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@tender-men-in-paper-moons
All my Sherlock TfL posters, 26 in total.
I’m thinking about having them printed in A4. I also plan to publish two A6 postcardbooks that will contain 13 different motifs each. Prints and postcardbooks are going to be available at my storenvy.
Vatican Cameos!?
In an 1894 edition of The Strand two interesting stories appeared.
“The Lord of Château Noir“ by Arthur Conan Doyle
“The Stanway Cameo Mystery” (Martin Hewitt, Investigator) by Arthur Morrison
In 1901’s The Hound of the Baskervilles, Sherlock Holmes would mention in passing that “the little affair of the Vatican cameos” had distracted his attention because he wanted to oblige the Pope. It’s just too delicious that Hewitt, Holmes’s contemporary, also had a cameo case. Hewitt investigated the theft of a cameo that is, in the story, compared to two other real-life cameos:
The Gonzaga cameo which was once held by the Vatican and ended up in The Hermitage (see above)
The Athenion cameo. In the story it’s held in the Vatican but in real life has been in a Napoli museum at least since Morrison’s story appeared.
Just sayin’…
This is too cool…
you know that feeling when you’re on your period and you take a shower and you feel so clean and relieved and nice but then as soon as you turn the water off it’s a race against you, gravity and time
I swear the last line made it feel like the plotline of an action film
It is a period drama
The first time I met my boyfriend’s grandparents, I was terrified. First, I really wanted them to like me, and second, he told me they were pretty religious. They’re Roman Catholic, but I’m Jewish, and I didn’t get the impression from the rest of his family that that would upset them, but I wasn’t sure they’d be chill with us dating, and I’m always afraid of those unconscious, anti-semitic micro-aggressions.
Sure enough, within an hour of meeting me they asked if I was religious, in a way that was obviously asking if I had a religion, and which one it was. I calmly told them I was Jewish, and my boyfriend’s grandmother lit up. Her mother was a Syrian who moved to Brooklyn in the early 1900′s and she grew up in a Syrian and Jewish community in Brooklyn and boy wasn’t it nice to have someone around who could help her with her Jewish pastry. It was really pleasant. His grandfather was mostly quiet.
After lunch, he and I shared a cup of coffee and some cookies and I told him about my brothers. He asked if my mom was ok with me dating a gentile. And then he looked around, saw we were alone for a sec, and asked me to follow him out to the garage. In the garage he asked me to take an old picnic basket down from off a cabinet. And then he told me to open it. The moment the lid came off I knew. I knew that shade of red. He told me to take it out and lay it across the floor. It was a Nazi flag. Not just a Nazi flag, but one that was big enough to fly outside a government office, like a massive one. I laid it out, ice in my veins, trying to figure out what was about to happen next. And then he told me to take my shoes off and stand on it.
He told me his vision wasn’t good enough to get into the army, so he snuck on a ship and figured that they’d have to deal with him when he was in Europe, and that’s what happened. He told me he went because they all knew it was bad, and he wanted to help. He told me he took the flag off of some dead Nazis. He told me to go home and tell my mother that I was safe with these goyim she’d never met, that I was loved and welcome and that they’d fight for me. He told me “Never Again”.
He passed away a few years ago, and only after his death, cleaning out his closets did we find his old patches and look up his division. This quiet man who said very little but always shared a cup of coffee with me after lunch was in an anti-tank division, and he and his division liberated camps in Poland. He saw the horrors, first hand.
Today is Holocaust Remembrance Day. Today is a day to reaffirm our promise of “Never Again”. Today is a day to remember that the only way for things to get better is to fight. Today is a good day to punch a Nazi. Do it for me. Do it for Grandpa Rocco. Do it for the world.
Well, I’m crying now.
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SPREAD THE WORD PLEASE BOOST!!!!!!!!!!!!!!! PROTECT IMMIGRANTS!!!!!!!!!!!!!!!!
sherlock fuckin had angelo leave his own damn restaurant to run all the way over to 221B to bring back john’s cane for dramatic effect. like he could’ve just waited for john to notice but no.
he probably had angelo fuckin text him too like ‘k I’m here should I bring it in’ and sherlock was like ‘no wait we’re gonna run back now, wait until you see us go in’ to get john nice and pumped and happy so he could Time it all right with “says the man at the door” and if that’s not some devotion to your crush idk what is
Why EMP makes sense for the Sherlock Holmes Character (’Sherlock’)
I’ve seen a lot of anti-EMP-people argue that EMP doesn’t make any sense because it wasn’t in the original ACD!stories:
“Why would Mofftiss even go for this? Just because they like ‘Inception’? Isn’t BBC ‘Sherlock’ supposed to be read on a meta level, as well? As more than just an adaptation of the original ACD!stories, as a commentary on all the other adaptations that have been done before, as a commentary on the relationship between author, audience, and the Sherlock Holmes character that has existed for more than 120 years?”
Well, I think I just had a little epiphany about that.
EMP actually makes a lot of sense not just in-universe, but also on a meta level!
But first of all, let’s remember how they foreshadowed EMP right at the very start of the show in ASiP in that very first scene that establishes Sherlock as a character for us:
In this screenshot Sherlock visually becomes one with the dead body lying on the slab. And that’s no coincidence. That dead body represents Sherlock Holmes (the man who, as Molly points out, “used to work here”).
So, we have a dead body who represents Sherlock Holmes, and a Sherlock who peers down on ‘himself’ from above.
You know…like in a near-death experience! (Thank you @monikakrasnorada, for this idea. This wouldn’t have occurred to me if you hadn’t pointed out how much TFP is like a near-death experience in our recent collaborative creative ‘shouting match’: here.:))
So, this is some nice foreshadowing of a near-death experience right there.
It tells us that Sherlock will, at some point in the show, be in two places at once: lying somewhere unconscious/in a coma (almost dead), yet also experiencing a lot of things outside his own body at the same time (or rather deep inside his own brain, as near-death experiences go).
He will be lying down, near dead, but also be very alive in his mind palace. Just like in the ASiP screenshot above.
In s4, people will try to wake Sherlock up. (As has been said before, this is probably what John beating Sherlock up in TLD and screaming, “Wake up!” is all about.) People will literally try to get a reaction out of his unconscious body.
Which again was foreshadowed in the same ASiP scene when Sherlock is literally trying to ‘get a reaction’ out of the body that’s lying there. (On the surface level of the text, Sherlock beats this dead body with a riding crop to see if bruises will form after death. But on a metaphorical level, he is trying to get a reaction out of himself, the ‘dead’ body. Just like John is when John is beating him in TLD. John, too, will be trying to get a reaction out of Sherlock in s4: He will try to wake him up.)
I’m actually astounded by how well the foreshadowing works here: Molly (the John mirror No. 1) is looking at Sherlock beating himself from outside of the room.
This means that this ASiP scene can read like this:
The room=Sherlock being trapped by walls, ie, trapped inside his own body (in a coma)
Both Sherlock and the dead body=two different aspects of Sherlock (the awake one in his mind palace and the unconscious one lying there)
Molly=John who is forced to look at coma!Sherlock from the outside, but can’t actually interfere with what’s going on inside the ‘room’, ie, inside Sherlock
Nice.
So, now that we have established that this scene neatly foreshadows Sherlock’s EMP, let’s go one step further.
We have now looked at two levels expressed in this scene: 1) the literal (textual) surface level and 2) the metaphorical/symbolic (foreshadowing) level of this scene.
But we haven’t looked at the third level yet.
3) The third level is the overarching meta level: the level that examines the relationship between author, audience, adaptations and the Sherlock Holmes character that has existed for more than 120 years.
I’m sure I’m telling you nothing new when I say that the dead body in this ASiP scene represents the Sherlock Holmes character that we’ve known for more than a 120 years.
What are we shown in this ASiP scene? Sherlock (who represents our BBC-Mofftiss-Sherlock show) beating that ‘dead horse’ (with a riding crop:)) that is the 120 year-old Sherlock Holmes character.
This is actually quite a nice commentary on what Mofftiss, in their usual sarcastic way, think the Sherlock Holmes character has become over the last 120 years: dead! A dead body.
That’s their verdict.
‘Sherlock Holmes’ as a sujet has been done to death. There have been more than 200 adaptations all over the world. The character has literally become a dead body with no pulse.
He has been shown with his typical attributes so often that we can’t think of him as a living human being anymore.
Sherlock Holmes has become the pipe and the hat and the horse carriages and the gas lamps and the cases, the man who frowns on love and/or falls in love with Irene Adler, the man who says, ‘Elementary, my dear Watson,’ even though he never did that in the books.
In short, Sherlock Holmes, the 120-year-old character, has become a dead body stuffed with all sorts of attributes that make it impossible for us to see him as an interesting, living human being. He has literally been done to death.
And (I’m sure I’m telling you nothing new here) this BBC Sherlock adaptation turns up and beats the shit out of this dead body to see if it can maybe, maybe still get a reaction out of this dead body, if it can make that dead body react like a living, breathing thing.
This has all been discussed amongst fans before, and it’s all shown to us in that one ASiP scene: Sherlock (representing the BBC Sherlock show) is trying to get a reaction out of Sherlock Holmes, the dead body (the character that has been done to death).
But what has this got to do with EMP?
Well, if this ASiP scene foreshadows Sherlock in an EMP at some point in the show, then the meta reading of this ASiP scene has to extend to EMP, as well.
So, what Mofftiss are telling us is that Sherlock, in a coma, represents the 200 or so adaptations that have been done over the past century.
It’s quite cheeky and self confident. But that’s how Mofftiss are, after all.
Sherlock in a coma/unconscious/almost dead Sherlock is a Sherlock without a pulse, a Sherlock who isn’t living up to the potential of his character anymore.
EMP!Sherlock represents the 200 adaptations that have been done before this one.
If Mofftiss manage, in s5, to wake Sherlock up, then this is a general commentary on how they have ‘woken up’ the Sherlock Holmes character after his 120-year-long, Zombie-like state of being near-dead.
They (Mofftiss) are the ones to breathe new life into the Sherlock Holmes character. That’s what the waking up of Sherlock, in s5, will mean.
(Note that, for this meta reading, it is totally irrelevant when EMP started. The starting point could be HLV or TRF or the pool or even the pilot.)
The point Mofftiss are trying to make is that at the beginning of the show, Sherlock (read: BBC Sherlock, the show) was trying to get a reaction out of a dead body (read: the Sherlock Holmes character).
And at the end of the show (s5), Mofftiss will do more than just that: They won’t just get a few reactions out of the character. They will bring him back to life. They will give him a beating heart again.
And since I’m almost certain that John Watson will be the one to wake Sherlock up in s5 (or to be involved in his waking up somehow), this will also mean that this new awakening of THE ‘Sherlock Holmes character’ will happen through love, through gay love, to be precise!
In short, what Mofftiss are telling us is that Sherlock Holmes without his gay identity and without the love for John that comes with it is an almost dead, comatose Sherlock Holmes.
The Sherlock Holmes character that has been adapted on screen (and on stage) more than 200 times across the world is a zombie, a dead body, a comatose entity BECAUSE HE IS DEVOID OF HIS GAY IDENTITY as represented by his love for John Watson!
That’s what EMP means. That’s why it’s there.
Coma!Sherlock is the 200 adaptations. Because these adaptations took away his reason to live (his gay identity, ie, his love for John).
In short: Anti-Emp-fans are right in a sense: Because, yes, EMP was never in the ACD!canon.
But that’s not the point!
EMP has nothing to do with Arthur Conan Doyle.
EMP is a commentary on what has been done to Sherlock Holmes for the last 120 years in adaptation after adaptation after adaptation.
All of these adaptations have turned Sherlock into a dead character that can only be gay on the inside (in his mind palace), torturing himself on the inside, but being dead, comatose and without a pulse on the outside.
That’s what EMP is.
The Mofftiss adaptation, however, will bring this character back to life. They will wake him up! By giving him his gay identity, his heart, his John back.
Project Lazarus, indeed.
Tagging a few people (just in case you need verbal ammunition against anyone accusing EMPers of being untrue to the ACD!canon;)): @monikakrasnorada @ebaeschnbliah @devoursjohnlock @tjlcisthenewsexy @the-7-percent-solution @sherlockshadow @gosherlocked @sarahthecoat @loveismyrevolution
More of my meta under my ‘sherlock meta’ tag.
All screencaps taken from here.
One of the reasons I’m interested in playing characters with intelligence is it builds me up a little bit and keeps me grounded. It makes you realise how many fathom-deep distances there are between you and who you are playing. It’s about bringing a character to life and that requires another skill-set which isn’t so much about being a maverick genius.
Benedict Cumberbatch at TCW world premiere at TIFF 2017 (via thelostsmiles)
ben c pls stop doin american accents, they r not ur
Hahahaha! Touché.
Guess what.
One day.
One day. In years to come. Students will be writing essays about us. About how we cracked BBC Sherlock. They will have textbooks with our archived metas and text posts.
Because the Sherlock Holmes and John Watson romance reveal is going to be BIG like, revolutionary and we’re all a part of that.
THIS EXPRESSES HOW LOUDLY I LOVE YOU
He would, too.
its been awhile since i’ve drawn johnlock that wasn’t an au heh
They’re adorable :‘3
as a queer mentally ill addict, boy do i wish i had a mycroft holmes on my side
anyway mycroft is important to me and fuck you if you think he doesn’t love his brother
this is why i will vehemently reject any and all “mycroft is moriarty” theories or anything of their ilk
keep it away from me
John leaving Sherlock speechless
AUDIENCE MEMBER: I was just wondering about the creative decision to bring Moriarty back. I’m thrilled, but you were very adamant he wasn’t coming back. MOFFAT: …Because I’ve always given this grand commitment to telling the truth! [laughter]. You don’t know what’s going on there. You don’t know what’s going on there. We know what’s going on there, but we’re not telling you…for bloody ages. …It must be hell watching this show.
Steven Moffat
(DenofGeek interview, January 2014 [x])
[ Skulls & Tea | Sherlock Creator Quotes Collection ]
(via skulls-and-tea)
Moffat = the best kind of sadist
