there was no obvious indication on why he would be compelled to write that

Natsu - NaLu Theory

I feel like there is a lot of frustration over NaLu not becoming cannon recently. I am going to write a character meta-analysis of both Natsu and Lucy which will help explain (I hope) why NaLu won’t happen until both characters overcome/realise this:

1. Natsu is dense when it comes to romance/love and he won’t realise unless it becomes undeniable/obvious.

2. Lucy gets over her unrealistic ideals prince charming or her knight in shining armour expectations. She is a hapless romantic and naive when it come to love. (Note: this is not me bashing Lucy, it’s just a reality of her character. I think she has gotten better recently but I will do another analysis for Lucy)

I haven’t gone in-depth into every single scene because this was getting too long. If you would like to know my thoughts on a particular scene, please don’t hesitate to ask. I love a good discussion ;)

In regards to manga panels, there were more I could put in as evidence. I chose the events I thought illustrated my point the best. This took me a few weeks to compile between uni and life in general, so I hope you find it interesting.  Please keep in mind, these are my observations and I am not bashing any characters or ships.

Natsu and FT

Erza is a mother/sister figure to Natsu, she is essentially his female role model who taught him how to behave around people, showed him a motherly/sisterly love (I think it’s a combination) so she’s the role model he will fall back on when he’s trying to be affectionate with Lucy. Erza is an important supportive role model to both Natsu and Gray.

Examples to prove Natsu’s reaction to Erza is different can be seen by looking at his initial reaction to her being in danger, and his reaction is the same as his reply to Lucy’s question as to whether they should help Gray. He replies that he would want to finish the enemy himself, not to have anyone interfere. Natsu doesn’t apply this logic to Lucy.

You might say that’s because Natsu doesn’t respect Lucy’s ability and that isn’t true he does, but the emotions he feels for Lucy compels him to protect no matter what. Even if he knows she can protect herself. The panel above is a key example because it was a lighting fast reaction to protect who mattered the most to him (keeping in mind Happy and other friends were there but it’s Lucy he covered with his body). It is the split-second decisions which I hold in high regard, due to the fact they reflect a person’s true feelings. 

If you want to read more about my thought in regards to Natsu, Lucy and Happy —-> Link

After the Tenroujima fight with Kain, Natsu’s behaviour towards Lucy changes once again. This is shown in the Grand Magic Games (GMG). I believe during the fight with Kain, Natsu subconsciously fell in love with Lucy. However, that doesn’t mean he acknowledges it because he doesn’t think too much outside the moment. This shift in feeling does change how he acts around her, even in general situations. 

GMG

I didn’t watch Fairy Tail for years and I didn’t ship anyone.  I was on the fence about NaLu (is there something, isn’t there?)  it sparked my interest before the GMG arc but there wasn’t definitive evidence Natsu felt the same as Lucy. It wasn’t until the end of Tenroujima and the GMG which convinced me Natsu had feelings for Lucy.

What changed my mind wasn’t the obvious Natsu going to save Lucy. There was a considerable difference in Natsu making his opinion known when a subject/situation concerned Lucy. Which compared to the others who are friends, guildmates and close team-members (Gray, Erza and Wendy) were over-reactions to the situation. Saying this is because of a life threating situation and he wants to protect is a weak argument. In these panels, Natsu is substantially more powerful than the characters concerned. You might say with Yukino that was purely Natsu’s dislike for Saber showing but he is an instinctual person, he would have noticed her mood but it didn’t matter in this case because his priority was Lucy. 

Before this Natsu was not as concerned with what was happening with Lucy, which solidifies my point on Tenroujima being the event that changed the depth of his feelings (note that in the manga neither Natsu or Gray are waiting at her flat). 

Despite Natsu being oblivious to his true feelings (which even a child -Aska- picked up on), Natsu still flirts with Lucy. He even admitted himself that he can’t resist teasing her. And the number one thing emotionally immature guys do when they like a girl? Tease them, annoy them, be a brat to get attention. All behaviour which Natsu exhibits, because Lucy makes him feel comfortable enough to do those things. 

Natsu can be himself because he doesn’t fear that Lucy will hurt him. He’s is used to a gentle Lucy and shows restraint he otherwise wouldn’t when she has hit him (in a serious situation). If it was anyone else in the guild, I believe you wouldn’t get the same reaction. He starts fights with them all the time, so what difference would it make knocking them out.

The fact that Natsu will fight with everyone in the guild, apart from Lucy, is a telling factor that he loves her. He doesn’t want to risk hurting her and as I said before, this isn’t because he doesn’t believe she is strong. When he does bring up the prospect of sparring, it is usually in a playful manner. 

Natsu’s Emotional Growth

I think the problem on Natsu’s side is he’s dense when it comes to romance. Shown by his interaction with Gildarts. 

Indicating that Natsu’s emotional intelligence when it comes to recognising the difference between friendship and lovers isn’t great. Though I have no doubt about his feelings for Lucy are intense because of his different reactions to losing his love interest and losing a beloved friend/family member.

This to me is a desperate man losing a woman who he didn’t realise was vital to his future. With Erza and Igneel he was very sad/aggrieved but he wasn’t devastated. 

As for the breast groping, I don’t give these a lot of credence other than it’s a shonen manga (there’s always going to be fan service like that) and Natsu is a young man who is sexually aware of the girl he likes. Lucy is grown woman capable of making it known what she feels about that.  And she does, the first time she punched him.

Considering current events in the manga, I don’t believe NaLu will happen until Natsu’s role within Lucy’s life is challenged in some way. Natsu knows that he wants Lucy in his future, he wants things to be the same with them going on adventures. They are best friends, it’s natural. However, it wouldn’t be the same if she were to go out with another guy. Yes, they would likely stay on the same team but he wouldn’t be able to continue the same behaviours. 

I believe Natsu has come to depend on Lucy emotionally (in a good way). He seeks her out before significant events and feels most secure when he’s vulnerable by surrounding himself with her. Lucy provides him with a different kind of care and affection that isn’t provided by other guildmates, which is why he chooses to spend most of his time around her. Another reason I think he finds this in Lucy is the start of the manga.  

At the beginning, he says ‘I chose you’ and the way Happy explained the way teams worked, it sounded like Natsu didn’t work well in teams before Lucy arrived. Plus, Natsu is always reminding that her presence on his team is essential. Erza and Gray come and go (they pair up with other people) but Natsu and Lucy are always together by choice.

He is sensitive to her mood and when she is upset, he knows it and it throws him. Especially if it is him who upset her. Any other time he has a nonchalant attitude but with Lucy, he feels the guilt.

He won’t be able to be ‘more than friends, less than lovers’ if she were to marry another man. If she had a boyfriend he wouldn’t be able to crash around her house, play games, sleep in her bed, eat her food, go through her draws etc. Which is why Natsu will need an event that triggers this realisation before NaLu will happen. There will be more angst because angst is essentially the hard lessons the characters need to learn. No emotional events, no story progress.

I have considered the possibility of this event being Lucy’s perceived death but I’m not holding my breath. I still think he has some more growth to go before NaLu happens. I think this is good because it means Mashima pays attention to character growth and development, if the character isn’t at that stage then it shouldn’t be forced. The slow burn is why I like NaLu, seeing two individuals develop an unconditional love and it’s beautiful.

Thank you for reading! <3 xx

anonymous asked:

Why do most of the fan base hate Pontac and Graff writing so much?

I think the main point of consternation regarding P&G is that they simply don’t have any real touch for writing Sonic, both it’s characters and it’s tone and themes in general. The way they write the games….doesn’t make them feel like Sonic games to me…at least.

The humor isn’t Sonic-esque. It’s childish, unsubtle and generally unfunny. Much of the humor is akin to dangling your car keys in front of an infant to make it laugh. Some instances of comedy do hit the mark (Such as the “bonehead” line in SLW) but that’s the exception, not the norm.

The narratives are lacking themes that added weight and meaning to past stories. There’s no messages that enhance the story. And palpable attempts at such (SLW’s “Trust your best friend’s capabilities”) fell ass over head due to how badly executed they were.

Pontaff set-up plot points…then promptly ignore them, failing to give any due attention to them. Need I mention the odd “Yacker goes missing!” plot point in Colours that comes right out of nowhere, is hardly mentioned and then you see Yacker come out of nowhere without any harm done to him and no focus given to how he got away from his alleged predicament?

The bad writing in general even afflicts the main villain. Dr Eggman is a blowhard for the most part whose never taken seriously instead of being a proactive threat whose capability for destruction was respected and acknowledged (Need I mention Sonic’s line “You’ve turned into a big time villain doctor!” in SA2?).

The characters just don’t do anything interesting the majority of the time. For the most part, they stand around doing nothing and making idle chit chat.

That’s boring see?

Generations is terrible with this in particular with the four most promiment characters prattling on and standing around in most cutscenes and everyone else merely standing there in the cutscene in which Classic Eggman first appears and egging on the injured Sonic’s instead of, oh I don’t know, ganging up on the Eggmen themselves. The characters are inclined to being very active….so why the fuck do they loaf around doing next to nothing under P&G’s pens the majority of the time?

There’s just nothing about their writing of the series that indicates a good gain overall. Especially when compared to what we got before their tenure as writers. And no, when I say “What we got before”, I’m not referencing the likes of Shadow and ‘06.

I think one of my biggest criticisms personally is how they portray Sonic himself. As a massive Sonic aficionado, I could almost weep a bit at seeing what he’s become, the degree to which he’s been flanderized, how much he’s been derailed into carrying the tone first and foremost. It’s not as bad as his writing in the likes of Chronicles, ‘06 and Shadow (The first of which portrayed him completely OoC, the latter two of which treated him like total shit) but it’s absolutely nothing special either and is such a downgrade especially coming so soon after Black Knight, the game which is his most supreme portrayal in any Sonic media in my opinion.

I mean…

He rambles on and on obnoxiously instead of actually getting right to it.

Sonic is a man of action. He gets his hands dirty pretty much immediately instead of letting things such as injustices linger, a trait in-line with Naoto Oshima’s intention for him to be a guy who has a “Get it done now!” attitude. This has the additional effect of making his speech and actions have gravity because they’re carried out with speed and finesse.

Want some examples?

Look at him. He’s not standing by and making idle chit chat. He’s doing what he does best with such incredibly cool flair. And in most of these instances, he’s putting-across his cool factor without single word rolling off his tongue. His character has impact, this guy gets shit done. He doesn’t give a toss about what anyone else thinks about how he carries himself and what he does, he’s flashing that toothy grin with supreme confidence and he executes his actions with the utmost deftness. In other words, he’s acting like I expect SONIC THE HEDGEHOG to act.

Now compare to…this highly irritating intepretation.

See how the Sonic above the above image acted as if his awesomeness was obvious? This timeless trait of the character’s personality has been completely passed-over here, ignored in favor of this obnoxious braggart who acts akin to a child whose screaming for attention, asking for others to actively acknowedge what he does and even acting put-out when he’s caught in the act of boasting.

To me, a convincingly-written Sonic would not realistically do the latter if he was caught in “embarassing” behaviours simply because he wouldn’t care enough about what anyone said or thought about his actions to be adversely affected by it. Chances would be that he’d just laugh along with it instead of acting ike he’s ashamed of himself. That’s one of the likable things about Sonic to me at least - He’s capable of laughing at himself but ultimately has no regard for what people think of how he acts.

It degenerates Sonic’s character because it consumes him and deprives him of his edge, shunts him onto a role that doesn’t do him justice. In Colours, whenever he meets a robot, he goes on and fucking on about how he’s going to kick their asses and it falls completely flat because he’s getting no response and makes him look like a weirdo. It even gives me the impression that this Sonic seems to think deep down that he’s uncool and is insecure about it then goes about being an obnxious braggart to conceal it.

It also has the effect of screwing-over the story as well because more scene time in dedicated to these irritating shenanigans and LOL SO RANDUM “humor” than actually expanding on established plot points or making the story more varied. So not only are Pontac and Graff screwing-up Sonic’s writing, they’re  screwing-up the rest of the story in doing so. It’s such a vicious cycle.

You don’t see the interesting aspects of Sonic’s character anymore

In relation to the above, Long gone are the days when you saw Sonic exhibit either somewhat profound beliefs or a level of complexity such as his pragmatism in Black Knight, not caring if everyone considered him a bad guy for stopping Arthur’s tyranny by killing him and in addition his viewpoint that life would have no meaning if it went on forever, hence his opposition to Merlina even though her plan would’ve stopped the end of that world.

How about the revelation in Unleashed that it wasn’t just his sense of guilt regarding landing on top of Chip that compelled him to help him? He didn’t need a reason to want to help out his friend. Or his palpable upset/shame at Amy failing to recognise him in Werehog form?

This sense of….how do I explain it? This sense what makes Sonic such an intriguing character, the feeling of agency to his character, the drive that he had to do what he chooses to do without regrets is largely ignored in 2010+ Sonic, leaving a far flatter character who simply isn’t as interestingl. Sonic has lost alot of his heart. And it’s a crying shame.

So yeah, whilst P&G’s handling of the series isn’t Shadow, Chronicles or '06 bad to me, it’s nothing remotely remarkable either and is absolutely no standard that is ideal for the series and what it should abide by.

Things I Learned From One Season Writing on a Show

So, as some of you may know, I got my first real staff writing job a little less than a year ago. In exactly one week, my job writing for season 8 of Regular Show will be over, and, as of right now, I have no idea whether there will be another season. If there is another season, there’s always the question of whether or not they’ll hire me back. I hope they do! I THINK they will. But nothing is 100%, and it’s possible I’m not QUITE as talented and charming and smart and wonderful as my parents would have me believe.

I’ve never been super worried about getting jobs. I’m an eternal optimist, and I’m pretty good about keeping the mindset of “something else will come along,” in all aspects of my life, and now is no exception. I would love, love, love to be hired back, but if I’m not, I’ll continue to do what I’ve done for the past 12+ years in LA and plug away like a tiny, Italian, little engine that could. 

I really dug my time working on the show, and not being picked up for another season wouldn’t dampen that enjoyment at all. If anything, I can take what I learned to my next job, and so I decided to write this about some of the lessons I’ll take away from this, if only to remind myself of them again at some point down the line. Maybe these things will help give a few aspiring writers some perspective, or help them when they find themselves falling into some of the same traps. Maybe it won’t, and I’m just a super egomaniac whose sense of self importance could rival Donald Trump’s. Either way, at least I’ll have accomplished something today other than taking too many photos of my cat!

1.) Stop it with the self doubt

When i first got hired on Regular Show, I was ecstatic. Such a cool show to work on! Such an awesome place to work! Such rad people to work with! Then the self doubt started to creep in. The biggest one, which is often in the back of my mind, and which I blame on a combo of societal bullshittery and a few assholes I’ve encountered in the past for, is always, “Did I get this because I’m a woman?” Someone once told me, “You’ll never be able to be completely sure you didn’t get hired for something just because you’re a cute girl.” Yeah, it’s a crappy thing to say, and basically discounts any talent I may have, but he was just echoing something that a lot of women in entertainment are afraid of, and a lot of men legitimately believe. We all know there aren’t nearly as many women getting hired in entertainment as men, and it’s a running joke on many TV shows that women get hired because, well, they’re women. The Comeback called it out brilliantly in an episode in which Lisa Kudrow only remembers a former writer on the show because the woman says, “I was the girl writer?” Still don’t believe this is a thing? Here’s a clip from Family Guy where they talk about Meg being the only female writer on a show Peter is developing:

https://www.youtube.com/watch?v=yvXtccC5huQ

Feeling like you got in because you’re a diversity hire and not because you deserved it is obviously not the best, but after a while, I basically took the attitude of “It doesn’t matter why they hired me. I’m here and I’m gonna kick this job’s ass.” Self doubt sucks, but trust that you’re in that room for a reason. There’s a lot of steps that go into the hiring process, and no ONE thing is the clincher for being chosen. The only thing self doubt will do is hamper your creativity, which could lead to a self fulfilling prophecy where you think you’re not good enough, your fears lead to poor output, and then you PROVE you’re not good enough because you’re too self conscious to just trust yourself and your instincts.

By the way, I found out a few weeks into the job that the people doing the hiring read the writing packets blind, meaning without names or anything identifying about the writer, and every single one of them chose my writing packet, and the other writer they ended up hiring’s writing packet, as the best in the bunch, so my fears were completely, 100% unfounded. Trust yourself.

2.) Everyone else around you has the same worries you do

So before I got hired on Regular Show, I wrote an episode of The Powerpuff Girls. A few other writers did as well, but the show runners could only hire one, and instead of hiring me, they hired my amazing, talented, smart, funny friend, Jake. I was happy for him, and he’s kicking much ass writing on that show with my other friend, Haley, who was the one who passed all of our writing packets on in the first place. I definitely had more than a few moments of worrying that my writing hadn’t been as good as Jake’s, or I hadn’t been as compelling or dynamic in the writer’s room as he had, but I put it behind me and took another writing gig, and then got called in a few months later again by the Cartoon Network people.

Going in to interview for Regular Show, I realized I was up against another friend, Patrick, for the gig. He’s a hilariously talented writer, and definitely had more experience than me, so I figured I was doomed. They ended up hiring both of us, luckily, and then I was worried that I wouldn’t stack up to Patrick’s skill level (here’s that self doubt thing again!). 

After a couple of months, I found out Patrick had similar fears. I’m a fast writer, and was sending in outlines before he was, which made him nervous (when really, there was no hard deadline for these, so it didn’t make any difference). When we were both given our out dates for work, he checked in with me to make sure that they were the same. He was concerned they had maybe decided to keep me on longer than him, which would have been a bad indicator, in his mind, about who they’d be hiring back, if there was a 9th season.

I also later talked to Jake about the gig he got instead of me, and he said that for the first few weeks, he was worried he wouldn’t do a good job, and the higher ups would say, “We should have hired Gina instead of this guy!” He thought they’d wake up one day and realize they made a mistake, and would fire him and hire me instead. Basically, what I’m saying is, don’t assume everyone else is thinking they’re the shit, and totally deserve to be there, and that they got this and can do whatever they want and everyone will still love them. In fact, in my experience in comedy and entertainment, only true assholes think they’re the shit all the time, and those people rarely end up getting hired. I mean, there are obvious, famous exceptions to this rule, but at the lower levels, no one wants to work with an asshole. They save that for the guys who make the big bucks.

3.) Enjoy it while it lasts, but also plan your next move

You should never be so overcome by thinking about what’s next that you can’t enjoy what’s currently going on, but it’s always good to be thinking in some way about your next move. Working on a show is super fun. You get free food and free swag and you get to go to screenings and meet funny, like-minded, interesting people, but you’re also there to hone your skills and build your resume.

I’ve seen a lot of writers get staffed or sell movies and be lauded as the next hot thing only to be broke and jobless a few years later. Nothing lasts forever, and especially in TV, some things have a VERY short shelf life. Never rest on your laurels just because you have a steady paycheck coming in. Keep collaborating and saying yes to other opportunities (as long as they don’t negatively impact your current gig in any way), and this way, when the job does inevitably come to an end, you have other options and avenues to explore. Not to sound too much like an inspirational framed needlepoint with a sunset watercolor behind it, but stagnation is the death of creativity. Once you stop working and planning and making things, it’s hard to get back into the groove again when you really need to. There’s always someone else there who’s been working diligently on some project who can easily slip in and get the next job that you really wanted.

Over the past few months, I’ve taken two other temporary writing jobs that I did simultaneously with Regular Show for short periods of time. I didn’t do it because I needed the money. I did it because I love to write, wanted the experience, and it filled out my resume. I also pitched a show with Haley to Cartoon Network, which, even if it doesn’t end up going forward, I had a lot of fun working on and honed some creative muscles with a good and talented friend, which is never a waste of time.


So, wish me luck on whatever it is that’s coming next, and good luck to all of you who are doing awesome things. Even if you feel like you’re floundering now, keep at it and don’t doubt yourself. I floundered for years before anyone paid me, and will continue to feel like I’m floundering, on and off, for the rest of my life, possibly at some times when I’m eating flounder. Flounder.

Also, never, ever forget how much Michael Bay sucks.

jaydragonmite  asked:

I noticed that someone is bringing up the "Remembrances" episode, trying to say Korrasami is bad writing; about how most of the episode is focused on Mako and should've ended with Mako and Korra together. It really bothers me because the person clearly didn't pay attention to the previous episode (AND BOOK 3) which was Korrasami heavy and I don't want to bring this person into the crapper, so I'd figure I'd get your opinion. What do you think of Mako's part in that episode?

This is a really good question, and I’m glad you asked because I wanted to gush about Mako for a little bit. I was never his biggest fan, and BOY did he shock me in the best way possible in the finale. Who’s ready for another novel? Gah.

Mako’s Character Arc & Role in Remembrances

I think saying “Korrasami” is bad writing is kind of like saying “I don’t enjoy romances.” Which is fine, that’s valid, that’s totally valid. I’m not a huge romantic myself, and there’s certain romance tropes that make me gag. But my intense Korrasami analyses are a testament to how strong I personally find this narrative. It’s not a typical romance trope, and it’s one that is entirely built upon character’s emotional needs and balance. I think it’s really well-scripted, and going back and watching S3/S4 with it in mind (S1 didn’t have the end game in sight, and S2 had a hilariously side-lined Asami) really lets it shine.

No no, back to the compound for you, Asami.

Keep reading

The Mysterious Case of the Johnlock Signposts --

Written by Xistential Angst after Season 03.02 “The Sign of Three”

As a writer of both commercial m/m romance fiction, and some serious johnlock fan fiction works, including the novel length “Great Sex Olympics of 221B”, I have always, since episode #1, been interested in the romantic and sexual aspect of John and Sherlock’s relationship in BBC Sherlock. 

From that very first episode, fans were given two great-looking, compelling actors who had major chemistry together—not to mention the ‘eye sex’, winks, sexual orientation convo in the first diner scene, everyone assuming they’re a couple, and other leading, slash-inducing moments.  And I’ve enjoyed all the creative johnlock fan work that’s come out of that.

However, it was always my assumption that it would always be subtext, but never ever text.  Some call it “queer-baiting” to write in so much subtext without any intention of ever resolving it, but as a writer, I would say it’s merely a way of making their bromance compelling, to have that sexual tension there, even though it is never acted upon.  Isn’t that what a whole lot of shows do these days?  The networks write innuendo and the fans fulfill it.  It’s SAFER that way because to have a show with actual gayness in the leads is risky.

SO I never expected we might one day see johnlock (and by that I mean a sexual romantic relationship) become canon on BBC Sherlock.  And most viewers don’t expect it either.  What are the arguments against?

  1. Sherlock is asexual in the show’s canon.
  2. John is not gay in the show’s canon.
  3. It would be the end of the road.  This is a long running series.  Everyone knows once characters actually consummate their relationship, the energy of the show diminishes (Moonlighting, anyone?).  Hence, odds were it would never be resolved.
  4. It would take balls of steel.  This is a major show on a major network and they’re the leads—and it would be gay.  It’s fine these days to hint at gayness, titillate the female audience into writing reams of slash.  But would the BBC really dare to actually have Watson and Holmes kiss?  Wouldn’t that cause huge public outrage from a large portion of the public?
  5. The creators and actors have both adamantly denied it.  Yes, to the point of making it sound like a ‘ludicrous’ idea, which pisses off fans because the show has put in such obvious chemistry between the two characters it feels like disingenuous ‘queer baiting’ to deny it.
  6. It’s not ACD canon. That’s just not how the story goes, folks. Sorry.

After seeing TSoT, and reading many of the brilliant meta analysis on the episode (I reference them in this post), I have changed my mindI think johnlock is going to be canon.  And I cannot express how delighted and impressed I am with this realization.  To take each point above.

Obstacle #1  SHEROCK is Asexual

The biggest obstacle to me, as a writer writing Sherock/John romance stories—that is to say, the biggest impediment in terms of story (ignoring politics, sales, etc) to John and Sherlock getting together in a full sexual/romantic way has always been Sherlock.  And this is one reason why many people deny it could ever happen.

  1. Sherlock is all about ‘the work’.
  2. Sherlock is asexual—his body is ‘transport’, he doesn’t have those kinds of needs or feelings.
  3. The one time Sherlock did show any sexual spark was with Irene Adler, a woman.

I would have agreed with this prior to season 3, sadly.  Though there are certainly hints in S1 and S2 that this is not entirely accurate.  But let’s look at each point in the context of S1-3.

  1. Sherlock is all about the work.  Yes, in S1 and 2.  But in S3, he is not.  Even in S03.01 (TEH) he is no longer the laser-focused, brilliant detective from the past.  He misses things, he is distracted, he’s not himself.  He can’t solve cases. He is more focused on John than on work.  And in S03.02 he has gone completely over to that side. He ignores his ‘overflowing inbox’ in order to make seating arrangements for the wedding and fold serviettes.  He is essentially saying John is now more important to me than work.  It is shocking, really, and seemingly OOC.  That’s one reason why I think people feel Sherlock is ‘not the same show’.
  2. Sherlock is asexual.  We have seen in BBC Sherlock a mirror of this with the ‘sociopath’ label.  We all know Sherlock is NOT a sociopath.  A sociopath has no real feelings for other people and Sherlock does.  And by the end of TSoT he not only has feelings, he admits them in public.  In his wedding speech he says that John is “sitting between the two people who love you most in all the world”. And he means it.  I.E. Sherlock not only admits that he loves John, he admits it to the world out loud.  Hence, not a sociopath. Similarly, in TSoT we see that he is also not asexual, or at least not anymore.  In TSoT there is a brilliant meta about Sherlock coming to terms with his sexuality via the Mayfly Man case and the mind palace courtroom scene.  He comes to term with a) being sexual, b) being gay and c) being in romantic love/lust with John.  I won’t repeat it all here, but it is critical to understanding what’s going on.  (SEE the metapost by 221beemine and my response).  To me, this is the most shocking and unexpected twist in the series yet and the major signpost for Johnlock. Because, as I have said above, it is SHERLOCK, and his lack of sexuality, who was the major obstacle to a physical relationship in the first place, not John.  And that has now been resolved.  
  3. The one time Sherlock did show any sexual spark was with Irene Adler, a woman.  Yes, this is true.  After watching ASiB, one would take away the idea that Sherlock pushes away his sexuality, but the only time he is really tempted is by Irene Adler, which would indicate that he is straight.  YET there were signposts in ASiB that indicate that, while Irene is a trigger which sparks Sherlock’s recognition of sexuality, it is not she that he ultimately wants.  When he awakes and finds himself with Irene in ASiB he asks ‘Where’s John’. And Irene herself tells John that he and Sherlock are a couple.  Ultimately, Sherlock does not go with Irene; he remains with John. And furthermore, any confusion Sherlock has in that regard is resolved in TSoT via meta.  See this metapost by loudest-subtext-intelevision.

 LINKS TO OTHER GREAT JOHNLOCK SIGNPOSTS on TSoT:

  1. Operation Johnlock is a Go by loudest-subtext-in-television
  2. Sherlock ‘dancing’ with John in the mirror at the reception.
  3. The nurse telling her story to John/Sherlock and their reactions
  4. Mary as a good/bad influence (horns, thumbs up/down shirt, lighting).
  5. How Sherlock is equated to the bride in TSoT

CONCLUSION:  By the End of Season 3, Sherlock is proven not to be asexual and is, in fact, romantically, physically in love with John Watson—and he knows it.  THIS IS NOW CANON.

Obstacle #2  John is not gay

To me, John’s ‘straightness’ was always the least problematic obstacle.  Here’s why: 

  1. John from the start is amazed by/fascinated with Holmes.  Let’s review: he moves in with the clearly oddball Holmes at once, praises him at the first crime scene, and by the end of the day shoots a man to save his life.  He has an immediately and serious ‘mancrush’ at the very least.  John so admires Sherlock he is willing to put up with all his bullshit and takes care of him domestically, etc.  John admires Sherlock’s intellectual skills enormously. (Brainy is the new sexy).  And for Sherlock Holmes to be interested in John Watson would be tremendously flattering to John if nothing else.  We’ve seen in numerous episode that John wants and needs to hear that Sherlock values him.
  2. John never says no to Sherlock.  Ever.  If Sherlock needs something, or wants John to do something, he always capitulates in the end.  Part of this is just John naturally following Sherlock’s lead, part of it is John wanting to take care of Sherlock, and part of it is Sherlock’s great ability to manipulate John. So if there was no woman in the picture, and Sherlock put the force of his will on getting John into his bed, what would be the result?  Unless John had a very, very strong aversion to gay sex he would likely capitulate in the end.  The attraction he shows around Sherlock suggests that’s not the case, and even the way John readily gets into Sherlcok’s space in the drunk scene in TSoT “I don’t mind”.  Of course, it’s not so simple because Mary is in the picture.
  3. John is a very sexual and romantic being.  From episode #1 on, John is constantly seeking a liason, with just about any decent-looking female that crosses his path.  Furthermore, we know that he fell for Mary very quickly as in TEH he says it is a ‘bit soon’ to be proposing.  The truth is, John could be with dozens of potential romantic partners.  He is not ‘picky’.  For Sherlock, there is likely only John, but for John it could be Sue, Jane, Mary, or Alice. (And by this I don’t mean to imply Mary isn’t a specifically good match for John, but this is the truth).  So why not Sherlock, whom he adores?  It’s a stretch to switch teams, yes, but for a man with this much craving for sex and affection, and this much flexibility in his partners, it’s not an impossible stretch.
  4. We have hints from the start that John is attracted to Sherlock.  While it’s certainly open to interpretations, entire flotillas have sailed based on the chemistry in the first episode alone.  In the conversation at the first meal, John asks Sherlock if he has a girlfriend or boyfriend.  Sherlock shuts him down, and John then denies he was ever interested, but it’s not all that convincing.  We know that John comes on to people he’s attracted to immediately.  He did that with Anthea in the car that first episode.  So it isn’t surprising he would try to  suss out any potential with someone as attractive and magnetic as Holmes is very quickly, at their first meal, even if John himself is not ready to consciously admit he was sexually interested in ‘a bloke’.
  5. We know that John loves Sherlock very deeply.  His devastation at the end of TRF is much greater than you would expect from someone who has merely lost a friend.  He has things ‘he never said’ to Sherlock. And he tells Sherlock straight-up in TSoT that he loves him the most next to Mary (meaning platonically at this point).  So if he were ever to be open to a relationship with any man, it would be with Sherlock.
  6. John may be being set up as bisexual in any case.  Read this lovely meta about the colors in the pub crawl by Sherlock Meta. Also, I explain the possible other meanings of ‘Hamish’ in this post.

For all of these reasons I would suggest that were there NOT a woman not in the picture, and Sherlock revealed he was sexually interested in John, it would not take much for John to fall. 

For that reason, the writers have put new obstacles in the path of this romance to stretch it out.  Those obstacles are MARY and the BABY.

So What Happens Next?

If you accept the above evolution of Sherlock as a character, that by the end of TSoT he has become consciously aware of his romantic/sexual attraction to John, then the outstanding question is which path the writer’s will take.

Option 1: Sherlock pines for his straight best friend ad infinitum.

In this scenario either John remains ignorant of Sherlock’s interest, perhaps in part due to a forced separation on Sherlock’s end, or he does come to know it but rejects Sherlock as a potential partner (due to Mary or just his own nature).

Pro:

  1. This would be a fairly safe place to go for the show’s creators.  People might accept Sherlock pining for John as long as it never resulting in anything physical like a kiss.  They might be able to justify that as ‘he just misses his friend’ or bromance or whatever.  Pining is open to interpretation and DENIAL is not just a river in Egypt.
  2. It could keep the show going a long time – more crime focused, but with that constant piney/tension undercurrent.

Con:

  1. It’s not very original.  We know from interviews that Mark Gatiss’s favorite Sherlock interpretation is “The Private Life of Sherlock Holmes’, a film which depicts Sherlock as a gay man secretly in love with a clueless, straight, upright John Watson.  So it’s been done.
  2. It’s not particularly modern. This scenario is much more believable in the original ACD canon timeframe, but in 2013?  Would Sherlock pine silently forever?  Would he maybe try to date someone other man?  Wouldn’t he at least admit his feelings to John?  After all, they are no longer considered ‘perverted’ or ‘shameful’.  And such a relationship is no longer ‘the love that dare not speak it’s name’.  The reality is, they could be a couple if they both wanted to be one.
  3. You can only stretch this kind of unresolved tension out so long. Eventually Sherlock and/or the audience would tire of it and he’d have to let it go, or see someone else, or confront it, go back to disassociating himself from feelings, etc.

OPTION 2: John returns Sherlock’s interest and eventually they hook up

Assuming my argument on why it is even possible for John, as a character, to get into a gay relationship, then we still have the obstacle of Mary and the baby and the current dynamic.

I was actually disappointed that in TEH and TSoT we really don’t see John conflicted about marrying Mary whatsoever.  He shows no signs of being ‘torn’ now that Sherlock is back, of wanting to live at 221B.  No, he is completely comfortable with his new life.  Sherlock is his friend, Mary is his love interest, the end.  There is no conflict in John. So how can he have any sexual feelings for Sherlock?

I think John has put the idea of Sherlock as a potential romantic partner from his mind.  Perhaps he has always been somewhat in denial about the nature of his obsessive feelings for Sherlock, because Sherlock is a man.  But more importantly, Sherlock was never interested.  Before he was always very clearly NOT a sexual being.  So John, not being the boorish sort who would press himself on an uninterested party, had every reason to shut the lid on any feelings of his own and throw away the key.  Up until the end of TSoT, John has no reason to think that has changed.

But if John did become aware of it, and he did return the interest (eventually), what would that look like?

Predictions on the Progression of Johnlock if it happens (from a romance writer’s POV)

  1. So at the end of Season 3 we have the following scenario:  Sherlock has realized that he is romantically, sexually in love with John.  John is ignorant of this fact, and he is recently married to a woman he loves (and thinks he is straight). And she is pregnant.  Cue the drama train.
  2. At some point in HLV or S4, John realizes that Sherlock is interested in him that way.  And John knows Sherlock, so he would recognize how rare this is and that it is not a whim.  I imagine this will be quite a shock to John having assumed all this time that Sherlock was ‘above all that’.  And caring about Sherlock, John would also recognize the pain in Sherlock’s position.  This pain may even put Sherlock in danger (from drugs or self-harm).
  3. I imagine something will happen in John/Mary’s relationship to take off John’s rose-colored glasses.  Perhaps Mary is involved with Magnusun in some way.  I doubt she is entirely evil, because that would be too simple, but whatever occurs, it does affect John’s feelings for her to some degree and their relationship becomes strained. Not ended, strained. Again, this is more complex than just ditching Mary as 'evil’.
  4. John then struggles with this knowledge of Sherlock’s feelings and his own less-than-ideal marriage.  At this point, John will have to have his own episode like TSoT, that is, his own ‘epiphany’ where he finally ends his internal denial about the nature of his relationship with Sherlock.  But John is a good man—even if he decides he returns Sherlock’s feelings, he would not want to hurt Mary nor end a marriage lightly.  And there is a baby on the way which makes it even more complicated.  To me, this validates the entire ‘why are they adding Mary’ in the first place.  Because it gives a new angsty obstacle to the romance and one they can milk for quite awhile.
  5. At this point we have unhappily-married-John who wants Sherlock but is committed to staying in his marriage, and a pining Sherlock who wants John, yet they cannot be together.  Angst and UST.  AND STILL TO THIS POINT THE BBC HAS NOT CRUSHED ANY MAJOR HOMOPHOBIC TOES.  
  6. Eventually though, John will have to decide.  Either he wants Sherlock (including that way) more than he wants to be with Mary or he does not.  Loudest-subtext-in-television does a great analysis here in which she makes the valid point that it would be much stronger writing if John has to decide to leave a healthy wife and baby to be with Sherlock.   Killing Mary off and having John go back to Sherlock by default would be taking the coward’s way out. I completely agree.
  7. And then there’s the baby to consider.  Again, loudest-subtext-in-television in the post referenced above makes some good points on this.  I personally am not a fan of parentlock or kids in general in this sort of dynamic, yet it could be interesting. There seemed to be some set-up in TSoT that pointed that direction—Sherlock relating to Archie, the boy.  Sherlock committing his vow to the baby as well as to John and Mary.  It could be quite amusing to see Sherlock trying to deal with a baby.  So let’s say John does leave Mary and Sherlock and John end up co-parenting with her.  Of course, alternatively the baby could be lost and this is just about Sherlock/John/Mary.
  8. The above could well take all of seasons 4 and 5 (or even more, honestly).  Assuming eventually we have a resolution where John and Sherlock do become an actual couple, where would the show go from there?  Again, I tend to agree with Loudest-subtext-in-television’s analysis that the show might become one-offs at that point.  Both actors are hugely popular and hard to schedule.  However, I think they could also get a few strong seasons out of the John-Sherlock  dynamic(with or without a child in the mix) and people reacting to that.  God knows there are a zillion plotlines you could devise for laughs or chills with that pairing.  So I think the future would be open.

Other Arguments Against:

To address the remaining arguments against johnlock:

  1. It would be the end of the road.  Not necessarily and/or that could be the plan.  See my above points on the progression of the series.  But one thing I ADMIRE about British TV is that some great shows had a limited run – Queer as Folk, The Office, etc.  They don’t need to draw things on forever.  This allows the writer’s to do a REAL ARC with a REAL RESOLUTION as opposed to something like LOST which just got ridiculous.  I hope that’s the case here.
  2. It would take balls of steel.  Yes.  It would.  Are we ready for it as a society?  I think we might be, and I think BBC Sherlock could be a huge turning point.  It certainly would be modern and original. Frankly, I really hope they have the nerve to go there.
  3. The creators and actors have all adamantly denied it.  Yes, they certainly had me convinced it would NEVER be canon.  Until TSoT in which Gatiss shows his hand in an undeniable way. Why have Sherlock have his sex/love epiphany it if will never be resolved?   Here’s a good post on why we should not take their denials too seriously.
  4. It’s not ACD canon; it never happened that way.  BBC Sherlock is about bringing ACD to the modern age.  There was always a strong bromance/slash component to ACD only in that era it could not have gone anywhere.  Today there is no such stigma so it would be a brilliant updating of their relationship IMHO.

In Sum:

Will johnlock happen for real?  Before TSoT I would have said no. Now I say ‘yes’.  Sherlock’s side of the equation has already been established so it must at this point EITHER be ‘pining Sherlock’ or johnlock.  Personally, I think johnlock is by far the more sophisticated, braver choice. 

XA

 

 

From an anon…

One of my biggest frustrations is that Hook could have /easily/ had an arc that centered around his mistakes, like Neal’s did. They even set it up with his Bae backstory, but ultimately made that “reconciliation” about Emma without ever addressing it. With Emma, we got just got a generic ‘villain in love with a hero so he wants to be a hero’ thing when he was literally an antagonist toward her for an entire season. THAT could have been interesting if we’d gotten Emma wary of him not because (1/3 she’s wary of relationships, but because her experiences with him have been bad in the past. It could have been used to explore HIS development from viewing her as an enemy to falling for her, but by never addressing this, the whole thing falls on emma’s development 'coming around to him.’ His 'friendship’ with Belle pretty much served to show his guilt at being used by Rumple without once addressing that he’d used her as blackmail, let alone that he’s tried to kill her. His centrics (2/3) create new scenarios (with Ariel and Ursula) to explain his redemption rather than addressing anything that happened when he was functioning as a villain in the narrative. They wanted to get Hook/CS to a point, and rather than use what they’d already done to get there, they dropped and glossed over so much, and in doing so, created some really dangerous implications when those things aren’t given proper weight (3/3)

All of this.

I liked Hook a lot in season 2, and I was so incredibly excited by what the end of that season set up and the prospect of this character development. It was so interested in the storyline that was set up of a man who had failed the one thing he had been pursuing for centuries, who now had to figure out who he was without that obsession, who had to figure out what, if anything, he was good for, and trying to be something better in the memory of this boy he had loved and wronged. I was excited to see Hook develop that way. I was excited to see him deal with his past and try to figure out what his present and future was going to be. I didn’t even mind the prospect of CS.

And then… nothing. There was a little bit in season 3 premiere of him talking to Regina about being a villain and such, and a moment of him remembering Neal with Emma. And that was it. Suddenly, after that, it was forgotten that he’d brought back the bean in Bae’s memory. It was forgotten that he had been on this revenge quest for centuries and now had now idea what to do. His entire character from season 2 was forgotten and it became all about Emma

And it makes no sense. There was nothing hinted at during season 2 beyond attraction. There was nothing that remotely indicated that he was falling in love with her, that he wanted to be with her, that he felt anything for her beyond frustration that she was constantly in his way and perhaps physical attraction. And absolutely nothing from Emma outside of not liking him, and rightfully so, because of the things he had done to her.

And then season three started, and out of nowhere Hook is in love with Emma. He wants to be with her and he’s going to change everything about himself for her. And out of nowhere Emma has feelings for him, based on absolutely nothing, and her reluctance has nothing to do with the fact that he locked her, her mother, and her friends in a cell and left them to do, nothing to do with the fact that he taunted her with intentionally hurtful insults, nothing to do with the fact that he ripped Aurora’s heart out of her chest while she slept, nothing to do with the fact that he was, at the very least, complicit in the murder of an entire village, nothing to do with the fact that he made the decision to try to keep her from getting back to her son, nothing to do with the fact that when he wanted to kill Rumple he saw her as nothing more than something that just needed to be literally shoved out of the way. No, it was just because of her issues

None of it makes any actual sense. The refusal to actually acknowledge season 2 and the things that happened during that season ended up creating a story and a character arc that made absolutely no sense within the narrative. 

The more they write for Hook the more it becomes clear exactly what they’re doing and exactly why they’ve never addressed anything Hook did or was during season 2. Instead of addressing those things, showing that he felt remorse for them, and making them relevant to Emma and Hook’s relationship, they were ignored. Season 3 gave use a backstory episode for Hook that, instead of truly addressing anything in his questionable past, woobified him and created a justification for what he was and what he did. And rather then address the things we already know he did and show remorse for those things, they create entirely new things that are easily resolved in the span of an episode.

It’s become really obvious what they’re doing. They decided they wanted Hook to be a good guy and for CS to be a thing, and they didn’t want to wait. They didn’t want to take the time to develop it organically, or even in a way that made sense. They wanted to do it right away. But they couldn’t do that if they addressed season 2. They couldn’t do that if they followed through on the storyline they had set up at the end of the season. They couldn’t do that if they actually treated season 2 as a thing that happened. If they did that, they’d have to actually recognize that Hook’s actions, especially those toward Emma, would make her wary of him and not quick to trust him. They’d have to actually show that people remembered what he did and not be so ready to accept him. They’d have to actually make those things relevant to Hook’s arc and show that he feels bad for them.

But that would take too long. It would take too long for Emma to “come around” to Hook if she remembered everything he did to her, and her lack of reception to him would actually make sense so it couldn’t just be passed off as “Hook is really good for her and what she wants, she just won’t admit it because issues”. It would take too long for everyone to accept Hook if they remembered the things he did. And it would take too long to get Hook to “hero” status. 

So instead what we got was a character “development” that was more of a complete reset and a “love story” that made absolutely no sense in the narrative. And instead of addressing his past, they tried to justify it, and instead of addressing the things we’ve actually seen him do or know he’s done (because addressing one of those things means we’d remember everything) they create new issues so they can show how much he’s “changed” without having to actually remember the heinous stuff they wrote him doing. This was all an incredibly calculated maneuver in an attempt to complete change this character and relationship in the eyes of the viewers.

Instead of a compelling redemption arc where a man who had been on a revenge quest for centuries confronted his failure and the things he allowed himself to do just to fail, who struggles with figuring out what his life is supposed to be now, we got absolutely no development. Instead of an interesting romance where two former enemies work together despite being wary of each other, and slowly learn to build trust, we get a man just falling in love with a woman out of nowhere and the entire reason they’re not instantly together treated as a fault that’s placed on the woman because “she has walls up”.

Even if you strip away all the genuinely problematic writing inherent in CS (requesting a kiss in return for a good deed, the flippancy with which rape is treated, treating her as a prize to be won, refusing to take no for an answer, and treating her issues as something for him to overcome), it’s still a terribly written story and Hook is still a terribly written character. We focus so much on the inherent rape culture of the character and the pairing because that’s something that’s genuinely dangerous and something that stretches far beyond just the show. But sometimes we forget in the discussion of the problems with this ship that even beyond those societal issues, this entire things is just badly written.