which actually might be one reason she made him say it in TFP

Six Sentence Sunday (6/11/17)

“Had a bit of a revelation today,” Molly said, interrupting Sherlock’s train of thought as he gazed through the lenses of the microscope.

“I kept wondering and wondering…why I can’t manage to let you go,” she stated calmly, which naturally ended his interest in the sample he’d been studying and turned his stunned gaze to her instead.

“It’s awfully simple once I really thought about it; everything we’ve been through over the years and why my heart keeps coming back to you…over and over and over again,” she explained, her expression noticeably serene and strong.

Sherlock’s heart pounded, because in some way or another he could see what was coming and it frightened him a little to know that his world was about to be turned upside down. She must have seen that, because Molly gave him a smile of affection and understanding as she gently spoke the words of truth that Sherlock anticipated before they left her lips.

“It’s because you can’t let me go either.”

You Write Sherlock’s Blog?

So, because of my comment (the last one) on this post, I decided to do some digging. You see, the blog is one of the major factors that messes with the theory that Sherlock has been in a coma since the fall. So, under the cut is me messing with ideas and interpretations of John’s blog with the idea that Sherlock’s been writing it since the fall, in his head. 

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The Secret Girlfriend Theory

Before anyone chortles at the title of this, please bear with me.  It’s something that, I think in the ending of the Sherlock series, actually makes sense if I had to dissect his relationships with women (romantically speaking).

Since so many people have enjoyed the “I Love You: A Man’s Perspective” post,  I also had a great talk with my hub about this new theory of mine, and again, his interpretation from a man’s perspective is really interesting.  We also had a very personal talk, which opened my eyes to something I didn’t know about him before.  I’ve asked if I can include it here and he’s totally cool with. He’s also completely amazed that people like our banter, but mostly he likes that it’s opened up new avenues of discussion in the fanbase.  I’ll denote in the post between our views for clarity.

A small disclaimer: this is merely my (and some of my dude’s) own personal view, coming from our own worldviews and experiences. In no way am I writing any meta, thoughts, or opinions that are meant to invalidate anyone else’s reading of the show or characters.  Everyone can have their view and their story, and it’s ok.  These are just ours.  Art and media is open to everyone’s interpretations.

This is another long one folks, so take a potty break now!

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Sherlock S4: A Study in Failure

I saw a lot of people in here making their own lists of all the inconsistencies of TFP, so I decided to make my own and to cover not only the final episode but also to take a look at everything since TST. Also I included some stuff from panels & interviews but didn’t mention anything about setlock, otherwise this list would be much longer.
I tried to make it as detailed as possible so be prepared for 2.5k words.
Fasten your seatbelts, it’s gonna be a bumpy ride!

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anonymous asked:

I actually liked the episode (and I was very prepared for the worst). But tell me why didn't you, please, I really respect your opinion!

Hi love :) Sorry it took me a bit to answer this…I read it last night, but I was tired and needed to get some sleep.

First off, I’m happy you liked it, I really am. At least some people should get some joy and entertainment out of it, but here’s some points why I just can’t…

  • It’s very sloppy writing. Things that happened earlier are being completely disregarded and explained away with like one line, if at all, e.g. the last scene of TLD (4x02) where Eurus/Euros (how the hell is it spelled? I’m gonna go with Eurus now) is revealed and she’s aiming her gun at John, saying she’ll “put a hole in it”, and it apparently was only a tranquilliser. Why? Why do all that? Have her pretend to be three different people, first flirt with John and apparently text with him, then pose as his therapist and go all dramatic on his ass…and then “Shot me during a session. Only with a tranquilliser.” is a throw away line in the next episode. That reeks of bad storytelling, like they wanted this big cliffhanger just for dramatic effect but then couldn’t be bothered to do anything with it. Same with the explosion at Baker Street - they are jumping out of a freaking exploding building, through the window! And then we get a cut and see them being fine on some boat.
  • Plotholes. John in the well: he was chained by his feet down there, which is why he couldn’t try to climb up himself, but then a rope is thrown down and the chains magically disappear? Sherlock’s ‘recurring’ dreams of water because of the well (those dreams have never been mentioned before btw, there was one line in TST (4x01) “You’ve been having dreams. A recurring dream?”): how can he make a connection to that well when he never knew it even existed? Sure, he suppressed the memory of Victor, but he had no clue what happened to him and that he was thrown down that damn well, so how does “Deep water, Sherlock, all your life, in all your dreams. Deep waters.” make sense?
  • Shit happening out of nowhere. The whole Eurus thing. They can’t expect me to be invested in something that came up during the last few minutes of the previous episode…that’s the first time the whole secret psychotic sister stuff came up. Sure, we got the line about “the other one” in HLV, but that was 3x03, three seasons into the show. And yet they claim it’s “the culmination of everything we’ve been building up to for the past six years”. That’s the final problem? Bear in mind that this might be the last episode of the whole show, and they’re telling me this was a story about Sherlock Holmes and his secret sister who apparently made him the way he is, even though none of that has ever come up prior to HLV. Even ‘Readbeard’ wasn’t mentioned before TSOT (3x02). But sure, “Every choice you ever made, every path you’ve ever taken, the man you are today is your memory of Eurus.” Sorry, not buying it.
  • Same goes for Moriarty. He had a five minute conversation with Eurus, and she apparently brainwashed him because “It took her just five minutes to do all of this to us”. So everything Moriarty did to Sherlock and John was because of her, that’s it. It takes so much away from his story and his infatuation with Sherlock, and it doesn’t even make a whole lot of sense because all of S1 and TGG (1x03) took place BEFORE that “christmas day 5 years ago” when Moriarty and Eurus met. The christmas they met would be the one in S2 during ASIB (2x01)…timeline wise. Maybe I got this all wrong - if I did, someone please explain to me why he even was in that episode and why that five minute unsupervised conversation was put in there - but that’s how I understood it.
  • The episode as a finale for S4. None of the episodes really have a connection apart from Eurus being 294 different people in them. Without TFP explaining why everything prior to it felt so weird and out of context (and it did! even casual viewers picked up on that), the whole season seems messy and disjointed. I’m talking about TST (3x01) and Mary in particular here: her whole redemption arc was done in that one episode, and ofc they only have three per season, but there’s still a way to make that feel more organic. Because the way it was done I’m simply not buying it. She went from wanting to kill Magnussen and shooting (and actually killing) Sherlock and threatening him to shut up about it afterwards to being a lovely and nice wife and mother in the span of a few months? And she fully ‘redeemed’ herself by…sacrificing herself. (And let’s not even talk about how absolutely shitty Mary’s death was done and how it’s impossible for anyone to jump in front of a bullet like that. I’d forgive other shows for that, but not Sherlock, a show that only two episodes earlier explained how being shot actually works and that “it’s not like it is in the movies”.) It just doesn’t sit right with me. Neither does John actually forgiving her for lying to him on that big a scale and for SHOOTING SHERLOCK. I’m sorry, but if my partner shot my best friend, there’s no way in hell I’d just be like ‘okay, shit happens’…and this is John!, the guy who killed a man for Sherlock after one day of meeting him. After watching TST I still thought all of this was a plan, now, after having seen the whole season, I just think it’s bad writing and horrible execution.
  • The episode as a (possible) finale for the whole show. No, just no. Like I mentioned above, TFP and its plot doesn’t wrap up the show in a nice bow for me. It’s barely connected to the rest, and it’s certainly not the big final chapter of the story they have been telling before. I felt nothing. Season 4 as a whole feels ridiculously separate from everything else and not like the show I love, I can barely recognise it, which is probably mostly due to the fact that this used to be a story about John and Sherlock (not talking Johnlock here, though I will get to that), and this season didn’t really have that at its core. The heart of it were always the two of them - “the story of two men and their frankly ridiculous adventures”-, but with these three episodes I can’t even remember them really talking to each other or having any interaction that shows the reality of their friendship/relationship/connection except for a hug and Sherlock saying John is family and, like, not wanting to shoot him.
  • Johnlock. What this show did was queerbaiting, plain and simple. I know there’s people who keep insisting it’s not because Moftiss once said they’re not telling a romantic story about John and Sherlock, but the show, its subtext AND text did, and that’s what I care about when I watch something. It was there, blatantly obvious even to someone like me who never used to pick up on those things prior to watching this show and who didn’t go into it expecting or looking for it. But I saw and noticed it before there were a million metas about it out there…and we didn’t just imagine it or make shit up. There’s a reason so many people believed in Johnlock, the show told us but didn’t follow through, and that’s queerbaiting. It’s a big fuck you to so many lgbt folks who truly believed they’d get actual, beautifully told representation - me included. It’s heartbreaking and so so cruel because they played us. It’s still there, in the show, and to me it will always be what John and Sherlock’s story is about, but it wasn’t made explicit. And that hurts, it really does.

So yeah. Even without taking non canon Johnlock into consideration I had a lot of problems with this ep and think it’s simply not good, the whole vibe of it didn’t feel right. There’s some other things I didn’t particularly like (what they did to Molly, the fact that Mary apparently knows John and Sherlock best, or that they summed it all up with a bullshit line like “Who you really are, it doesn’t matter. It’s all about the legend.” - what kind of message is that?), but this is already super long by my standards, so I’ll leave it at that.
Here’s to hoping all of this makes sense; I started writing it right after waking up and my thoughts were still a bit of a mess and I also had to switch my brain to English. Maybe I’ll do a rewatch of the season and have some more to say about it then, but I don’t think that’s gonna happen anytime soon because I really don’t feel like it. Which already says a lot because I’ve watched every other episode at least 12 times.

Bringing TST and TLD together.

Before TFP airs, I wanted to create a post that brings together my theory about what’s been going on in these first two episodes. I can’t speak to every plot point, because I don’t have all the answers, and this blog will be long enough! Since my opinion on some things has changed slightly since the first episode, I wanted to clarify.

For me, the two most problematic aspects of The Six Thatchers were John’s behaviors and the aquarium scene. At first, I believed that Sherlock was the narrator here, so that whatever was wonky about these scenes was coming from him. I‘ve revised that idea a bit, because John is the reason for the wonkiness, supported by Sherlock, and all their friends.

First, the aquarium scene:

Some of you have read my initial post about the aquarium scene. I stand by that. 

Humor me for a moment, ok?

Rewatch the aquarium scene, (remembering the text that Sherlock sent Mary immediately before this about final acts) and pretend for a moment that it’s Mary that Sherlock is meeting at the aquarium.

Pretend that Norbury is Mary and that everything Norbury says is coming from Mary. Disregard what Sherlock says about Norbury…his deductions about her specifically, like the cats, flat, etc. (for purposes of this exercise, he’s making it up)

Listen to Norbury’s lines as if they are coming from Mary.
Now pretend that when Mary shows up in the scene, that it’s actually JOHN showing up, and pretend her lines and actions are coming from him.

I think this is what might have happened here, and that John wouldn’t let Mary shoot Sherlock. John chooses Sherlock over a woman again, and he shoots Mary with the gun he always brings along. And Sherlock is either intentionally making up this Norbury story to cover for John, or he is so traumatized by Mary’s betrayal that his mind pulled a Henry, like in THB, and made up a better story, one easier to cope with.

And then

I have come to believe that Vivian Norbury doesn’t actually exist. I’m still not certain about whether Sherlock invents her to cope with trauma or as an alibi for John, but I lean toward coping mechanism. I’ll get to why in a minute.

Evidence for the idea that Vivian is made up entirely:

The first time we see her, no one speaks to her but Sherlock. No one even acknowledges her presence. Mycroft makes a comment about not creating minutes, but he is merely looking toward the front of the room when he says it. Then, in the same scene, he says that only four people (4 code names) will know the truth of the Magnussen mess. There are supposedly five people in the room. (Also, are there only four glasses on the tray?)

The next time we see Norbury, she is with Lady Smallwood when Smallwood gets brought in for questioning. No one speaks to Norbury here either.

And finally, the aquarium scene. As I said, I think that Norbury is actually Mary. All of the dialogue here about Norbury directly is suspect. I think it’s Sherlock making up details/deductions to support his delusion/alibi. Which explains Mycroft finally speaking to Norbury/Mary.

Would you like some visual evidence that Mary is Vivian? I can do that. 

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Revisiting EMP - yay or nay?

Gathering my thoughts on TST. 

First, I want to say how much I *loathe* the “redemptive Mary” arc and explain why it’s so wrong, because I see a lot of casuals accepting it at face value. 

1. Mary shot Sherlock. He literally died. Only superhuman love for John Watson brought him back from the dead.

2. She would have shot him again at the empty house if her face wasn’t plastered on the building.

3. It was never explained WHY she shot him. To keep John from knowing about her secret identity? That justifies killing your husband’s bff who has offered to help you out? Similarly, we never see her apologize about it or justify it except as she’s dying. “Oh, so sorry I murdered you that one time.”

4. When Mary shoots the coin she’s a bit off – meaning perhaps she really did intend to kill Sherlock but “missed” by a few milimeters? There are other explanations for who called the ambulance (my money is on CAM).

Then at the end of HLV, and all of TST we have Sherlock, Mary and John basically acting like none of this happened and everything is fine. We get AGRA’s backstory and hey, it’s not all that bad. Sure AGRA, the team, “did things for money”, which probably meant bad things like assassinating innocents too, but heck, Mycroft used them so they couldn’t have been that bad. And Mary did try to leave that life behind. etc.

If this were HONESTLY going to be left like this, with Mary as the redeemed hero, I’d hate this show to my dying breath. 


OPTION #1. TST all happens “in the real world” of the show but it’s all a deliberate trick. Mary is really evil.  This would have to mean:

1. Mary deliberately played the role of ‘hero’ and sacrificed herself in order to permanently separate John and Sherlock. Mirrored with Emelia Riccoletti. Maybe Mary was already dying so “she made her death count”. But yet – didn’t she just give birth like 6 months ago? Wouldn’t her doctors then or, you know, her HUSBAND doctor, have noticed if she was deathly ill? But maybe it’s a secret twin? Let’s move on….

2. Somehow, probably during TFP, Mary will be revealed as the ultimate villain. Mary must actually be dead, because I can’t buy that everyone in that room was in on it or wouldn’t have noticed it was all fake. So we’ll get some new posthumous backstory on Mary that shows she was a villain all along and never loved John at all but merely hooked up with him to hurt Sherlock. Or possibly Mary is a twin and one of them died but the other will show back up at the end. (”It’s never twins.”)

In this scenario, we get Mary finally revealed as a total psychopath, the answer to Moriarty’s “Burn the heart out of you”. (with Mary as either Moriarty or his minion), and John perhaps confesses that he wasn’t happy with Mary anyway.

But we still have Sherlock being SOOOO blind for ages and ages, and John acting like… what? Why would he go back to her after she shot Sherlock? At all?  So, this option is problematic. It’s still possible, absolutely, and I’d say it’s the most likely scenario. Because I’m coming to accept that MOFTISS are willing to sacrifice logic for drama. But still pretty unsatisfying. John continues to just be a victim and have no agency. And I can see that “Sherlock is blinded by sentiment” but that badly and for that long? Ugh.


None of what we saw in this episode was ‘real’ but it was only a “one possible future” projection from coma-Sherlock. This solves the ridiculous “redeemed Mary” arc. 

In favor of EMP: 

* Lots of inconsistencies in TST like characters and things being mirrored on screen for no good reason (Sherlock on the stairs when Lestrade and John are taking the piss, John and Mary in bed, the door in the Watson flat).  Alternative explanation: These are deliberate artistic choices to tell us subconsciously that ‘something is wrong’, that we’re not getting a reliable narrator. Instead of EMP it could just be telling us that Mary is lying or Sherlock isn’t seeing things correctly.

* We have little lines of dialogue changing like “Mummy is coming” vs “I’m coming”. No idea what an alternative explanation is.

* Jumping in front of a bullet? Like seriously? That’s as stupid and unrealistic as the delayed action stabbing. 

* There’s the weird water/MP imagery the first time Sherlock notices the statue of Thatcher bust and a few other times. Alternative explanation: it’s another one of the show’s “visually demonstrating something happening in Sherlock’s head” that he’s noticing something is wrong (the shark/Mary/Moriarty) but does’t fully understand yet. We had tons of this sort of thing in ASiB. So it doesn’t necessarily mean EMP, but it’s suggestive nevertheless.

Against EMP:

* I’m frustrated with the apparent writing inconsistencies if this is all EMP. We see so many scenes that don’t include Sherlock such as Lestrade and Hooper in the hall, John and Mary in their flat, Mary’s New Jersey woman bit on the plane, John’s flirtation with bus lady. Let’s say Sherlock is imagining this entire episode – then some of those feel very OOC to me. The whole “gingersnaps” scene at the start. Why would Sherlock imagine himself as that much of a buffoon? The infidelity. Sherlock might guess that John would be unhappy with domesticity and might fall prey to temptation with some random woman. I can see that. But the whole thing with the flower in John’s hair feels too much of a “real dad” moment for Sherlock to dream it up. Then there’s the scene on the plane where John is feeling guilty remembering his affair. That feels more like a true John moment than something Sherlock would imagine about John. There’s the little parenting convo between John and Mary about 666 and the Omen and all that–that felt like something only real parents would be exhausted/exasperated enough to say, not something Sherlock would imagine new parents to say. Or we have John and Lestrade teasing Sherlock about the baby and Sherlock being clueless. With some of these things, it’s difficult for me to believe that the character of Sherlock would imagine them in his head –they seem outside his realm of experience not to mention why he would BOTHER imagining such things on this future path that are so mundane and don’t directly affect him or the mystery. So that remains my strong bone of wariness about EMP.  Alternative explanation: Moftiss simply aren’t that bothered about being consistent with Sherlock’s dream narrative and just want to to have fun showing this ‘alternate path’. 

* I think people will lose their shit if this turns out to all be a dream.  In Dr. Who they let the audience in early on to the fact that it was a dream. So then you’re always thinking “is this still a dream then”? Like, TST would make so much more sense to me as a dream if they’d interspersed little bits of John sitting at Sherlock’s bedside or even ANY bedside (keeping it cryptic). I honestly don’t feel like they’ve given us enough SURFACE CLUES to set up EMP for the general audience. Like, not just flipped cameras and shit, but bigger, more obvious things. Like in TAB when the entire room shook and then they’d break back to the “real world”, or characters were saying things like “you’re in too deep, you need to wake up!” That sort of thing was just not present in TST. And I think the fact that it’s not there is really significant. 

* The birth announcement in the paper. I know many dismissed this as just being PR, but I’m still disturbed with the idea of non-Sherlock characters breaking the 4th wall about the baby and Sherlock being on the phone all the time (i.e. not in a coma) if Sherlock is actually in a coma dreaming all this time.

At this point, it seems like BOTH option 1 or 2 are problematic and have some major story holes.  On the other hand, if neither is true, and Mary retains her redemptive arc til the bitter end, I will stick a fucking fork in my eye.

Thoughts welcome.