Oh interesting! I've always sort of pictured something like three to six years of difference or something so this is... new. Which also means that when they met Sherlock was getting into his thirties and John into his forties, interesting, againnnn
On the other hand, a newspaper article in ASIB lists John’s age. as 37, which would make his birth year 1975. Where in TLD is Sherlock’s birth year listed?
@bluebellofbakerstreet that’s the part I’m confused on, cos I don’t recall how TLD tells us Sherlock’s birth year. I see that the birth certificate for John reflects Freeman’s birth year, so it seems odd they didn’t use Benedict’s birth year, which would make them like 5 years apart (Benedict is 1976, Martin is 1971). No idea what the article in ASIB is referencing. I feel like this is just a clusterfuck of not paying attention to their dates in the show
Shoutout to @khorazir for observing where I did not:
khorazir
On Sherlock’s tombstone, his date of birth is 6th January 1977, which seems far more probable than him being born in the 1980s, given his odd remark towards Irene concerning the decade of her birth.
Which, thinking of his tombstone, makes me wonder how John didn’t know when his birthday was for so long when he stared at that thing for TWO YEARS.
So, in conclusion, canon is faulty and @khorazir just Sherlock’d us all
also we do have to be mindful of how reliable is any particular source. a fan made wiki, could be highly variable, would need to cite its sources to have any trust. john's birth certificate (or his CV in TBB?) used in the show, higher probability of being accurate. a newspaper in the show, a bit less reliable (think about rl newspapers, especially if you ever read an article about something you have extensive personal knowledge of, and the reporter didn't) ACD was wonky with dates, and mofftiss are huge acd nerds, so even in show data is not 100% trustworthy. are they being Unreliable Narrators? is the scene a representation of what is "actually" happening, or a character's memory or imagination?
Hi! Once I read this omegaverse fic where both Holmes boys were Omega and John was arranged to be married to Mycroft but he falls for Sherlock instead...(poor Mycroft) but I don't remember its title ._. all I remember is that it was also part of a series. Can ya help me find it? Ty. Sorry for any inconveniences
Hey Nonny!
Oooooooh this is bugging me because I'm SURE I had a very similar ask recently asking for this fic, but cannot for the life of me find it.
swissmissing said: There's this one, but it's neither omegaverse nor part of a series: The Pull of One Magnet to Another by ellie_hell https://archiveofourown.org/works/256520
The Pull of One Magnet to Another by ellie_hell (M, 46,641 w., 12 Ch. || Alternate Universe || Arranged Marriage, Friendship, Matchmaking, Angst, Fluff, Friends to Lovers, Case Fics) – Mummy has arranged Mycroft’s marriage with an ex-army doctor. However, John meets Sherlock first, and sparks fly.
Hey Steph ! , I’m here because after about 4 hours of searching I can’t find a list or any fics related to want I’m looking for ( I will say I do know there is some I just can’t find any ) where Sherlock and John go undercover as dom! John/ sub! Sherlock or it starts off as dom!Sherlock/sub!john and john makes him switch . It just I really wanna read more of the trope where they go undercover as an dom,sub couple
If you have any that be great but if not that okay to , thank you Steph as you are truly an god ! And don’t forget not to overwork your self :)
For your troubles enjoy the cute animal emojicons ／(≧ x ≦)＼ＵＴｪＴＵ(=^ ◡ ^=)
Hey Lovely!
Ah, sadly I don't know which fic this is, but I'm sure the community does! If anyone knows, please let us know!
The Inferno Club by SwissMiss (E, 20,841 w., 1 Ch. || BDSM Omegaverse AU || Alpha / Alpha, Victorian Kinks, Case Fic, Public Sex, Wax Play, Pain Play, Collars) – "I'm easy to find," said the young woman. "Hell, London, gets me every time." The real story behind The Adventure of the Illustrious Client.
Remember the I love you coffin and Mycroft saying it wasn’t a name.
What if it was parts of a name?
There is a name containing the I love you letters in the Mofftiss-verse:
Captain Sokolov Yuri.
I, Sokolov Yuri.
For this captain (unnamed in Stoker’s Dracula iirc), this ghost driver (found dead with his arms tied to the wheel) they came up with a name that says I love you.
Hi there! I’m not sure if what I’m asking is a Johnlock fic, but if I’m to have any hope in finding it, I thought it’d be here! I remember a fic where Sherlock gets raped in a lab at Barts by either someone visiting John (an ex-army mate) or by a police officer who has been called to help on a case. If you could help, that’d be great, thank you! :)
Hey Nonny!
I feel like I’ve been asked about this one before but I’m not finding it :/ Anyone able to help us out?
I´ve definitely read that but I can´t fnd it in my read fics. It was definitely a police officer who had tried to get off with Sherlock and was rejected. He took his revenge in the deserted lab at Bart´s, tying Sherlock to a lab table and assaulting him. I´ll look again, maybe I´ll find the link.
We only ever see 2 of them, they are rectangular, steel gray, with information about a person written on it, they are identical except one of them has a ball chain, the person on a mission is not supposed to take it off. Despite what we are told and shown, these aren’t memory sticks, they have to be identification tags, dog tags. Rectangular so not British, more likely American (but not necessarily, most countries have rectangular ones).
Only Ajay is seen wearing it around his neck, in “Tbilisi” (or ever).
Mary looks at these two guys, one looking conveniently very much like Ajay, the other more or less her height, and decides: “we die”, which probably means exchanging their IDs with these people, or only one of them, since Ajay and Mary seem to be using only one set of tags.
Ajay has the one with the chain, the one that remains with the soldier’s body for identification.
“I got out for a while. Long enough to hide my memory stick.”
Ajay never speaks of a plaster bust, only Sherlock does. He might have placed it on someone else, dead or alive.
Mary, apparently, kept the one that gets collected from the soldier’s body for notification, the one with a smaller or no chain.
If she and Ajay are actually family, she didn’t even have to be inside the embassy, she could have recoverd it later.
When he finds the rectangular AGRA, Sherlock is surprised, as he expected it to be circular: “expected a pearl”, ie a British identification tag.
It means that the black pearl of the Borgias could be code for a British ID disk.
On the plane, despite her American accent, Mary’s wearing a big disk, meaning a British ID disk and asking her neighbour about “the sun”, code for another ID disk: “Did somebody hide the sun? Did you lose it in the war?”
We can only see one, is the other missing or hidden because they don’t match?
After the landing though, her substitute has the complete set of ID disks
Thoughts:
I don’t know why the A.G.RA tags don’t have a full name on them. Maybe only the capital letters are legible for some reason, maybe in some special units the tags only indicate the initials.
A.G. can be short for Gabriel Ashdown or Garrideb Alex, both non gendered names.
Mary’s AGRA tag couldn’t be destroyed in the fire in His Last Vow, a very high temperature would be required.
Sherlock is working on the impossible case of a person being in two places at the same time. This is an example of how Sherlock makes his deductions by creating a whole story to go through a chain of events, making it complicated to explain his theories before the conclusion of a case.
Series 5 will present a realistic version of these events.
Hello!! I’m really sorry to bother you, but I wanted to ask if you know of a fic that is in more of a list format? Like, a Johnlock character study that centers around snippets of their life together? I believe the title is kind of like “100 things I learned” or something? I’m sorry if this isn’t understandable, I’m just terrible with words like that. Thank you so much! I love you and your blog and I hope you’re doing well! ❤️❤️❤️
HEY NONNY!!
I’m so sorry I missed this one!
Ahhh, Hmmm, I don’t know 100% which fic you’re looking for, or if I’ve even go it for you. Here’re the closest fics I know of to that title:
100 ways to say 'I love you' by Teatrolley (NR, 2,143 w., 1 Ch. || Slow Burn, Fluff, Domestics) – Sherlock sleeps with John’s body next to him, and wakes up to find him making them both toast in the kitchen with sleep still sitting in the corner of his eye, and he holds on tight to every little intimacy that John gives him; every little small moment, every little fond smile. It could be enough. Still, he’d like more. But Sherlock Holmes doesn’t know how to ask for things. Luckily, John does. In which there are a hundred phrases and none of them are “I love you.” Until they are.
A Hundred Thousand Ways to Say the Name John by Jberry (E, 16,825 w., 1 Ch. || Fake Relationship, Fake Marriage, POV John, Pining John, Cruise Ship, Angst & Fluff, Case Fic) – John Watson and Sherlock Holmes must solve a case on a cruise ship. To get close to the crew and passengers, they must get married for the case on the Baetica. However, their relationship hits rocky seas both due to the case and internal conflicts. Part 1 of Baetica
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Not sure if that’s what you’re looking for though :P <3
Hi there, friendly lurker here, overcoming my shyness to thank you for your meta series. I'm really loving it. It's been a while since we've had new, meaty meta in the Sherlock fandom. It's an especially nice to have something to chew on while much stuff in the real world is (literally/figuratively) on fire. (1/2)
(2/3 - oops!) The particular contribution of this meta series that is staying with me is the idea that the meta-textuality of BBC Sherlock is overtly part of the plot - that Sherlock the character literally needs to recognize and transcend the baggage of the character's past. Other metas have recognized the metaphorical aspect in all the meta-text of the show. Your argument reminds me of the Sherlockian game original-welovethebeekeeper told us about years ago.
(3/3 - really!) The Sherlockian game makes me think something as audacious as our Sherlock character having to literally become aware of his literary past is a possibility for his character arc in this show. Doing that through EMP maybe allows the authors to thread that needle of directly addressing the longtime suppression of Holmes' queer identity (not just through symbols and metaphor) while also presenting a "real world" story that is satisfying as such. Anyway, thanks again!!!
Putting them all on one post for the sake of ease! Thank you friendly lurker - this is such an absolutely lovely message to receive. I absolutely agree with you about this - and I think that is genuinely why the show is so groundbreaking, because it addresses the elephant in the room (eyy) when it comes to Sherlock Holmes adaptations - that there is a gigantic history to contend with. Really interestingly, one of my irl friends actually talks about this a lot in relation to Doctor Who, and Steven Moffat doing a similar thing when he was showrunner in dealing with what it means to be the Doctor, and on a metatextual level to write a show that has gone on so long. Some of that I incorporated into the meta! But looking at Moffat and Gatiss’s writing history, I think that kind of historicity is really interesting - but nowhere more powerful than in Sherlock Holmes’s queerness!
Anyway this was a really lovely message to receive! I hope you’re doing well and have a wonderful Christmas if you celebrate it!
@thewatsonbeekeepers I hope it’s okay to take this post to ask this, but has it been thoroughly discussed before wether BBC Sherlock needs to be more realistic at some point in a future season? Because that’s the question I keep coming back to. As much as I love the idea of Sherlock recognizing his identity as a fictional character that‘s been trapped in „wrong“ adaptions, I keep asking myself wether we have to leave this „caged“ narrative of mirrors and metaphors etc. eventually. I mean, Mofftiss can do whatever they want to, but it‘s not just Sherlock that needs to embrace his true identity but the audience needs to recognize this as well. And I don‘t see that happening in a narrative that relies so heavily on sub- and metatext. So in my opinion the narrative has to create some kind of reality at some point. Because even before S3 or S4 the narration relied on subtext that wasn‘t available for the general audience, only for people who knew queer subtext or who invested time to learn it. So either you have to change the style of the show to be more realistic, create some kind of real identity for Sherlock and John, make them more relatable OR you keep up the style of the show but town down the sub- and metatext again (like S1 and S2) and risk not reaching the part of the audience you should reach with the kind of message you want to convey. But maybe there is a different approach possible that I don‘t know of that initiates a process of reflection within the audience without having to explain the sub- and metatext at some point.
Sorry, I wish I would‘ve started watching the show back when I was still a student, because now there is no one I can discuss this with and it just bothers me so much. And my „real life“ friends don‘t get what I‘m talking about at all, so that‘s what I mean with the „general audience“ not recognizing the sub- and metatext.
@lukessense I think for those of us who like s4 and are still in tjlc, this has to be a major sticking point, right? Because much as I do like s4 and think it does a lot of clever stuff, the fact remains that it was unpopular, difficult to parse, and drove away huge numbers of fans. Before s4 aired (and right up until the lost special tbh) people were rolling on this idea of “you were told but you didn’t listen” that the writers kept saying, and which is a common theme in the whole series - when the answer to the mystery is revealed you go oh god that makes so much sense! And so we thought TAB was just a bit of fun thrown in for us and the rest would be realism - and of course we were wrong.
Much as I love the metatextual stuff, I think you’re absolutely right that the show isn’t doing the job it needs to in that sense. My main concern here is that the show started out very realistically, and lured people into the very messy world we now have. I always refer back to David Lynch, who did this in his two most popular works, Mulholland Drive and Twin Peaks, which start out as a thriller and a soap respectively and turn into pure unadulterated weirdness by the end. People often cite these as great examples of shows/films that probe the subconscious etc. - but what they fail to mention is that TP in particular lost huge numbers of viewers the weirder it got. (It has since become a cult classic, which I guess we can dream of.) That’s fine if that’s the kind of show you’re making, but Sherlock has a really important cultural message that needs to reach more people than that. So yeah - if we get a s5 (imagine!) I agree, it needs to go straight back into the real world whilst doing enough explaining of the weirdness so that people don’t think it’s just a deus ex machina.
Incidentally, one of the ways people thought johnlock would happen was through a deduction scene - myself included, and I still stand by this as a brilliant execution, that Sherlock would do a big ol’ deduction like the show is famous for but on John’s feelings for him, so the audience could experience the whole “you were told but you didn’t listen thing” and realise they’d missed the larger mystery of the show. I cannot think of a better johnlock realisation to be honest.
In the end they’ll have to deal with the character’s queerness on a realistic level. It’s the story of a detective: it will have to be done through a case.
A simple way would be through the adaptation of the Yellow Face which has already been foreshadowed with the smiley and the word Norbury and John’s line in TST which is a quote from the Yellow Face: “I am not a very good man, Effie, but I think that I am a better one than you have given me credit for being.”
Today’s equivalent of the mixed race child kept a secret for fear of negative reactions would be a closeted LGBT+ couple raising a child, possibly someone trans keeping the secret from their partner.
It’s canon that Watson loves to think of the conclusion of this case (the second husband’s loving response) and that Holmes talked briefly about the case late that night (the Norbury request) when turning away for his bedroom. Wouldn’t that be a perfect opportunity to show them as a couple, going into the bedroom together? Didn’t Moffat or Gatiss say something like that in an early interview?
These are my expectations for series 5, episode 3: Garridebs and Yellow Face.
ooh, i remember this from when i was a lurker!! wonderful to see it again and get to rb it this time! <3
wow, that “halo” around sherlock in his intro shot, i never noticed before that it’s a SQUARE! as per @just-sort-of-happened ’s metas about circles and squares, it makes sense that sherlock in the beginning before he has even met john, has the ultra-logical square halo of reason. wow.
Woould stand to reason that this means that CAM has access to Ella’s notes, just like Mycroft (which furthers M-Theory claims imo @loudest-subtext-in-tv)
@gosherlocked (because I found a post by you about this bust) @sarahthecoat wdyt?
hmm! well, the first thing i would do, would be to review @sagestreet ’s metas about the sculptures in sherlock. i am pretty sure the one in CAM’s mind palace is discussed, not sure about the one in ella’s office, off the top of my head.
They are not the same busts, the one in Ella’s office is la fille aux nattes (girl with braids) also known as la boudeuse (sulking girl), she kind of reminds me of young Eurus. The one in CAM’s vaults is known as the Dancer.
The archers from the Chinese Terracotta Army kneel with right leg and squat with left leg. Oddly, the one on the mantelpiece of 221B is reversed, kneeling on his left leg.
Could it be a sign of early extended mind palace?
Kneeling archer from a museum:
The escape room recently posted a picture of their kneeling archer and he is like the real ones, not like the one on the show.
Bonus: John doing the kneeling archer pose in ASIP, kneeling on the same knee as the one on their mantelpiece.
What if ‘Miss Me’ doesn’t actually mean what we think it does, in the context of “notice or feel the loss or absence of ”, but is actually supposed to be the opposite - did you miss me, did you fail to notice me, to connect the dots about me.
Think about who asks that question throughout S3 and S4 - Moriarty, Mary (in her posthumous video messages) and even Mycroft in TAB (’so, did you?’).
“Missing” is a contranym, after all, one word with two opposite meanings.
Was this speculated about before?
tags under the cut, let me know if you’re not interested in being tagged:
Reblogging for the great additions. And here are two of mine:
Sherlock poses the question as well, in TAB when waking up in the plane: “Miss me?”
And I also felt reminded of Mycroft and John in ASiP: “You’re not haunted by the war, Doctor Watson … you miss it.” Of course this only applies to meaning no. 1 but it feels important because John missing the war = missing Sherlock (who takes him to the battlefield).
1. Did you miss me? As in: did you miss the mark when you shot me?
Moriarty said it, to noone in particular.
Sherlock said it in TAB, to John apparently but Mary wasn’t far.
Mary wrote it on a dvd meant for Sherlock.
All three were shot. Is it a way of telling the shooter that he or she didn’t hit the target and that they are in fact alive?
(Mycroft in TAB says “do you miss him”, not quite the same.)
2. Other possible meaning: MISS ME as an incomplete name on a tag:
Someone’s initials: Miss Mary Elizabeth Morstan (as seen on the wedding invitation), Miss Mohindra Eshan (Ajay’s other name in TST but Eshan can be a girl’s name), or part of a name: Miss Meena (mentioned on Molly’s blog), Miss Emelia Ricoletti.
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