#sherlock subtext

[tjlc-hellven]

Johnny! There is no baby!

[late-to-the-party-221]

IM HAVING A THOUGHT

QUICK BEFORE ITS GONE

Dr Sarah: you sure this job won't be mundane?

John: mundane is good

Sherlock: how did the job interview go?

John: she's great

John: Sarah, wanna go out on a date?

John's work with sherlock: exciting, not mundane

Someone please analyze my thoughts & explain them better. Sarah and girls are mundane and Normal heteronormative, work is mundane. Sherlock, queer, and crime solving is abnormal and fun.

Do you get what I'm saying?

[x-ladydisdain-x]

So the scene in TFP. The “I love you” scene.

I know we’ve all theorized the hell out of that scene but I’ve got one more thing to add. Mark Gatiss said this when the trailer was released:

Now let’s take a look at the scene:

As said above, yes. John and Mycroft are standing behind Sherlock as he says “I love you” to Molly on the screen in front of him.

But look at the screen:

I didn’t crop it, the shot was already zoomed in on the timer. From this, we can deduce that he was looking at the timer.

The timer is white writing on a black screen. It’s very easy to see your reflection in a black screen, just like your phone when it’s turned off. Almost like a mirror...

And being held hostage by your insane little sister that you didn’t even know you had as she threatens to murder your friends is pretty bizarre, so yes I think Sherlock was talking to a mirror of sorts for some very bizarre reason, Mark. Which confirms our suspicions, from Mark Gatiss himself, that Sherlock was in fact saying “I love you” to John.

(and I think John might have realized it to. Like, just look at his face:)

[meetingofwaters]

So, I never do this kind of post... This is for Sherlock's Fandom. I'm part of the LGBT+ community and I'm part of other minority groups. I don't tend to judge or mistreat people, so, for a moment, if you're reading this, keep in mind I'm not trying to hurt anyone. I came to understand that part of the fandom identifies as queer, you told that to BBC, you saw yourselves in the show. I'm glad, it is hard to feel a part of something, the world doesn't make it easy, right ? I also know - I've always known- that Sherlock was and IS an assexual character, from the books to every adaptation. So I never imagined him in a romantic relationship. Which I think you might understand too. I've been seeing a lot of hate, I RECIEVED alot of hate from the fandom, which was meant to be a safe place... It isn't anymore... I'm sorry you feel betrayed, people. And that's why I made neutral people watch the show, those people told me (without knowing anything about the shipps) that they didn't expect Sherlock to be romantically involved with anyone. So maybe, MAYBE, you could consider that , POSSIBLY, no shipp was meant to be. The hate among the fans and towards Steven and Mark is awful. I don't even want to get on Twitter cause I know they will end up cancelling the show, as people won't stop complaining! More than that, people keep insulting, sending hate messages, planing "revenge". This show was presented to us and it was brilliant, let's be greatful for that a bit, uh? For shipps we have fanfics, gifs, thousands of posts, etc etc. Let's stop the hate, please!!! Let's embrace the differences and try to be more emphatic towards one another.

[sophiehunteroctopussyblog]

[jumellefleur]

the final problem + emotional subtext

i’ve been hearing a lot of backlash against 'the final problem' and it’s okay to have an opinion but allow me to just quickly explain the value of this episode.

the roads we walk have demons beneath, and yours have been waiting for a very long time.

this, in my opinion, is the identifying sentence of this episode, and maybe even this season. it's accurate in the most painful ways. sherlock has been portrayed as almost emotionless in most episodes of the show, to the point of john literally calling him a 'machine'. it's been an recurring theme and while it often makes for comic relief, come to seriously think about it the matter is quite concerning. sherlock has been surpressing his emotions literally to the point where he's thought an entire story around his traumatic experience. and that's what you need to take from this episode. it's about sherlock's emotional growth.

your first case.

euros says this about 'redbeard', or victor, and it's incredibly saying. in 'the great game' sherlock tells john that the carl powers case was his first case. this immediately gives us, the viewers, and john the idea that sherlock has always been like this, rationalizing, calculating, with a strange fascination for crime. in contrast, in this episode it's revealed that sherlock's actual first case was of emotional value. he started this entire thing of with emotion, with sentiment.

sherlock's trauma has wrongly taught him that emotions are what get you in trouble, sentiment is what kills you. caring is not an advantage. though shown in this episode, when sherlock needs to shoot either mycroft or john and he turns to shoot himself, it gets him out of the situation. the very fact that he cares, so much even that he is willing to die for mycroft and john, helps him. this is process.

at the ending, sherlock and euros are playing the violin. first apart, then together. i thought this particular sequence was really beautiful and symbolic. the slow build up to the playing of the sherlock theme shows how sherlock is slowly but surely becoming emotionally whole. he's accepting his past. he's accepting the fact that he doesn't have to be a calculating machine. he's human.

i know there's a lot more emotional symbolism in this episode but this is what i found most prominent. this is all, of course, just my interpretation. you are allowed to dislike this episode. i wish for everyone to get something out of this.

[droopingdatura]

The truth is rarely pure, and never simple.

Oscar Wilde Mycroft Holmes John Watson

[drsilverfish]

Sherlock calling Dr. Freud

Well, as The Final Problem took place in a similar dream-language (in particular the transitions) to The Abominable Bride - I think the only thing that makes sense of S4 is that it has gone full Freud.. 

Sherlock mentioned the “Viennese alienist” (Freud) in The Abominable Bride and we now seem to be playing an extended Sherlockian version of Freud’s The Interpretation of Dreams.. 

Sherlock Holmes is still on that plane, after shaking John Watson’s hand on the tarmac at the end of His Last Vow. He’s drugged out of his mind, and he’s still running “the final problem” in his head.

The final problem, of course, is that he’s in love with John Watson. 

He is Eurus (the little girl). He killed love inside of himself when he was a kid (either literally or metaphorically) and he is terrified of resurrecting it now, which is why saying “I love you” takes place under great threat (his mind devises the Russian roulette scenarios).

The FInal Problem name checked Oscar Wilde’s The Importance of Being Ernest (which is a play full of homosexual subtext), incarcerated Eurus in a prison that looked like a penis from the air, Moriarty listened to Queen’s “I want to break free” for chrissakes (another text with a queer subtext - yes, it was subtext at the time, in the 1980s) and he took his earphones out just before completing the sentence “I’ve fallen in...” (love).

The entire point of S4 seems to have been for Sherlock to deduce that he’s in love with John Watson, by going into the darkest (and most terrified) recesses of his mind. 

However, BBC Sherlock’s version of Holmes, for a smart man, is pretty damn slow. 

He’s now taken four seaons and a boat-load of drugs to figure it out. 

We watched him work it out in The Sign of Three, we watched him play it out in The Abominable Bride (a drugged wish-fulfilment scenario where Watson basically left Mary for him) and yet he still isn’t able to say it out loud??

This version of Sherlock is clever, it’s full of queer subtext, and dark psychology... but it’s also very, very tragic (and could only have been written by someone of my generation - I recognise the hang-ups). 

Yes, there are two bedrooms at Baker Street and now apparently two men and a baby living there (in Sherlock’s drugged mind still on that plane, don’t forget) so we can make our own deductions... 

But, the strong implication at this point is that Sherlock is over-dosing (still on that plane)

DEAR GOD ABOVE

it is NOT still 1895...