bee goes missing’ and ‘16 year old girls’ stigmas have faded and the story is more complex than ever. I say those as good things. Of course, 7 years in, it won’t be as ‘fresh’ as it once was. I don’t believe ‘fresh’ equates to ‘better’, because the ‘better’ stories are being told now in season 7.  

Sorry for the long post, but I was just re-watcing 7A and I was frustrated that a season of this quality is being hated so much. I genuinely loved the re-watch experience, asking myself “do I have time for one more!?” … even though I know what’s coming up next. 

It’s my first time rewatching Harry Potter... after having fallen in love with someone.

Before, I laughed at people who shipped any pair in the series. Any pair that isn’t official. I was like, “OMG, just enjoy the story and shut the fuck up!”

But having finally experienced romantic love… it changed the way I see the characters. Now, I am offended by the fact that Harry ended up with Ginny instead of Hermione or Luna.

Unlike other fans, I don’t think it’s about Ginny being unpretty. Personally, Bonnie Wright isn’t beautiful to me. But I don’t think Daniel Radcliffe is handsome either, so there’s that.

It’s just… Harry and Hermione… that’s a soulmate relationship. There’s unbreakable loyalty there and a deep understanding of each other. They’re like Jon Snow and Arya Stark. It’s the same reason people ship these two even though they’re cousins who grew up thinking they were siblings. There’s a sacred-like bond between them. One that’s untainted by any impurities.

(As for Ron, I liked him when he was younger. But he grew up to be a semi-fuckboy who’s not the most faithful friend one can hope for. Anybody with a mind and a heart as exquisite as Hermione’s deserves someone better.)

And then there’s Harry and Luna… Their unwritten love story could potentially be more iconic than Noah and Allie’s (The Notebook) or Carl and Ellie’s (Up). Every interaction Harry and Luna have is remarkable.

That part when Luna assured Harry that he’s not crazy ‘cause she too could see thestrals… or the way she helped Harry manipulate Ron into thinking he put Felix Felicis in Ron’s cup… and how she effortlessly turned the mood around when Harry and Hermione were trying to recruit skeptics for Dumbledore’s Army… especially when without being melodramatic, Luna comforted Harry after Sirius’s death… all this shows Luna’s understanding of and concern for Harry. Even Hermione hasn’t attained this kind of connection with him. It’s a different level altogether.

Then there’s Harry genuinely appreciating Luna… convincing her they are friends for real… indirectly describing Luna to Hermione as cool and someone he actually likes before inviting Luna to Slughorn’s party… offering to help Luna find her missing things… even assuming Luna was just gonna say something quirky instead of helpful right before that Helena Ravenclaw scene… there’s natural chemistry there. Simple things that show two people have a bond.

Because really, who here would dare tell me that Ginny tying Harry’s shoelaces isn’t the most fucking forced “romantic” scene in any movie ever? (You tie your toddler’s shoelaces, not your boyfriend’s!) Unless it’s the scene where Ginny asks Harry to zip her up… or the scene where she feeds him pie or whatever. As a viewer, I seriously find it insulting. Any bond between them seems so fabricated.

Honestly, I think that Bonnie Wright might simply be a horrible actress. Or at least that she performed horribly in the Harry Potter film series. Because the scenes I described above don’t have to be awkward. Imagine Riverdale’s Veronica offering to tie Archie’s shoelaces… or Vampire Diaries’ Katherine feeding Damon pie… or Margaery Tyrell asking Renly Baratheon to zip her up… it would work! These actresses could have made it work.

And it’s not that there weren’t enough scenes to establish their attraction either. Harry’s fling with Cho Chang was much shorter, but I believed it. Harry and Ginny can’t make me believe in them.

…Maybe the actors simply don’t make a good match, and it’s neither’s fault individually.

And I have read the books, by the way. I cannot recall a single Ginny scene in them. So maybe Ginny was just badly written to begin with for me to find her so forgettable? Because if I simply hated Ginny I would remember why. Trust me, I know a lot about the characters (and people) that I hate. Can’t hate what you don’t know, I always say. 

Look, I’m not unhappy that Harry didn’t end up with Hermione or Luna. I’m perfectly content with his beautiful relationship with either of them staying platonic. Perfectly content, believe me. It’s Harry’s ending up with someone I can’t see him having any connection with that bothers the shit out of me. Everything’s just so abrupt and staged between him and Ginny. One day he just suddenly thinks she has nice skin. Next thing you know they’re kissing in front of Draco’s vanishing cabinet. My gosh, I’ve read stupid white supremacist arguments that are more convincing than that!

The point is… I’ve been an HP fan for over a decade, and I didn’t pick up on any of this before. Harry and Hermione… Ron and Hermione… Harry and Draco… I didn’t care who ended up with whom. As long as Voldemort gets fucked in the end, right?

But now that I know what being half of a couple is like… what having a connection with someone is like… what falling in love with another feels like… I suddenly wish Bellatrix had killed Ginny. LOL JK

Michael After Midnight: Guardians of the Galaxy

So as you may well know, I loved Guardians of the Galaxy Vol. 2. I can safely say it’s my favorite movie ever made… or one of them, anyway. While I do think it is marginally better, there is a marginally there, and I gotta be honest, I still love part one just as much in its own way. Guardians of the Galaxy is one of the coolest, freshest, and most out-there superhero comic book movies of the past decade, and a stylish change of pace for the sometimes very formulaic MCU.

But who could have guessed that? The MCU was known for taking the less famous heroes in its roster (Since they didn’t have Spider-Man, the X-Men, or the Fantastic Four to work with) and turn them into juggernaut blockbusters, but did anyone really guess that they could take a bunch of characters as obscure as the Guardians and make a quality film with them? And that’s not the only reason this movie was a gamble; this movie was almost totally detached from the rest of the MCU and its overarching plot, with the appearances of Thanos and the Collector (both of whom only appear in a single scene, though the Collector also pops up in a post-credits stinger) being the only connection to other movies, and even then, both characters were relegated to stingers to foreshadow future movies anyway! And then you have to throw in the fact that the movie is directed and written by a guy who directed cult movies and the horrendous Movie 43, the fact that one character is a talking tree, the fact another character is a talking raccoon who uses guns, and the fact the MCU is locked out of using characters like the Skrulls, Galactus, and the Silver Surfer… you can kinda see why this was a risky move on their part.

But oh boy, did it ever pay off. Rave reviews, audience love, and people hyped for more… it’s safe to say that Guardians is one of the best films in the entire MCU, and it really set itself up as a nearly impossible act to follow, which is all the more impressive seeing as it came after Captain America: The Winter Soldier, ANOTHER very tough act to follow. So, now that we have all this context, why are Peter Quill and his rambling gang of space jerks so endearing and enjoyable? Well, here’s the story:

Peter Quill was a young Earth boy taken in by the alien Yondu and his band of Ravagers on the eve of his mother’s death by brain tumor. Decades later, Peter is all grown up and calling himself Star-Lord, and is now about space pirating. Unfortunately for him, the latest trinket he stole (and left Yondu out of the loop on) is something that the Mad Titan himself, Thanos, is looking for. Thanos sends his daughter Gamora out to retrieve it, and at the same time, bounty hunters Rocket and Groot decide to take Quill in for the price on his head. All of them fight and end up in prison, where they meet Drax the Destroyer, a man who desires vengeance against Ronan the Accuser, a fanatical Kree renegade who serves Thanos. These unlikely allies decide to team up to escape the prison they’re trapped in and head off to sell the object for massive amounts of cash; however, Ronan is hot on their tails, desiring the object for himself. Can these knuckleheads stop bickering long enough to make some big bucks, or is Ronan going to destroy them all?

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The following comments of these characters are made by Producer Arai. 

Yagami Taichi- His earnest, straightforward side basically hasn’t changed. However, that side is naturally not the same as it was when he was in elementary school. Right now, he’s able to see all sorts of situations from an objective point of view… that’s why he’s growing up worried and troubled a lot.
Ishida Yamato- His love for his friends and his little brother hasn’t changed. He still loves music, and he’s still earnest about the things that he likes. The proactive, matured sides of him that you will chance to see from time to time will have an affect on the story, so please look forward to it.
Izumi Koushiro- His zealousness at pursuing something that has his interest has not changed. In this story, you’ll get to see the boy he was as 10-years-old now grown up as a high schooler, plainly seeing parts about him that are part of a “typical boy” maturing into his teens.
Kido Jou- He is a serious-minded guy, so naturally his personality doesn’t have big changes. However, for this series, his ability to remain sincere/faithful may cause him to feel pressure about himself. Of course, he continues to study hard as he has every series in his school studies!
Takaishi Takeru- He receives plenty of love from his big brother, while being quite the popular guy among girls at school. I believe that he’s gained good people skills and is adept at handling friendly relationships. He has a blog, and you can see hints of his future where he becomes a writer.
Yagami Hikari- She is as usual a “big brother” child who always has Taichi on her mind. Her strong sensitivity towards Digimon is still the same, so it may be hard to discern large changes for her at first. She continues with photography.
Takenouchi Sora- I think she’s enjoying her teenage years the most normally of them all, among the gang. You’ll see how the energetic girl who loved sports changes her interests little by little to more feminine things fitting for a woman at her age.
Tachikawa Mimi- Her free-spirited ways and innocence haven’t changed. In fact, they may have gotten even moreso since her life in America. Please watch how her active, light footwork will get involved in the plot.

Although the Digimon evolve, they fundamentally exist as everlasting computer data. Unlike the children who have grown into high schoolers, the Digimon have not changed at all. I would like you to view the contrast of both sides in their conversations.

Translation for interview with Hanae Natsuki (voice of Yagami Taichi) behind the cut.

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MTVS Epic Rewatch #106

BTVS 4x17 Superstar

Stray thoughts

Suggested soundtrack to listen to as you read this recap (CLICK ME)

1) "I don’t care if it is an orgy of death, there’s still such a thing as a napkin.“ AMEN.

2) 

So, basically this episode is what fanfiction would look like if it made its way into the show that sparked it in the first place, right? Jonathan represents the outsider, the spectator, the fans who are always watching the action and craving to be in the midst of it, to be a part of that world he only gets to watch from afar, to fit in with the people he admires the most. So he wishes himself into that world, he writes himself into that plot. And of course, let’s be real, if any of us had the chance to do such a thing (and I’m sure some of us have actually done it…), if you could write yourself into your favorite story, how would you do it? Would you be your same old regular self? Would you be flawed and ordinary, a minor character that occassionally pops up in the background? Or would you be the hero, the one your favorite characters look up to and respect and lust after and go to for help? No one wants to be an extra in their own fantasy…

What’s even more fascinating about this episode is how the other characters are written, because it’s a mixture of how Jonathan perceives them and how he would “write” them to make himself fit into the narrative of the story he’s only been a witness of so far. I’m sure in this alternate reality he created he was the one that stopped Buffy from committing suicide in the clock tower, and not the other way around. Because he got the chance to write the best version of himself he could have.

3) Let’s appreciate the opening credits for this episode, okay?

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anonymous asked:

What is Leverage about? And does it really have a canon polyamorous relationship?

Oh, anon! Come to the wonderful joyous bosom of Leverage, I have watched all five seasons of this show three times through without skipping an episode and sometimes wonder when my next rewatch should be, that is how good it is.

Leverage is the story of five thieves stealing from and pulling cons on the rich and powerful and evil in order to give back to their victims. The team is led by Nate Ford, who is unfortunately the least compelling character on the show but who still gives me feelings. He’s a mastermind trying to walk the line between “honest man” and thief, he deals with alcoholism (poorly, but the narrative never shies away from showing and acknowledging that his choices are poor), and he gathers this family around him. Sophie Devereaux is the grifter, able to put on someone else like they’re a perfectly tailored gown she’s wearing–and who deals with all the questions of identity inherent in a talent like that.

Then there’s the OT3 (more on the canon-ish status of that soon). Eliot Spencer is a growly, terrifyingly competent man who does a lot of beating people up but hates guns, and who protects his team and feeds them and does a lot of the home-building of it all, along with Sophie. Alec Hardison is a genius hacker who unfortunately gets mistreated by the show sometimes but who is also so sharp and so kind and so glad to have this family. Parker is a thief who can steal anything, and she isn’t great with people in the beginning, but she has one of the best character arcs I have ever seen in my life.

Really, in general, it is the best group-of-misfits-becomes-a-family show I have ever seen.

Now, as for the canon status of the OT3, which is a complex question. Two members of it are canonically in a really really well-done relationship, for one thing. But all throughout and ESPECIALLY in the final season, the last character in the OT3 is–well, he has the occasional one-episode love interest, but he is very clearly part of their unit. There’s an episode that’s just the three of them and it’s the most poly thing I’ve ever seen (which contains the words “for better or worse, we change together”) at least until the finale (which contains the words “till my dying day”).

That being said, within the text, the third member never kisses the other two. He doesn’t express overt romantic interest, there’s never a love triangle where he shows interest in either of them, it’s not the relationship cues we’re used to seeing on our screens.

But, like, the creator almost-confirmed a while ago and apparently actually confirmed now, so I am going to take that and run with it!

christinapeneva-deactivated2015  asked:

Why does everybody think Moriarty is alive? All we saw from him was a picture on a screen with a distorted voice. Wouldn't he have made a video again? What if Mary is following a set plan by Moriarty and Sherlock leaving wasn't part of the plan so she fabricated Moriarty's return so Britain would need Sherlock again. As in Mary is the gamemaker even if with a little help from dead Jim.

Well…I’m not really the best person to ask about the actual plot part of the series. The clever twists and turns of exactly who is responsible for what and how they do it is not my forte. I’ve always been in the, “I don’t care how you did it, I want to know why,” camp.

I like your idea, that Mary may simply be following some master plan of Moriarty’s, even though he’s actually dead. But personally –and this is totally just my theory, I don’t have a ton of evidence back it, it’s just my intuitive gut feeling based on what I’ve gleaned from analyzing the general meta-data (none of which I’ve posted because it’s all just partially finished at this point)…my guess is that he’s alive.

Here’s why I think this:

Moriarty made it clear from the get-go that he liked Sherlock. A lot. When the cab driver called him a “fan” it sounded sarcastic, but I’m really not sure it was. Jim’s first texted words to Sherlock were “Hey sexy,” and his first spoken words to him (as Moriarty) were, “Is that a gun in your pocket or are you just happy to see me?” The first time he met him (as Jim from IT) he gave Sherlock his number while intentionally dressing in a way that screamed, “I’m gay and into you,” so loudly that even sexually-oblivious Sherlock got the message. I tend to agree with loudest-subtext-in-television when she says that the most obvious reason for why Jim looked and acted so attracted to Sherlock, was because he was literally attracted to Sherlock. 

That said, I think that Sherlock only just realized in His Last Vow that Moriarty’s primary motivator for tormenting him was his deranged affection. In the Sign of Three it was a shock to Sherlock when he realized that John was in love and attracted to him physically, and I think it was probably a big enough surprise to prompt him to reevaluate the behavior of others in his life this light as well…including Moriarty. After all, if it was possible for John, it’s possible for anyone.

In The Empty Hearse, when John asked who put him in the bonfire, he said, “I can’t see the pattern, it’s too nebulous,” but I think it all falls into place for Sherlock as he’s lying in that hospital bed. Mary is working for Moriarty. It was the last piece of the puzzle he was missing.

Moriarty had to realize that Sherlock might survive whatever his plans to kill him were, regardless of if Moriarty actually died or not. Sherlock thought that Moriarty was dead, so he sold his own death to Moriarty’s network via John because everyone in the world would look directly at him for confirmation. But it was inevitable that when Sherlock resurfaced, if he resurfaced, he’d make a B-line right back to John.

Because of this, I think Mary was sent to get close and keep her eye on John, whatever commitment that meant, however far she had to take it. Despite the fact that Mary did technically manage to kill Sherlock, I don’t think she actually meant to because I think that Mary’s primary function is to help Moriarty “burn the heart out” of Sherlock. Could she be doing it all? Could Moriarty be really dead? Sure. The thing is, though, that Sherlock’s behavior suggests that he thinks there’s someone over her, still pulling her strings.

After he’s shot, Sherlock immediately makes up and feeds a story to Mary that she can use IF she chooses to stick to her role as someone who loves John. At this point, Sherlock knows she’s a killer and has probably made the connection back to Moriarty. If Moriarty is dead then there’s no real reason, apart from loyalty, to keep up the farce. If she’s really motivated by keeping it all a secret from John, killing Sherlock is the way to go. It is THE smart choice. The fact that she doesn’t suggests to me that there are consequences if she does that. Remember, Sherlock only returned because he was confident that he’d taken care of Moriarty’s network. He may have missed Mary, but it’s unlikely that there are a lot of other members lingering around out there, making sure she follows orders…yet she’s behaving like she’s trying to salvage a plan that’s gone wrong, in any way possible.

I think that she gave her passionate love as a last-ditch excuse, and Sherlock ran with it. He adapted and fed her some lines, some excuses, that she could use if she wanted to keep playing John’s wife, and she used them. He also did all of it with John listening, to make sure it was something he could get John to swallow. 

Honestly, I’m not at all convinced that Mary’s actually in love with John. She may be, I suppose, but I’m genuinely unconvinced. I definitely don’t buy that she’ll, “do anything to stop him from leaving her,” because he didn’t speak to her for two straight months and she was okay with that. She didn’t freak out, she didn’t go psycho-wife on him and start threatening him, or clinging to him, or anything else desperate like that.

I think that Sherlock is pushing John at Mary, NOT because he’s afraid of what she might do to him if he leaves her, or because he needs someone to protect him in his absence, but because just like he NEEDED John to convincingly act like Sherlock was dead, he NEEDS John to act like he chose Mary over Sherlock, because that’s what Mary was supposed to do –come between them. Sherlock needs John, yet again, to sell his cover story. To make Moriarty think his plan is working.

Sherlock has grown a lot as a character this season, but he’s not a different person. I’m absolutely certain that he doesn’t believe the stuff he sells to Mary. One thing in particular struck me from the very first viewing, and hasn’t faded in significance. When John says “You’re an assassin, how did I not see that?” and Mary says, “You did see that, and you married me, because he’s right,” Sherlock gets this look on his face. He opens and closes his mouth and looks really unhappy. At first I thought it might just be Sherlock getting emotional over hearing John’s love confirmed by the person he chose over Sherlock, but I really don’t think that’s it. I think it’s that he really hates that John has to shoulder the weight of Sherlock’s cover story yet again. He now appreciates just how much of a toll it takes on John, and hates that he has to take the blame for something that isn’t his fault, but he has to because that’s the only way Sherlock can keep Mary in position. 

It’s not that he actually feels like he’s unworthy of John, or believes that Mary’s better for him. He just needs John to sell it so Sherlock can do exactly what he did last time—make Moriarty believe he’s won. It didn’t work last time, obviously, but that’s not because the plan was flawed, it’s because Moriarty set up precautions and Sherlock fell right into that trap.

Remember, Moriarty is the man with the crown. He can get anything he wants any time he wants. He wouldn’t care if Sherlock destroyed his network. He could get everything back, if he needed it. He wouldn’t mind losing it all if it meant he could keep playing with Sherlock.

If what Moriarty was really trying to do was drive Sherlock away from John, if Sherlock literally walks away from him, then it becomes Moriarty’s turn to make a move. Now that Sherlock has made it look like John is out of the picture for him, and has killed an unarmed man in cold blood, Moriarty feels confident that Sherlock’s heart has been successfully removed, which means he can finally get Sherlock on his side. Or on his dick. Whatever it is he’s aiming for.

I think when Sherlock gets on that plane, he is NOT going off to die. He’s using that as a cover, just like jumping off the roof. Same situation, different scenario; faking suicidality for the purpose of fooling Moriarty. I think that he had to go through the motions of going on a suicide mission because he had to wait for Moriarty to make his next move, and that both he and Mycroft were surprised that it happened so quickly. “I’ve only been gone four minutes.”

So yeah, it sounds crazy, I know…but I swear to you. Since rewatching the series from the perspective laid out by LSiT, I swear to god I cannot see it in any way other than an enormously complicated, chess-game themed love story. That’s what the meta-data suggests and until proven wrong I just won’t be swayed. 

Mary really could be carrying out orders from a dead Moriarty, but that would be really unsatisfying, in terms of how love stories usually pan out. It would feel rather anti-climactic. But you never know. The writers of this show are all total fucking geniuses, by my mind, so I never presume to know exactly where they’re going. They may take the climax in an entirely different direction and will undoubtedly do it well, so…I guess we’ll just have to wait and see.

Oh, and I apologize for how long this got and how rambly it is. It was all written well after midnight…