@fatalobsession - Tumblr Blog

My only regret with becoming a Johnlock shipper in the ACD Sherlock Holmes/Granada fandom is that I’ve been in it for all of two months and it may have ruined me for almost all other romance. My expectations are just too high now.

Romance is my favorite genre, but it can be so hard to be satisfied when you want your romance to be interesting. Sometimes you just get two characters and the most interesting thing about them is that they’re going to end up together. You see it all the time, especially in mainstream het romance. Sometimes the setup is literally just: “Boy meets girl.” And we’re supposed to stay invested in it. Like, why should I care about these characters as people? Who are they outside their attraction to each other and why should I root for them to be together instead of apart?

And then you get Sherlock Holmes and John Watson. This isn’t boy meets boy. This is neurotypical, bisexual medical man with postwar scarring and PTSD meets manic-depressive, neurodivergent, gay (and possibly graysexual) genius with a drug addiction. Not only is that one of the most interesting setups for romance I have ever encountered - - and I’m not even including the cases here - - but it is just… the most heartwarming and beautiful thing. Ever.

Because if you order your ACD canon on a bed of Granada, my shallow labels don’t even begin to do these characters justice. They don’t cover Holmes’ playfulness and his heroic heart, or Watson’s boyish laugh and his sometimes embarrassing levels of sincerity. Not to mention the never-ending warmth in their eyes whenever they look at each other. And that’s not even the half of it. Any one quirk of their characters that other stories would reduce them to for the angst or excitement just builds these two into round, whole people, who almost feel alive. And they make each other better.

The hilarious part is that the adventures of Sherlock Holmes aren’t even a romance by definition. They’re mysteries and tales of social intrigue - - and yet, the romance is undoubtedly there, so long as you’re keeping your eyes open for it. In Granada, you’re plopped right into the middle of the love story. We get both the adventure of the cases and the domesticity of Baker Street. Between the wild disguises and crazy locales and daring chases, we get a warm room, a meal from Mrs. Hudson, and the easy physical intimacy of two people who live together and love each other deeply.

These characters are so multifaceted and their lives are incredible - - and yet, in a way, it’s to be expected. The extraordinary is everyday for Holmes and Watson because every day is extraordinary. Maybe that’s a bit cheesy, but it’s also terribly interesting.

Which is to say, I’m new, I’m hooked, and I don’t know if I’ll ever be quite as satisfied by anything else. Maybe most other love stories just need 130 years to catch up.

tqosaw

Ok. So up until this point I haven’t really participated too much with meta creation simply because I struggle with subtext and I always thought myself too slow to find anything. Anyway I was singing the first part to Eurus’ song today and it occurred to me that the song may or may not have clues for us to find.

“I that am lost, oh who will find me?”

The lost special is the speaker,

“deep down below the old beech tree”

Beech trees are generally symbolic for the written word, so perhaps a link to the original story or something else (?)

“come succour me the east wind blows”

succour means ‘to give aid or assistance to’ so if this could refer to either the lost special itself or John and Sherlock. I favour John (”John Watson definitely in danger”) the threat being the east wind (Mary or Euros depending on your favoured theory)

“sixteen by six brother and under we go.”

This line is what got me. I thought that perhaps sixteen by six couldiI be a date. sixteenth of June. And then I remembered the tweet regarding Fireworks and Guy Fawkes day. Now I’ m an aussie so I have no idea what or when it is. So anyway that added up to nothing (its in November) anyway I did another search ‘sixteenth June Sherlock” to see what would come up. Lo and behold the first thing that comes up was John’s blog. The entry you ask?

Fucky??? I thought so too. I’m going to track down the rest of the song see what I can find. I haven’t seen anything like this so far, if you have any thoughts feel free to add them.

#norbury

tjlcisthenewsexy

I LIKE THIS!

longsnowsmoon5

Agree! I did some date research too, very interesting results!

hubblegleeflower

Watch the eyes...

Whoever created this scene knows that, in the story, the thing was done, that it was done quickly, and that is was done specifically to John and Sherlock. Not to Sherlock and Mycroft.He turns his eyes to John. He does, and John sees. It’s only for an instant, a couple of frames, and then it’s back to Mycroft, but it happens.It took her five minutes to do all of this to us. To us, John.I’ve been meaning to make this gifset for a long time. It feels important.

In the last Sherrinford scene in The Final Problem, Mycroft admits that everything that’s happening is his fault, because he allowed Eurus 5 minutes with Moriarty. Here’s what happens as Sherlock prepares to shoot Mycroft:

He’s talking to Mycroft. Of course he is. And there’s no pause in the sentence. “To do all of this to us” all comes out, while his eyes are locked with his brother’s.

But then:

He turns his eyes to John. He does, and John sees. It’s only for an instant, a couple of frames, and then it’s back to Mycroft, but it happens.

It took her five minutes to do all of this to us. To us, John.

Whoever created this scene knows that, in the story, the thing was done, and that is was done specifically to John and Sherlock. Not to Sherlock and Mycroft.

Does that not feel important to you?

atikiology

just making sure, have all of you seen the official template for mary’s death scene in BBC Sherlock because it’s gold ((you don’t have to understand german to watch this, skip the first 20 seconds))

hawksmoor17

Physically Impossible Scenes in S4: Flashbacks + POV Changes

Guess who’s ascended to a whole new layer of confusion? It’s me.

At first I was absolutely convinced of EMP due to the fact that most of season four appears to be partially/wholly constructed. However, some scenes are impossible. Which makes me wonder if we are witnessing a collaborative retelling of events the perspectives of Sherlock, John, and Mycroft. An alibi. Or perhaps a version of John’s blog. Also, maybe there are drugs involved. It’s all very strange.

NOTE: I try to provide explanations for these scenes, however, the main thing is having them all laid out in a list. Whenever I’m coming up with theories these are always the moments I end up coming back to.

Additionally, an incredible amount of of dialogue, settings, characters, and plot lines within season four are all recycled from previous series. To keep track, downloadable PDF flowcharts with these interconnected memories can be found here along with an editable file to add relevant missing parallels.

1) Sherlock has a flashback in TST …

… to John throwing the AGRA data stick in the fire at Christmas — an event he was never present for because he wasn’t even in the room; he was outside eating mince pies with Wiggins (or something.)

(Left: HLV. Right: Sherlock’s TST flashback).

Explanation 1: Sherlock constructed the Holmes family Christmas scene where John forgives Mary in his mind palace as an alternate reality/test scenario. Explanation 2: John and Sherlock have constructed this memory together as part of an alibi. Explanation 3: Although The Six Thatchers seems deeply rooted in Sherlock’s POV, it’s actually filtered through John’s. Explanation 4: Mary plants this scene in Sherlock’s memory through use of HOUND/TD-12. Explanation 5: ???

Considering the other weird POV scenes in S4/HLV I’m still not sure where I stand on this. But within TST when Sherlock has this flashback the lighting flickers exactly like it does when Mary is in Sherlock’s hospital room and says:

“You don’t tell John. Look at me and tell me you’re not going to tell him.”

Which leads me to believe that Explanation 4 may be correct and Mary has convinced Sherlock that John forgives her through drugging him with “TD-12″/a derivative of HOUND that renders the recipient extremely suggestible.

2) Sherlock has a flashback in TLD …

… after seeing Faith!Eurus, to John walking off into the night with his cane — an event he was never present for because he was off dumpster diving for the pink suitcase. This scene is odd because John is seen from behind, from an outsider’s POV. In the next shot John gets the phone-booth call from Mycroft, who has been watching him through security cameras.

(Left: Mycroft watching John in ASiP. Right: Sherlock’s TLD flashback)

Explanation 1: This scene is from John’s POV and he’s imagining how he used to be before Sherlock from an outside perspective. In a flashback from Sherlock’s perspective. (?) Explanation 2: TLD has been filtered through Mycroft’s perspective as well and he’s working collaboratively to devise an alibi for John and Sherlock. Explanation 3: Sherlock had a flashback to something he didn’t see because it represent’s John in ASiP generally and it isn’t supposed to matter about where the shot is from itself. Explanation 4: Sherlock was secretly watching John leave somehow, hiding in an alleyway. Explanation 5: Season 4 is John’s blog/Sherlock collaborating with John in writing the blog. Explanation 6: ???

At the moment I’m quite interested in Explanation 2, just because it has relevant metaphorical implications considering how Mycroft represents the writers/writers of Holmes adaptations in general.

But to be honest, at this point I’m not sure how lenient this show is with it’s logic/suspension of belief. Explanation 3 does seem possible. It could be that the more simple answer is correct and that this really is Sherlock’s flashback.

Especially considering the fact that there aren’t that many good shots of John walking alone with the cane in ASiP that would fit the tone of this scene. This is a moment in which John feels isolated/alone, so it could just be representational.

Explanation 5 is also pretty interesting, considering how we haven’t seen the blog updating this season while it’s had a lot of attention drawn to it. It could be that the show has become the blog or some other variation of this.

3) “He’s better than a great man …”

In one of the final scenes of TFP Lestrade says that Sherlock isn’t merely a great man, “he’s a good one”, which references what Lestrade told John in ASiP when they first met. A conversation Sherlock wasn’t present for. He was in the cab with Jefferson Hope.

(Left: ASiP scene with only John present. Right: TFP scene)

Explanation 1: TFP is Sherlock’s recurring dream from TST and/or he is unconscious/in a coma after overdosing. Lestrade/John says this at his bedside, the real-world dialogue bleeding into his dream. Explanation 2: Sherlock and John are collaborating by formulating an alibi which involves explaining Sherlock’s dream and they add this line in. (?) Explanation 3: TFP is from John’s perspective and Sherlock explained to him that Moriarty’s “final problem” was to kill him. Also the TAB waterfall scene was beamed into his brain somehow. (?) Explanation 4: It’s in-universe fanfiction/a movie/a TV series about Sherlock and John’s lives. Explanation 5: Sherlock’s dream is being recounted on the blog for whatever reason. Explanation 6: Sherlock and John are coming up with a ridiculous explanation of events on the blog as part of an alibi, because they think the mainstream audience will think it’s the truth. Explanation 7: ???

4) “That wasn’t the final problem.”

In TFP Moriarty introduces the episode with: “Hi! I’m Jim Moriarty. Welcome to the Final Problem!” John has never heard Moriarty say the phrase “the final problem” before. Only Sherlock hears this multiple times during Reichenbach — once at 221B over tea, again in the story of Sir Boast-A-Lot, and again on the rooftop of St Bart’s.

Considering TFP as primarily existing rooted within Sherlock’s POV, the whole episode seems very much like a lead in to the “Inmost Cave” portion of Archplot Story Structure in which the protagonist goes through the most emotional growth/has revelations about who they and how their flaws are influencing their choices.

(Left: TRF with only Sherlock present. Right: TFP)

“Deep water, Sherlock, all your life, in your dreams. Deep waters …”

While Sherlock has flashbacks to his “past” we get a shot of the waterfall scene from TAB. If TFP were John’s dream, he would be unable to form a perfect visual recreation of a scene that occurred within Sherlock’s mind palace.

However, within TFP we also get these:

(Left: MHR, only John and Lestrade present. Right: TFP)

(Left: ASiP, only Sherlock. Right: ASiP, only John) (Both are shown during Mary’s final TFP speech)

(See #3) and additionally: Explanation 1: TFP is from Sherlock’s perspective and the ending references to ASiP and MHR are metaphorical/parallels. Explanation 2: TFP is from Sherlock’s perspective and he is telling it to John / it is being retold by John somewhere like the blog. Explanation 3: TFP is a fan-theory. Like Anderson’s in TEH or a movie/tv series/book/fanfic.

5) TAB is definitely from Sherlock’s POV …

… because, again, narratively it wouldn’t make much sense any other way. A concrete link is that Moriarty tells Sherlock “Because it’s not the fall that kills you, Sherlock. Of all people, you should know that. It’s not the fall. It’s never the fall. It’s the landing” in reference to “I want to solve problems… our problem. The Final Problem. It’s gonna start very soon, Sherlock… the Fall. But don’t worry: falling’s just like flying, except there’s a more permanent destination” from TRF as well as “I-O-U a fall” — conversations John was not present for.

(Left: TRF. Right: TAB)

6) Gunshot flashbacks.

Within TLD both Sherlock and John have flashbacks to gunshots that look exactly the same. Which makes me wonder what the exact logic of this show is. Can two characters have the same memory of a gun going off? We already know that within this episode Sherlock has a flashback to something it’s likely that only Mycroft has seen — so perhaps these gunshots are also metaphorical, or part of a retelling of events by Mycroft/John/Sherlock?

Gun #1: Norbury’s gun. (Or Mary’s. They’re the same model.) Gun #2: Likely John’s gun. Appears after “Taking your own life” speech to Faith!Eurus.

The fact that when Sherlock is on the bridge with hallucination!Faith!Eurus, the shot of the smoking gun is superimposed over him means that Sherlock is the one who got shot at in this memory.

This matches up with the flashback. Ungloved, right handed, with a Walther PPK without a silencer. (As opposed to gloved, left handed, with a silenced Walther PPK like Mary in CAM tower.)

But TST is presented so it seems like John did not see Norbury’s gun go off at the aquarium.

Therefore, either: a) John was there to see the gun go off and he, Mycroft, and possibly Sherlock are crafting an alibi. b) The whole of TLD is from Sherlock’s perspective, including John thinking about the smoking gun, and he subconsciously knows that John was present to see it be fired in TST but his memory manipulated through drugs. c) The whole of TLD is from Sherlock’s perspective, and he imagines John dreaming about the gun going off metaphorically. d) John’s dreaming of the smoking gun is from his POV and the shot is completely metaphorical.

Summary of Main Points:

- Sherlock has a flashback in TST to Christmas HLV. Therefore the burning AGRA data stick scene is fabricated, the flashback is metaphorical, or TST has been filtered through John’s POV.

- The lighting in Sherock’s TST flashback matches the lighting when Mary snuck into Sherlock’s hospital room in HLV. (Possibly indicating that Mary has drugged Sherlock with HOUND/TD-12 at least once to manipulate his memories.)

- Sherlock has a flashback in TLD to John with his cane. This could be metaphorical, an indicator that TLD is filtered through Mycroft’s POV as part of an alibi, or an indicator that TLD is filtered through John’s POV.

- John and Sherlock both have the same flashbacks to gunshots. This could be metaphorical, or an indicator that TLD is filtered through multiple POVs. - TAB is definitely from Sherlock’s POV. (Thank God for this one concrete episode.)

- TFP has reference to TAB, meaning it has to be primarily based in Sherlock’s POV. There are dialogue references back to ASiP, meaning that either Sherlock is unconscious and in a coma with Lestrade’s words filtering in, or that TFP is breaking the fourth wall and is an in-universe fanfic/book/movie that Sherlock has somehow influenced along with John — or TFP is a collaboration between Sherlock and John on the blog.

isitandwonder

Wow @goodmythicalmail what a read!

My feeling after reading this is that we are missing one vital, omnipresent character, a narrator that can see and tell things that the characters on their own can’t know/haven’t been privy to, yet are shown as if experienced by them. A god perspective, inserted in each character’s narration of events…

How about ACD? We’ve been talking about this play “The Penultimate Problem of Shelrock Holmes”, in which Conan Doyle appears to explain to Sherlock Holmes that he is but a ficitonal character, thereby breaking the fourth wall. I know of other Holmes adaptions in which Conan Doyle appears.

For our Sherlock, this could be either Conan Doyle, who exists in the BBC universe (isn’t he mentioned in some newspaper clipping?) or Mofftiss (which could be personified by Mycroft, as he’s played by one of the writers…)

@waitedforgarridebs @darlingtonsubstitution because of penultimate problem.

@ebaeschnbliah @gosherlocked @tjlcisthenewsexy @monikakrasnorada because of emp relevance.

alltheholmesandjohn

Interesting …

mariowasd

UUUM GUYS

This was posted by the ContactSH twitter a few hours ago, and it just hit me after a random thought and I’m not a Londoner, but I’ve been there and isn’t this the exact view from the BBC Broadcasting House?????

Even the angle fits, because we can see the London Eye in the background. I don’t think someone not working for the BBC or with the BBC could get that picture, right????

Excuse this, if someone already mentioned it.

Tagging some people under the cut, because otherwise I would scream into the void.

Keep reading

shag-me-senseless-watson

Wait okay so. Is the person playing Sherlock someone who works for the fucking BBC because I’m about to laugh my ass off while crying

willietheplaidjacket

The fourth season of Sherlock has come and gone, and it’s left more than a few fans disappointed. Myself included.

A good analysis of what went wrong. I particularly liked this line and the points that followed it:

‘So what do you get when you cross overblown deduction powers with a fear of your male protagonists getting too close? You get Eurus.’

I’d been trying to pinpoint why Eurus didn’t sit well with me (apart from her overly aggressive, cliche horror movie vibes) and this article sums it up rather nicely.

swimmingfeelsinajohnlockianpool

Mrs Hudson’s voice in TFP

During the Molly scene at roughly 60:20/60:25 minutes, we hear Mrs Hudson’s voice saying “softer Sherlock!”. Why? I thought that if we had ever heard Mrs Hudson talk in Sherlock’s head it would only be “Norbury”. Is it only a sign of his new better, more “human” behaviour?

@inevitably-johnlocked @221bloodnun @worriesconstantly @whimsicalethnographies @may-shepard @isitandwonder

If any of you doesn’t want to be tagged please let me know

may-shepard

Ah! I’ll need to listen with headphones on…

Mrs. H coaching Sherlock by John’s bed? Comforting him as he tries to tell John what he needs him to hear?

holmesianscholar

I JUST LISTENED TO THIS BIT THREE TIMES AND I REGRET TO INFORM YOU IT IS INDEED MARTHA LOUISE HUDSON

(SORRY FOR THE POOPR QUALITY- LISTEN TO 0:16)

Assuming that TFP is John’s near-death moments- I can only imagine this to be at John’s sickbed, Mrs Hudson telling Sherlock to speak to him softer because he isn’t responding. He isn’t “picking up his phone” and it went to the voice mail, in which molly (the mirror) tells him that she’s in “dead centre of town.” John is dying.

(On a separate note, if anyone sees this, could you please confirm in TLD if Sian does a voiceover on Gina Bramhill - the morgue!Faith - during the scene in which she’s td12’d and trying to remember? “I can’t remember, can’t remember who you’re trying to kill” I think it’s Sian’s voice but please tell me I haven’t lost my mind)

disregardedletters

*wakes up in the middle of the night and turns towards my partner* “what if everything after his last vow since the shooting is emp and everything has been Sherlock’s weird inception of everything with how he thinks john would react if everything happened with Mary and tfp is Sherlock interpretation about how john would be using his mind bungalow and we wake up and find out john shot Mary and he’s still in a coma and this is how he figures out he’s in love with john.”

My partner: “go to sleep Louise. It’s 3 in the morning. ”

disregardedletters

That’s why we see the John alibi on paper, it’s Sherlock picking up things from hearing conversations in the hospital room and it’s his mind sorting everything out.

disregardedletters

WHAT IF JOHN IS READING SHERLOCK HIS HORROR BOOKS AND STORIES TO SHERLOCK WHILE HES IN A COMA AND HES GETTING THAT MIXED IN TOO?!?

tjlcisthenewsexy

JOHN AT SHERLOCK’S BEDSIDE, PUTTING BOND ON THE HOSPITAL ROOM TELLY, THEN HE GETS EVEN MORE BORED AND PUTS ON THE RING, AND SAW.

disregardedletters

PLEASE

impatient14

This would seriously be hilarious

consultingeastwind-blog

Mycroft pulls a face upon happening on John “feeding” Sherlock horror stories and in his next visit he reads bloody Oscar Wilde. XD

afishlearningpoetry

How Our Current Understanding of Sherlock and TJLC Have Evolved to Now, A Month After TFP Aired.

Including their intentions and plans with the show, Mark’s love of TPLoSH, the 2009 BBC LGBT report, How They Lie Constantly, The Five-Act Shakespearean Structure, M-Theory with Moriarty and Mycroft, Extra-Narrative and Meta-narrative elements, Moriarty’s Post-TFP message, The Lost Special, The Show Being Reichenbach’d, The Geek Interpreter, The State of the ARG and the BBC Pure Drama Ad, #Sherlock Live, and how in the end we know that something is coming, and soon.

See Also: How TAB foreshadowed and can be used to decode Series 4.

the-7-percent-solution

I know we all have a thousand questions for Moffat and Gatiss, but I just can’t get over Janine’s last name change in The Abominable Bride.

Why change it unexpectedly to “Donlevy” if not to pay respects to “Donleavy”, the female relative of Moriarty in the Mary Russell Sherlock Holmes novels? Why have that prominent newspaper clipping missing an “A” if not to draw attention to it? Why have Arwel tweet during TAB setlock a sentence with a capital “A” randomly in the center? Why frame Janine with the bison horns? Why have her Irish, like Moriarty? Why cast an actress who looks exactly like Andrew Scott? Why have her be Mary’s #1 go-to gal but not worth anything in the end? Why have her go to Sussex Downs like Holmes and Donleavy? Come on, hardly any people are thinking about this. Out of the millions of viewers, I bet only a few people in the world have noticed these parallels and are still mulling them over. There’s a carefully foreshadowed villain reveal with Janine (and Mary) but we haven’t seen it. “Donlevy” cannot be a coincidence. If there is no Lost Special I will go to my grave wondering about this.

hellooteapots-deactivated201905

teaandforeshadowing

UM EXCUSE ME THIS STREET WAS IN THE PILOT

hellooteapots-deactivated201905

the wheel turns. nothing is ever new.

jenna221b

(x)

warmth-and-constancy

Not only is it clear that the scripts are not the “final versions,” I would also just like to remind everyone, for the hundred thousandth time, once and for all, that Martin and Ben are terrific actors but have absolutely no power to overrule a script. They can ad-lib a line here and there, especially a cute joke (”Am I the current King of England?”), but they cannot change the meaning of the entire show on their own.

The reason the scenes in the show differ from the scenes in the script is because the script was changed by Moffat and Gatiss. Period.

It defies belief to think that Martin and Ben could take it upon themselves to tell a different story than the one the showrunners were telling and have the showrunners just go along with it, informing their directors and editors to just *sigh* go ahead and do what Ben and Martin want, they’re the ones really in charge. Yes, there has been a history of actors “secretly” playing characters as gay, but that doesn’t extend to changing the dialogue in multiple scenes to suit their own ideas.

If you are a TJLCer and you honestly believe that Ben and Martin conjured up Johnlock all on their own, then how do you explain the “oh my god” and “my husband was just the same” appearing in the ASiP script, “bathed in starlight” appearing in the TGG script, the subtext in the script throughout the whole show, the subtext in the visuals throughout the whole show (including Sherlock’s flashbacks to ASiP!John in TLD), the subtext in the music throughout the whole show, and the fact that they apparently both decided to abandon this plan mere days after forcing yet another aborted love confession onto their weak, pushover showrunners at the end of TLD? If this was an actor-led coup that required the cooperation of the editors, directors, cinematographers, lighting directors, production designer, costume/hair/make-up team, and composers, then why didn’t it succeed? Why no romantic John-in-a-blanket scene?

I’m honestly confused as to why TJLC not only throws out seven years of consistent evidence, some of which it just got its hands on yesterday, just because a clearly incomplete, non-final script has surfaced, but has also embraced the long-debunked idea that Moffat and Gatiss have no partnership with their actors with allows for the exchange of ideas in both directions (Martin deciding to replace a line with a look, which the showrunners obviously approve of, because they’ve spoken about it with admiration; Moffat and Gatiss deciding to tell the actors to do something that they haven’t written into the script, which the showrunners have…also acknowledged that they do).

the-7-percent-solution

I have been thinking the exact same thing. Martin and Ben have NOT changed the direction of this story. Moffat and Gatiss came to them with an idea and the actors jumped on board – very enthusiastically, keep in mind. Moffat and Gatiss are not being duped by everyone else associated with the show. This is THEIR show. They are writers AND creators. They have absolute control over what comes out. To think Moffat and Gatiss wrote the show one way and then the actors took it in a different direction without them noticing or caring is, quite honestly, the craziest thing I’ve ever heard. And that means a lot coming from the person who encourages people to wear tinfoil hats so Derren Brown can’t infiltrate our thoughts.

asherlockstudy

Evidence Sherlock never fell for Irene (but he really fell for John)

Sherlock disapproves of Irene’s profession and way of living.

Because you cater to the whims of the pathetic and take your clothes off to make an impression. Stop boring me and think.

Sherlock didn’t want Irene to reveal to John what the code for her safe meant.

Does anyone else agree with me that this means “NO!” more than “I don’t care”?

When Irene visited Sherlock to return his coat, she gave him a kiss. See the lipstick mark?

Her kiss was what woke Sherlock. And his instictive reaction was…

But he quickly understood John was not the one who kissed him in the room and his dream about Irene wasn’t exactly a dream. So he panicked.

(Btw kudos to Sherlock for being faithful to John even in his sleep)

addigni

But some people say that John and Sherlock are in a abusing friendship but with Sherlock abusing on John and it does disturb me... What do you think ? ( I like John not being perfect and violent sometimes tho it makes his character more interesting)

@curu-monk i agree actually. they’re NOT a healthy relationship at this point (not since s3 tbh)

perhaps they are not being deliberately abusive towards each other, but they are too codependent on each other for it to be a healthy relationship (friendship or otherwise).

Sherlock is too dependent on john as being the centre of his entire universe. Sure, when you romanticize it you can say it’s love, but it isn’t a healthy one. Everything sherlock ever does is for john, he lives for john, he killed magnussen for john and he alone suffers the consequence of incarceration or a death mission. Yet despite the potentially fatal consequence, he does it anyways. Why? Because for john. He is so dependent on john that sherlock completely disregards his own well-being and his own life. When he returned and his incarceration got cancelled, what did he do (in the entirety of tst)? did he live his own life (and by live his own life i mean having a life/priorities of his own but still keeping john as part of his life)? No. Instead, what sherlock chose to do was to make John’s family life as his own personal mission. That he lives mainly to protect mary and rosie and john to give john the domestic life john wants. And then when john got angry with him and asked for distance, what happened to sherlock? He went off his tits on drugs and hallucinated and is a complete mess– all simply because john no longer needed him there. Again, if you romanticize it, this can sound like an oh-so-special love story. But the reality is that it is more appropriate to call it dysfunctional. ANY relationship that would cause serious mental or emotional or physical harm to either parties is NOT a healthy relationship. And considering the amount of times sherlock has complete disregard for his own life and safety, unable to have a will to live without john, that isn’t a healthy relationship.

Same goes for john, the way he views their friendship isn’t healthy either. From what i see, sherlock is his safety net. When Mary was still alive, he completely lets go of the wheel and expects sherlock to be in control of it. He’s complacent, “sherlock is there and sherlock promised to be their bodyguard so ok yeah that’s sherlock’s job. and i can enjoy my life how i wish to” and he cheat-texts on E coz he got bored of domestic family life and once Mary dies, he’s still burdened by his own guilt of cheating. But instead of facing his own emotions and admitting it to himself, he instead lashes out in a violent outburst. Lashes out on who? Well, sherlock ofc, because that’s what sherlock is there for, sherlock is a willing target, and there’s enough flaws and past resentment that sherlock has done to make john feel somewhat justified to beat him up in the heat of the moment.

so yeah, these two people are so broken and are both so full of self-loathing. Sherlock’s self-loathing manifests itself in self-destructive behaviour, thinking he deserves to be beat up, he deserves to be hated, he deserves to be alone, etc.

meanwhile john’s self-loathing manifests itself in denial, unrealistically high expectations in himself followed by extreme self-loathing for not being able to live up to that expectation, and it becomes a cycle. The self-loathing reinforces the denial and high expectation. The disappointment to meet that expectation reinforces the self-loathing. And it repeats and repeats until he reaches a breaking point and burst– in the form of excessive violence towards sherlock.

they need a therapist and they need to sort themselves first before they can actually fix their relationship into a healthy one.

using “it is what it is” as an excuse to let things be the way it is is not good. because “the way it is” is not healthy. And it isn’t an unfixable problem so yes, working towards a healthier outcome is an effort worth exploring. And that’s what i hope i can see in these characters one day, because let’s face it, one time or another we will all end up in a somewhat unhealthy relationship without realising it (at least I have) so to see how something that’s dysfunctional can turn and grow into a relationship that’s mutually-beneficial and positive and healthy, isn’t it quite a nice and hopeful thing to witness?

and that’s the end of my ted talk x’D that got wayyyy longer than i expected

grumpyjohn

Sherlock is probably tweeting in this scene omg!!

the-7-percent-solution

Look at John and Sherlock walking down the aisle together, not at all the way this should happen at a baby’s christening. This is marriage symbolism. Look at the people in the pews watching as they go by. Can you. Fucking. Believe this.

moon--and--star

Reasons why the Lost Special needs to exist, and why things can’t simply be resolved in Series 5

It will look like Mofftiss are trying to sweep up their mess to appease people. It would look, and feel, more like damage control than the epic finale it deserves to be. It would make them look bad, like they truly don’t know what they’re doing and are just making things up as they go along. (This would also be a danger if the episode wouldn’t have been secretly filmed already.) I think we can all agree that they can both be pretty arrogant. Would they let their egos be damaged like that?

Everyone involved with the show thinks s4 is the best yet. It’s been described with these phrases:

“Insane wish fulfillment”

“Groundbreaking”

“If we can pull this off…it would be…television history”

“Never been done before”

“Love conquers all”

And there are more, of course, those are just the ones right off the top of my head.

Steven Moffat said he may be more proud of TFP then ASiB. Even a complete amateur like me could look at both scripts side by side and know there’s no contest between them. Moffat is a professional, so is Gatiss. There’s no way Steven would even think this unless it was part of something bigger. I refuse to believe that they would throw all of their rules of writing out the window, especially right after TLD, which was beautifully written. If TFP is it, if there’s nothing else, then surely Moffat should be more proud of TLD? Wouldn’t that make more sense? (Not that, y’know, anything about this is making sense. But I try anyways. The joys of insanity.)

This series was very deliberately marketed to lead the audience to believe that Sherlock would be given a love interest. The I love you trailer was edited in such a way that made it seem like Sherlock had a dark secret, and that this secret was that he was in love. The “I love you” was the climax, the cliffhanger of this trailer. And the actual context of the lines within the episodes themselves do not matter. It’s all about how the trailer’s narrative, on its own, was structured, the way the audience would perceive it in the context it was given in. And everyone was buzzing about who Sherlock could be in love with; there were countless discussions of it in the Youtube comments alone. The vast majority of the comments were about just that. People wanted to know why Sherlock was saying it, who he was saying it to. This. Was. Deliberate. And even if you can shrug off the trailer, can you shrug off the BBC iPlayer tweeting this?

This is not how you market your show if you’re not going to pull through.

This goes beyond queerbaiting. This is leading the audience on, all of the audience. And then there was TLD, and the whole “romantic entanglement” - “would complete you as a human being” thing. This isn’t just about Johnlock. It doesn’t matter who it’s about because again, this is another way of saying that Sherlock will be given a love interest. There might be Chekhov rifles hanging everywhere in this series, but this one is the biggest of all. A huge amount of attention was drawn to it…only for nothing to come of it in TFP.

So a romance was all but promised for s4, and they didn’t deliver. Would they have built up all this hype if the plan was to leave us to wait for years for it to happen? Um. No. Not unless they didn’t know what they were doing.

In fact, believing that there truly is nothing else coming requires you to believe that nobody knew what they were doing. Not one person, because otherwise TFP would not have happened the way it did…unless there is more.

Steven Moffat said that the cliffhanger of Series 4 would leave fans “desperate for series five”. TFP ended on…the complete opposite of a cliffhanger? Not to mention, they’ve said they’ve had things mapped out for five series for years and years. If they leave things as is, with things “””””resolved””””” the way they are in TFP, s5 will look completely tacked on to that.

Let’s be real, if they let TFP just sit for 2+ years as is, I’m not even sure if there can be a Series 5. The reviews were terrible. The ratings were the worst they’d ever been. Most people hated it. If this is left cold long enough, if nothing happens soon, people will become indifferent. They won’t care anymore. They’ll move on. This is why we need the Lost Special, and this is why it needs to come out sooner rather than later. Otherwise, there is no hope for this show.

Trending Blogs

Recently Viewed Blogs