this was originally posted on my sherlock side blog but whatever

anonymous asked:

How would I go about making a muse or a roleplay blog? Is there some kind of masterpost for this stuff? Are there requirements for what a muse can and can not be? I am so confused.

Hi Anon!

I’m sure there is a masterlist of stuff, but I wouldn’t know where to begin looking for one. The simple answer is that there is no ‘wrong’ way to start a roleplay blog because it is your blog. But there are some standard/most common traits of RP blogs that can help.  I am more than happy to give you my thoughts under the cut!

Keep reading

Johnlock *RED PILL* *enter at your own risk*

Okay, this is it.  I’m going to share the only Johnlock evidence I’ve found that goes to another level.  After seeing this you will have no more doubt.  That level of certainty may cause you to lose some of your excitement and innocence.  It’s basically a kind of spoiler.  I found it so I know that we’re supposed to see it.  It’s unexpected.  It’s romantic.  It’s beautiful.  

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This is my original blog post from when I found it (with some edits when I understood the shot better).  I’d been waiting to post it because I was feeling a bit intense about it, as you can imagine.

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I’m as excited as John watching Sherlock do a deduction, right now!

In my pursuit of the next Johnlock clue, I like to takescreen caps and make gifs.  

I’d never quite understood why the Golem fight scene is visually so confusing.  It’s the lighting and editing equivalent of a discotheque on peyote.  Well, closely watching the fight scene I found a little snippet where the Golem and John both appear to be caressing Sherlock’s face and chest, just for a fraction of a second and I thought, ‘well, that’s suggestive, I’ll make a gif!’

So, I’m making my gif, I’m about to call it, 'golemjohntouch’, or something like that when I look at the frames, to try to rearrange them properly and get as many screencaps as my patience and knowledge of technology will allow.

Then, something happened.  I saw that what I’d assumed were the hands of Golem and John, were just John’s hands!  The Golem is supposed to have his hands on Sherlock’s face, trying to kill him.  John jumps on the Golem’s back and is hanging on for dear life.  In that spit second I thought John successfully pries Golem’s hands from Sherlock’s face and that’s what we see but in an albeit suggestive style.

But, no.  No.  Those are not the Golem’s hands.  Either of them.  They are both John’s hands.  They appear to be gently on his face and caressing his chest.  The plot says John’s hands are on the Golem as he hangs on to him from behind, his hands cannot possibly be on Sherlock.  And furthermore, the scene works textually because it looks like, maybe, John got his hands on the Golem’s hands and pulls them away, therefore that’s the motion we see.  Though, that’s still impossible due to his being on the Golem’s back, the scene works because it’s suggestive of a general, handsy struggle resulting in Sherlock being free.  Logically, though, those hands pulling away from Sherlock’s face should both be the Golem’s as it’s his hands that were just on his face trying to kill him.

So…  What’s the reason this fight scene is visually so confusing?  One clear reason is so they could show us a textually impossible and sensual shot of John caressing Sherlock.

(But, how could they be John’s hands in the plot?  They can’t be.  At first I thought that they were being that transgressive here but no, it’s way sneakier than that.  The costume of those hands is that of the Golem.  Basically, in the scenes were you do not see John Lebar (the Golem actor) all of the hands are 'played’ by Martin Freeman.)

Now, as a Johnlock believer, I love to, 'clue for looks’, as do we all, but I never expected to find this!  I’m freaking out!  

If this is common knowledge in the fandom, please disregard my ravings.  If this is not, then please spread this far and wide so that we may all see the love, the romance, the majesty, that is Johnlock.  

I don’t think anyone can explain this away.  

Here are the two gifs of the segment of fight: Golem has his hands on Sherlock’s face to kill him, John jumps on Golem, hands are seen to pull away from Sherlock, presumably the Golem’s, cut to John on Golem’s back

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Here is a still of the Golem’s hands on Sherlock’s face while they’re struggling.  The face Sherlock is making when the Golem is trying to kill him: it’s contorted and he is lit very harshly; half his face in shadow.

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Then, John jumps on Golem’s back, symbolic of Sherlock’s struggle with his feelings for John.  If death = falling in love, on this show, then the subtext is that it’s John who’s trying to, 'kill’, him, not the Golem.  It’s only after John is on top of the Golem as his literal shadow that the hands change in gesture.  The Golem represents John and John is right on him and it looks like he is also attacking Sherlock.  Textually though, this is just a struggle and he’s trying to get the Golem off him.  

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Here is the gif of the hands, right as they pull away from Sherlock:

Notice the small, strong hands.  (I think we all know what Martin Freeman’s hands look like by now.)  Notice the relaxed sensuality of Sherlock’s face, he seems to be almost kissing them before they pull away.  Notice the thumb near the mouth.  Notice the lighting soften and become romantic colours.  And the speed, notice how slowly these hands seem to gently both caress him and move away.  It’s so soft, the hands never, quite, touch him, it’s like they are gently caressing the air around him.  As he holds the Golem’s left hand, presumably to push him away, there’s no tension in the muscles.  His face and the Golem’s hands are relaxed.  Is he pushing him off or sad to see him go?  His face, gesture and the styler here imply the later, quite clearly.  He seems to be making eye contact with someone looking vulnerable and slightly confused, in the end.  The Golem is trying to kill him, this is no way to look at him.  John is behind the Golem struggling for dear life, this look only works on the level where this is a simulacrum of a shared moment of intimacy between Sherlock and John.  This does not happen in the text, all at.  It only happens to Sherlock in the subtext.  And yet, we get to see it, for just a split second.

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Here are my stills.  You can see the shift to soft colours.

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I just made another gif.

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Reference, hands: 

These references are specifically given to us in GG.  So, that we may see this delightful vignette of allegory that they’ve snuck in there.

B.C.

M.F.

They show MF’s hands and then say:

These are the hands of Martin Freeman and Benedict Cumberbatch.  We know these hands, we love these hands.

Larger hands have a certain proportion, a certain shape, that smaller hands do not have, even if you blow them up and make them look big.  Their shape remains the same.

This is the first time we see the Golem’s hand, it is out of focus and very much in the foreground to emphasize their large size but the hand shape is not consistent with a large, let alone a very large hand.  

Next we are shown just how large John Lebar’s hands look on a person’s face.  It’s a woman’s face which may be meant to throw us off a bit, but she does not look especially petite and has a long face.

John Lebar’s hands entirely cover this woman’s face.  Palm on one side of the face, fingers on the other.

Next a shot of the woman’s hands, that are themselves fairly large.  This is an orgy of clues of what’s to come.

To me these look like MF’s hands, here, as well.  (At least the one near his left eye).

It’s been well-established that BC’s hands are large, they would definitely cover his whole face.  It’s been established that the Golem is very tall.  John Lebar is 7'2" (2m 22cm) but in the planetarium fight scene a smaller body double is used to make the Golem seem about 8-9 feet compared to BC.  So we know John Lebar’s hands should be and are very large.  In the context of this scene they could even be larger, since he’s made to look even taller.

When the Golem has Sherlock by the face, while standing, Sherlock’s own gloved hands obscure them.

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Now, you may ask, 'what’s this other level that you’re referencing?  We’ve seen hours of suggestive simulacrum between these two characters.  We’ve seen parallels, metaphors, symbolism, you name it!’

My answer is: casting.  There was once a time when Martin Freeman, the man who plays John Watson himself, was fitted with a Golem costume so that he could gently almost caress Sherlock’s face and chest.  There is no way to say, 'this is just the style of the shot’, or, 'you’re reading too much into it’.  This is the very first episode filmed of the show.  Ever.  If you are wondering if the actors knew about this, or if Moftiss intended it this way, wonder no. more.

I wish I could go one about all the other stuff that’s going on here with the subtext and cinematic references but we’ll leave it at that, for now.

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“I already told you but, did you listen?”  That’s what Mofftiss says to us through Moriarty in RF.  Trust me, 'the great game’, is the one they’re playing with us.  And we, like Sherlock, love it

There is a 'red pill two’, imo, that I will post as well but it’s not as overt as this one.  Or maybe it’s more overt, I don’t know.

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This is how I felt about putting the original blog post together:

Sherlock: this wonderful, groundbreaking, intoxicating show has finally done it: I’m speechless.  

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Note, even if you don’t believe those are Martin Freeman’s hands, they are nonetheless small male hands.  Why would they use another actor if they had John Lebar?  Furthermore, if they did have to do reshoots for whatever reason, why wouldn’t they replace him with a actor who also had large hands?

Also note, I’ve read that it takes four months for them to edit one episode of Sherlock.  It cannot be said that every frame and nuance in this show is not accounted for.

Sherlock’s Mirror Palace / Dream - or, a tour of TST’s particularities and several open questions

Feat. lots of images and links to other people’s metas/theories. 

Btw, @johnlockfulfillment has started a Masterpost :)

Let’s look at these many, many little things that make me certain most of TST was either Sherlock’s mind palace version of actual events or his projection of future occurrences or a dream or something else but drug-induced. 

This also ties in with variations of Extended Mind Palace, as @impatient14 details here with 20 reasons; and @tjlcisthenewsexy shows here

This is surely not complete yet, so this post will be edited. I also have a list of questions at the end, both timeline-related and more general. 

The over-arching message, for those wanting a quick summary: 

There are too many things wrong or wonky in this version of reality for it to be actual reality. It’s rather a mirror verse (indicated by the many, many mirrors akin to TAB, or the reversed layouts of places like the Watson flat) or a dream sequence to enable Sherlock to process or work through something (see @shawleyleres meta on the recurring dreams). 

Everything after that first fishy fin transition (at least) is mind palace or a distorted/mirror version resp. dream. 

I’m going to show you why I think this, with the aid of a lot of pictures and links to other people’s metas. If you’re skeptical, please give this a chance. Hell, they literally told us right at the beginning that they are going to manipulate actual events:   

Cabinet Member: That is now the official version, the version anyone we want to will see.

Having taken care of the threat of incarceration by doctoring CCTV footage, a “naturally high” Sherlock decides to wait since he is the “target” of a posthumous ploy by Moriarty. Then we get new credits and Sherlock telling us the original story of a tale he re-wrote as a child when he couldn’t do much with premonition. 

We also get this fish-y transition into a rather wonky 221B: 

The skull is facing the other direction and now wearing a magnifying glass. Most curiously, though, is the fact that John is typing on an iPad while it’s obvious he has the photos open and not a web browser: 

John blogs about the many cases that Sherlock solves - during which we get the second “It’s never twins” from Sherlock - and yet the initial shot of his ‘blog’ show it’s just as inactive as the blog the BBC had set up. (More on this here, by @glenien). 

The cases are all (or for the most part) CONTRADICTIONS, as @separating-my-porn-and-tjlc has detailed so brilliantly here. @tigressthetiger also talks about how wrong the cases are here

Keep in mind we already had TST as a case on John’s blog, wich was different. And they neither acknowledge nor resolve that in any shape or form. Lestrade actually tells us repeatedly to read John’s blog!

Oh, also: the one client, with the Mary-esque wife, had a fish tattoo. And something about the gf’s name was also wonky, as @tigressthetiger  explains here.

Then, there is the negative of a skull that has replaced the skull poster we are familiar with. And the skull GETS BRIGHTER (x). 

The Watson flat, too, is mirrored. And I’m not only talking about John sleeping on the wrong side of the bed and there being a mirror through which this position was established, but that’s a great point as well. (See also @gosherlocked‘s post here).

The flat’s entire layout is also REVERSED

In His Last Vow, the front door was on the other side. See, John opens the door with the window at his back: 

In TST, it’s reversed, just like the bedroom. 

From the Christening, we again have a watery transition to Sherlock explaining the way of life to Rosie: 

The next bit was the only thing that really struck me when I watched TST for the first time: the time loop on the bus.

We transition from a sleeping John at 221B to a John dozing on the bus with a daisy in his hair, which he showed to Rosie (who has a fish mobile! and really weird wallpaper, featuring the magpies from TSoT and clowns/jesters). Sherlock texts him about Greg coming by Baker Street the following day (why only this late? I thought Lestrade was feeling the pressure to solve this?), and we get a house reflected in balloons when Greg explains the case. 

Another weird transition happens via the magnifying glass on Sherlock’s side table, motivating some split-screen action, as well as the door window transition leading to the case.

Back at 221B, the brunette forensic officer is carrying a file tied with a pink shoe-lace. She is waiting outside the door while Sherlock is dealing with a client… and yet, the file (or one also tied with a pink shoe-lace) is already inside 221B

Curious, isn’t it? HOWEVER - at the end, after Mary’s death, we see Mrs H and Sherlock in 221B and there are two files in the flat, one back there and one on the desk. So it’s likely these are simply two files from the brunette forensic woman.

Fast forward a little bit into the cave-like secret base (lit by candles and electricity), we also get to see Sherlock and Mary via a mirror: 

Mary renders Sherlock unconscious and flees. Cue weird fish eye transition and we see Redbeard as well as two children playing on a stony beach - one of them, presumably Sherlock, is pretending to be a pirate. 

Once Sherlock is awake again, he seeks out his brother… whom is introduced this time as two people:

He’s also not the Mycroft I remember - the one working to ensure the stability of the British government… since Sherlock says, when enquiring about A.G.R.A.: 

Sherlock: Well, I mean the British government. Or whatever government you’re propping up. 

Very weird. So we’re led to believe Mycroft is morally grey (also wearing the suit for it) and is for hire, rather than motivated by loyalty to his country? (This ties in nicely with @delightedwhenz‘s theory on Mycroft being Amo here). 

The Mycroft-Amo connection is also furthered by the superimposed text of AMMO being mirrored when Sherlock turns the pad he wrote it down on. 

We get another mirror when Sherlock and John catch up with Mary: 

Sherlock calls about having made the faulty “Amo” connection to Lady Smallwood. Sherlock and Mycroft are juxtaposed on screen during their phone call, then move in the same direction: 

Sherlock’s over-imposed shot prevails, however we stay with Mycroft on English soil. 

On the flight back, we catch the first glimpse of E (aka Faith, Culverton’s daughter? See @abitnotgood‘s great find here) in the plane window and are given a flashback to John presumably cheating/flirting with the Lady in Red/E/a literal red herring:

Now, during the flashback, I noticed an inconsistency in the background. In the twoshot of John and E, we see a firetruck in the background. In John’s subsequent close up, there is a police vehicle, but no firetruck. 

See?

As someone who as filmed before, this is something I’m prepared to accept as being a genuine blooper. You don’t control the street when you’re filming outside (at least not unless you close it off, and I doubt they did that, please correct me if I’m wrong). 

Still, it’s another particularity. 

John saves her number (which is a fake tv number, as @warmth-and-constancy points out here) and certainly texts her an “Hey”. We have no definite proof, however, that she is the one on the other end of the night owl/vampire debate. @jenna221b (I think, can’t find the post rn) suggested it’s a code, like Vatican Cameos, and Vampire signals which plan to execute, like Lazarus did on the rooftop. @the-7-percent-solution, however, suggests he might be texting Harry here.

We also get John composing a breaking it off text, only to find her at the bus stop (Culverton in the background on a poster saying “murder” and “business”). We never find out if he really breaks it off or not.

We do get - after Mycroft interviewing Lady Smallwood (with another mirror) - another moment at the Watson flat, talking about bedtime stories, and then Sherlock realising how wrong he was on the Vauxhall Bridge, the shot finishing with the MI6 building prominently featured. 

Mary gets a longer message (a code, a cypher, idk, but something is weird about it. “The curtain rises” is a meaningful quote, in any case, as @eleclectic has shown) than John. Why would Sherlock comment on Mary’s final act? Premonition? It has to be more than simple foreshadowing for us viewers. 

We return to the final show down at the aquarium, with John lagging behind due to having to find a babysitter first. And the more I re-watch this scene, the more likely I find it that the secretary was forced to pretend she was Amo by, if not Mycroft then someone. (Seriously, if she really had a lucrative side business, how come she only bought a cottage and still lives in a tiny flat??).

During the scene, we also have jellyfish in the background, which cease flapping about in their pool after Mary pushes Sherlock out of the way. John and Sherlock previously discussed a case with jelly fish, and them stopping their movements in sync with Mary’s heart stopping might open up a connection.

More importantly, though: Why doesn’t Sherlock move himself? Why is he paralysed? If Mary had enough time to jump into the trajectory, Sherlock would have had time to evade the shot, too. He must have seen it coming, he’s Sherlock after all. 

We get another shark fin transition from grieving John to the secretary being taking in (via a very weirdly lit tunnel of mysterious location):

And THEN we switch elements. We stay an eerie blue but rather than water, it is fire. Fire obscuring something I have no idea how to name, and giving way to the cemetery: 

Edit: This might very well be a coffin! Aka Mary’s coffin. 

A grieving John ignores his phone (phone as heart? Is he ignoring E or Harry/second recipient?) and Sherlock pays Ella a visit. 

Ella: But I can only help you if you completely open yourself up to me. [said no therapist ever, as @merlenhiver pointed out]

Sherlock: That’s not really my style. I need to know what to do. 

Ella: Do?

Sherlock: About John. 

Meanwhile, Mycroft returns to… a mirror verse version of his flat (or a secret safe house for people to retreat to?), where he stretches his spine (like John did after the Christening). There are Asian cuisine take away menus on his fridge, as well as an elephant and the number 13. Or rather, the 13th - a date? Since Mycroft looks at his watch immediately, I’m inclined to call it a date of some significance. 

Edit: @jenna221b found a proverb stating that at the 13th stroke of the clock, all previous strokes must be called into question

Mycroft calls Sherrinford and WAITS for this person. 

Also, the empty state of the fridge for me is a direct contrast to TAB Mycroft who is obese and always surrounded by food. 

Then we see parts of Mary’s very curious DVD, hear Mary repeat certain phrases over and over, and Molly tells Sherlock that John doesn’t want to see him anymore. 

Sherlock, voice over musing over avoiding Samara and death, ‘walks’ from London into the watery blue imagery again. 

And we close on what, to me, looks like a POV shot from below water upwards, where the sun is showing the onlooker which direction to turn to come up for air… 

… before the post-credit “Go to hell, Sherlock.”

What’s my point?

It’s simple: we are not in reality. This is a mirror universe, or a dream. If it’s a mirror version/Mind Palace, it’s either 

  • a) what Sherlock thinks will happen (all the talk about probability and extrapolating behaviour on the basis of mathematics)
  • b) or a distorted/filtered version of what actually happened, which Sherlock is processing in his mind palace. 
  • Alternatively, it’s a dream helping Sherlock solve the mysteries of Moriarty and Mary. 

I contend that everything after the first fishy fin transition is mind palace/dream (if EMP ever since the HLV hospital scenes proves incorrect after all). Sherlock is still high, after all, even higher than before due to the “natural high” maybe?

Timeline questions: 

  • Why did it get dark before the boy brings the tea to Sherlock, John, and Mary? Or is this a second tea?
  • When did Mary’s hair have a chance to grow so much?
  • I’ve also read that the baby looks older earlier in the chronology than later… there is definitely some time-related inconsistency happening. 

A few additional questions: 

  • How does Sherlock know about “The problems of your future are my privilege”? He was in the kitchen at the time. 
  • Likewise, when did Mary find out about Sherlock being a “dragon slayer”? (x)
  • Why does AJ conclude Mary is the traitor, or why does Sherlock conclude AJ is looking for HER, when she isn’t even an English woman? Sherlock deduced that in HLV, after all. 
  • Why did Mary get herself a new fake ID between shooting Sherlock and Appledore? It was issued 14 October 2014 (x)
  • Why does John, a trained soldier, not use a gun when he has one when he could (probably) have incapacitated AJ?
  • What about Charlie and his parents, or rather, making Charlie so explicitly camp, growing up with a father who worships Thatcher, and not mentioning it once? Also, His parents, or rather, his mother pretends like there is no such time when the hadn’t been together (which was after the father’s 21st birthday), and she asks Charlie about “eating properly”, a question which Charlie evades (food = sex?)
  • On the topic of food, what is the deeper significance of Sherlock openly eating ginger nuts (and talking about food) while high and waiting to become a target, or how can we connect this to existing theories/metaphors? 
  • Is E wearing a rose necklace a connection to Rosie/Mary?
  • What’s with the daisy John has in his ear? 
  • What’s up with the Black Pearl? Redbear/Barbarossa the pirate connection? Why is the issue dropped?

I’m sure there’s more and I’ll add to it when I come across something. 

If you have ideas about answering them, or additional stuff to add to this, let me know =)

Tagging some additional folks who might already have things to contribute: @alilysrose @isitandwonder @deducingbbcsherlock @adlerforpresident (and many more)

It seems I have to edit this or receive hate (: Excellent!

EDIT: I ship Johnlock. I am a gay woman and am all for gay representation on TV. I 100% agree that Sherlock Holmes is a gay man. I 99% agree that tjlc is real, though I couldn’t care less about blogging about it, mostly because of the way many tjlc blogs conduct themselves. I 0% agree with the superiority complex some tjlc blogs have when it comes to the way they conduct themselves on tumblr, the way they claim ownership of a show, the way they look down on and mock “non believers” lmao. The whole point of this post, though worded slightly poorly as I typed it in a rush, is that the fandom is for EVERYONE and not just tjlc blogs. I am tired of immature behaviour, and this is merely a comment on the minority who behave as such. The fandom does not belong to anyone, and while everyone has the right to post whatever they like, I am also at liberty to post what I feel. I personally feel that there is a minority within tjlc community who are making the fandom an uncomfortable place to be by acting as gatekeepers and shaming those who aren’t as invested in the ship. That was my sole point. This isn’t an attack on johnlock shippers, this isn’t an attack on tjlc blogs, this is a comment on the way SOME people are behaving. I just feel we could be a little less hostile to the rest of the fandom. With that clarified, I’d love the death threats and suicide bating anons to move on (:  Original post below.


So, unpopular opinion time. I lowkey ship Johnlock, but I’m not a hardcore shipper, I couldn’t really care less, I don’t invest myself in the whole deal to the extent some people do, but if it happens, cool. However.

I’m kind of tired of TJLC blogs sauntering around the place acting like everyone else in the fandom is beneath them and ‘moronic’ for not ‘seeing the truth’ or some shit. Like, yeah, I see where the ‘evidence’ is, I see why TJLC blogs are set on it happening, but  c a n   y o u   f u c k i n g   n o t  be such prissy little fuckwits about it p l e a s e. 

Stop with the ‘my face when non believers are proved wrong’ posts, stop with calling people ignorant for not buying your ship, stop acting like you’re some cool little gang of sleuths with a superiority complex over the rest of the fandom because honestly you’re all making the fandom such a boring place to be with your possessive attitude over the direction the show is going to take. 

No one is as invested as you think they are. No one wants you guys to be proved wrong like you think they do. Most people aren’t getting ‘mad’ over your ship, and you’re the only ones who seem to be on a hype over it. 

As a lowkey shipper, good for you guys if it happens. If it happens I’d be pretty happy about it, Sherlock is a big deal on TV and we need more LGBTQ+ representation in mainstream media, how cool would it be if one the BBCs biggest shows churned out two main characters in a same gender relationship, that’d be the realest. I’m here for that. As a giant gay myself, give me more LGBTQ+ characters.

I’m not here however for the shippers who insist that everyone who disagrees with them, or just aren’t that into johnlock are wrong and don’t belong in the fandom. Stop being weird gatekeepers. Stop telling people that they’re ignorant if they don’t “see it”. I “see it” but I also see potential queer baiting. We’ve all seen those posts, let’s stop being weenies, no one cares as much as you think, we’re not mad, you’re just making things weird, sh, time for bed, shh. 

Also, side note, I’m not talking about the Johnlock shippers who are genuinely just being excited and pointing out signs of their ship in action, and just being super sweet and hyped up, making awesome art and writing inspired fics, and coming up with intricate theories that are truly impressive, you guys are adorable and I’m here for you, keep doing what you’re doing, you’re having harmless fun and it’s great..

I’m talking about the “our way or no way, if you don’t ship johnlock you’re dumb hellspawn, how can you not ship johnlock, the fandom is ours mwahahaha gtg but I’ve set up a queue of posts about how Mary is a massive bitch and yet another female plot device with no real merit and is just in the way of my ship so deserves to die along with her infant lol k bye!” shippers. They’re the problem. 

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Gif originally posted by @sherlockgifss

Moffat Appreciation Week: Day 2: Favourite thing about the Sherlock Special

‘The Abominable Bride’ comes with many fantastic scenes, but if I had to choose my most favourite Sherlock moment, it would be the one up there and everything that follows.

Sherlock’s mind palace is a peculiar place between dream, fiction and reality, where Sherlock doesn’t need to ask ‘Afghanistan or Iraq?’, he just knows (and no, that wasn’t the only place an army doctor could have got shot at those days; have a list.). He doesn’t need to play nice during their first meeting, because no matter the rules of whatever universe he happens to be in, he and that guy will end up sharing a flat, a tea pot, a life.

Of course, like in every dream (and nightmare) the longer they go on, the less they do what one wants them to, which is why the opening scene is pretty much where Sherlock’s perfect world ends:

Mycroft is still the clever one (who has found a goldfish - no Holmes without a Watson), Watson gets to finish most of his sentences, a bored Mary goes off and solves Sherlock’s case, while he more or less manages to murder the husband of his latest client, and a very dead Moriarty shows up for tea to discuss an old case and finish things off at the Reichenbach Falls. Like they always do.

Moriarty: This is how we end, you and I. Always here, always together.

In the end, this is ‘Sherlock Holmes’, their fate is already written, there to read in the Strand: there can be nothing new under the sun.

Still, we are in Sherlock’s mind which is not there to lift the bride’s veil. It’s there to tell a story, to prove Moriarty died for real.

When both of them are down and there is nothing left but perform the truly impossible miracle of the Falls, the Mind Palace regains control and shows how back in 1891 Sherlock Holmes really survived. Why every Sherlock Holmes survives all of Moriarty’s final problems.

He doesn’t need to be better, stronger, or more clever; for once being Sherlock Holmes is enough, because Sherlock Holmes is followed into battle by John Watson, who’d never leave his side, who would be there in his darkest hour(s) to save him, may it be from Moriarty, the hound, his boredom, or himself.

John: It was my turn.

Sherlock knows friends protect people, which is why Sherlock Holmes’ Boswell keeps a few details to himself and doesn’t bother to mention that occasionally it is he who saves the hero in his “idiotic stories” on his blog, The Strand and all the other places a future world will read their fantastic adventures to come.

And yet, Sherlock jumps, as that’s what Sherlock Holmes’ do. He knows he’ll survive, and that soon they’ll meet at 221b’s fireplace, because John Watson will come up with something (an explanation - or even better - a story) to save him.

If the stories of MP!John Watson, which ended up in our universe under the pseudonym of an Arthur Conan Doyle, are the proof of John’s boundless admiration for Sherlock Holmes (and they are), then The Abominable Bride is where Sherlock Holmes takes up the pen# in an attempt to set the biggest lie in fiction right.

At the end of the day, Sherlock Holmes has no idea how he survived the fall, and all the other falls thereafter, for it takes John Watson to write the story and save a life.


*hence John’s point of view
#canonically that would be His Last Vow* [EDIT: sic: Bow. Sry, it’s been a while]

anonymous asked:

Hi! First things first: I love you, your blog keeps me right. In the same vein, I need some reassurance or perspective: aren't we being a tad too optimistic re. TAB and TJLC? What if we're wrong and it's a standard episode where there's no explicit johnlock, no explicit gay topics (no Oscar Wilde, no Sherlock's sexuality, no feelings), only subtext for those who really want to see it? Wouldn't most of us be somewhat disheartened? I really NEED to have a happy start of the year!

Nonny, first of all THANK YOU. That is so very kind of you to say about my blog!! Secondly, LET ME TALK TO YOU ABOUT WHY IT’S GONNA HAPPEN IN TAB.

Actually, here’s a little secret I don’t want you telling everyone, so SHHH: I have my doubts too. I KNOW, RIGHT? You’d never be able to tell with how much I go ON and ON and ON about how amazing the special’s gonna be. I discussed it a little bit in this post here, but let me expand upon it and continue on some more.

  • The non-believers think that this special is a one-off. Now, I know that sounds really bass-ackwards, but here’s my reasoning: At the conclusion of it all, the antis will think it was just fan service, and the modern story will go back to Sherlock being a sociopath (?) and being with whoever they ship him with and the show will suddenly turn into a sitcom with the Watson family plus Unca Sherlock *shudders*. Truth is, though, that I have very little doubt that this episode will be referenced back to in future episodes, and I think that TAB will not only call back to past episodes, but will also foreshadow future episodes; I believe that it’s these moments that have nothing they’re “calling back” to will be the parts we should be focusing on – they will be the events predicting the course of the modern timeline. This episode will be a “Here’s where we’re going with this show, now’s the time to get off the bandwagon if you don’t like it.” But BECAUSE the antis think this is a one off, they’ll still stick with the series. It’s brilliant, to be frank. Cue Mofftiss and ‘softly, softly’: Making the audience WANT the relationship of Sherlock and John to succeed, à la Princess Bride, a movie Gatiss and I think Moffat are both fond of (and make lots of parallels to in ‘Sherlock’).

  • Mofftiss consistently hints to what might happen. Ever since they confirmed that the special has been ready-to-go, suddenly their “campaign game” has changed dramatically. Before it was all “you’re ridiculous!” and “never gonna happen!” but now they seem less… brusque, I guess is the way I can put it… when talking about the special. They almost WANT us to know about Johnlock being canon. Phrases like “we’re gonna fix what was wrong with the original stories” and “it’s important that it’s set in 1895″ and “they just really have something special” and “it’s magical”. Like, who does that, except people trying to warm you up to something? They’ve been prepping the public for months now, and have been a lot looser in their responses to questions. Now, they deny by AVOIDANCE. They literally will be asked a question, and it gets deflected into something completely unrelated. Case in point, the “Why is it Victorian?” video. Other than, “we wanted to”, they never actually answered the question.

    At a recent event, Mark read the very emotional Reichenbach goodbye letter that Holmes wrote to Watson. At another event later still, he read THE excerpt from The Three Garridebs, one of the stories that, surprisingly, Mofftiss haven’t adapted. That’s not much, I know, but I think it’s important to note, nonetheless, that these two very intimate moments between Holmes and Watson are being acknowledged by one of the co-writers of the show, less than 6 months prior to the airing of the Special.

  • In the same vein as the above, the actors also have been either using avoidance or deflection to answer questions about the Holmes/Watson relationship. Most memorably: Martin and his infamous dead-eyed stare when asked about John and Sherlock’s relationship; and Ben’s dislike of the usage of the word “bromance” AND his hinting at a “special scene” with Martin. The latter used to spin tales about Sherlock’s sexuality, now he just… answers questions with “Martin is great to work with!” (I mean, that’s no different than before, but whatever).

  • The BBC. I feel like I’ve honestly entered another dimension; I have never ever seen a network so actively involved in a fandom, and it is the most beautiful thing I have ever seen. Shortly after S3 aired, the BBC Three suddenly became this huge powerhouse in the Johnlock fandom, to the point where we had no idea if it was a real tumblr account or not. Turns out it is, and is run by the actual network.

    The fact that they OPENLY SHIP JOHNLOCK IS HUGE. Everything they post HAS to be approved by SOMEONE ELSE. I’ve worked at jobs that have social media teams (one of them a political party), and those teams ALWAYS had to get approval to post up their opinions lest they give the wrong impression about a company; they can get in SERIOUS hot water by the higher ups and their public if something gets posted without permission. BBC One is a little more reserved on their fandom side, but even they, as the special draws nearer, are posting up a few twitter posts with double meanings. And the BBC Store. And the BBC Shop has even put some entendres in their descriptions.

    And there’s their study that was done in 2009, but I digress.

    It’s like everyone at the network just suddenly flipped a switch. I can’t explain it.

  • The marketing and the promotions. Hearts in the apps. Suggestive tweets. Elephants in the room in promo photos. The trailers and clips themselves have been either very meta (like the SDCC clip) or contain lots of subtextual scenes within them. Basically no one gives an eff anymore, when before it was all carefully maintained. Even the promo photos, which are always borderline suggestive, have literally lost their chill. I mean, what can we deduce about a promo photo in which Watson is LITERALLY Sherlock’s heart?

  • They’ve been hinting about 1895 for a LONG time, and why it’s important.  ASiB and HLV both had 1895 in the background as kind of a foreshadowing of things to come. I think it’s especially powerful in HLV because it reads “[now free for] information is the power to change 1895″ if read from left to right. To me, that means “law and society is now free for us to tell you the real truth about what happened in 1895″. It’s not a coincidence that this is in the episode JUST BEFOR TAB. At all. Plus, we have been told by Mofftiss that it will be immediately apparent why it has to be in 1895. 

  • And I also go into a bit of detail in my Mind Palace Theory that it has to be canon in order for the narrative to continue on in S4.

It’s not much to go on, Nonny, but it’s all I have at the moment. I know I’ve missed something, so friends and followers, please add to this to ease Nonny’s worries!