#sherlock meta
Text
You know what I love about BBC Sherlock?
You only catch some things on your 2nd, or 5th or 10th rewatch.
Like with Mycroft and Sherlock.
You watch Mycroft be annoyed at Sherlock calling at Christmas, so you think he would rather be left alone and doesn't want to deal with anyone, including Sherlock.
But his initial expression is one of surprise. He doesn't want to believe that Sherlock could be calling for sentimental reasons because he cannot bear to be wrong.
He wants Sherlock to show him he cares, like he did back when they were children.
And notice his wording there. "Did they pass a new law?" Sherlock is not the one who cares about upholding the law, Mycroft is. He is setting the stage for Sherlock to banter, but Sherlock just tells him Irene Adler is dead and hangs up.
When Sherlock calls Mycroft (despite the fact he prefers to text) in TSO3 many speculate the reason he wants him at the wedding is to have someone for support.
Mycroft says they will spend more time together now that John is married. Just like old times. He knows Sherlock would hate that, yet Sherlock doesn't deny it. He could say he can spend extra time with Mrs Hudson, or Lestrade or Molly or Wiggins.
He could say he doesn't need him at all. But we know that's not quite true.
If Sherlock was being sincere here and said he needs someone on his side, by his side, someone to be there for him, so he feels less alone... Mycroft would most likely think he was being mocked. He wouldn't believe him. Why should he?
When Mycroft tells Sherlock his loss would break his heart, he isn't doing it because of the drugs.
The drugs are just an excuse to hide behind. A smokescreen. He can't even look at Sherlock while is he saying it because he knows what's coming. Mockery.
"What the hell am I supposed to say to that?"
Mycroft broke script. He said the quiet part, the subtextual part out loud. I do care about you and it would break my heart if you died.
Sherlock doesn't know what to say. You can even read his bewildered statement as a genuine question. Mycroft does, in a way. So he answers.
"Merry Christmas?"
"You hate Christmas."
"Perhaps there was something in the punch."
I know you are up to something.
On the tarmac, Sherlock didn't even want to say goodbye to his brother. But when Mycroft calls him in 4 minutes, Sherlock has no idea Moriarty might be back. He just thinks Mycroft couldn't go even five minutes without speaking to him again and checking up on him.
Sherlock didn't say goodbye to Mycroft because he knew that wouldn't be the last time he'd hear from him.
"I will always be there for you."
"Shouldn't you be out there getting me a pardon, like a proper big brother?"
"He was a rubbish big brother." Was, not is.
"You were great."
He didn't find Lady Bracknell convincing. He isn't talking about that.
"Dr Watson? Look after him, would you?"
"Mycroft. Make sure he's looked after. He's not as strong as he thinks he is."
Neither of them are.
#the holmes brothers#mycroft holmes#sherlock holmes#sherlock bbc#bbc sherlock#adding some tags#sherlock meta#the holmes brothers meta#holmes brothers meta#idk if this counts as meta
196 notes
·
View notes
Text
Hi! I'm Vicky, welcome to my pinned masterpost! I'm a digital artist, fan of BBC Sherlock, and this is a collection of all my retouching works (and other stuff) I've been posting here so far. I hope you enjoy it!
PS: this post will be updated from time to time
☆ MY WORKS
You can see all my artworks HERE
☆ Interactions with others accounts:
(X, X, X)
☆ MY OBSERVATIONS
The oscillating movement of the kitchen lamp meta in 'The Blind Banker'.
Benedict Cumberbatch's skull tie.
Sherlock reading an 'explicit' johnlock fic that John accidentally left open on his laptop.
Christmas John, before & after the fall getting married.
☆ MY GIFSETS
The moment when John discovered that Sherlock was the only one who jumped into the fire to save his life.
Conversation between John and his brain being like...
Tea with the devil before the fall.
This was the only one time when Sherlock broke the 4th wall to tell us that he's the only one consulting detective in the world.
The only moment in the entire show where Sherlock doubted John.
Sherlock having fun texting to his brother.
(you can see other creations HERE)
☆ MY FIRST FANFIC!
"And at that moment.... I knew", Inspired by “The Moment I Knew” by Taylor Swift and based on the BBC Sherlock mini episode "Many Happy Returns". Spanish version HERE.
☆ FANFICS INSPIRED BY MY ARTS
'Tell me Where it Hurts' by @helloliriels, inspired by this work.
☆ MY ARTS INSPIRED BY FANFICS
I made this image for this lovely fic 'It Belongs in a Museum', written by @helloliriels.
I'm always open for commissions 👉🏼 here you'll find the details
Ooooww, you wanna invite me a ko-fi? Thank you! ☕️
And tysm for your love and support!! 🫂
Vicky 💋
Instagram
Twitter
Ko-fi
#masterpost#pinned post#wip#retouching works#adobe photoshop#photo manip#sherlock meta#sherlock fanart#sherlock fandom#sherlock fanfic#a victorian girl
122 notes
·
View notes
Text
Hello just a friendly reminder that Eurus used a bomb to make Sherlock say “I love you” to a John mirror and Sherlock also using a bomb to make John “say something nice”.
have a wonderful day xx
#tjlc#sherlock fandom#johnlock#sherlock#221b baker street#sherlock meta#sherlock season 4#sherlock headcanon#johnlock headcanon#sherlock s3#meta#sherlockbbc#sherlock holmes#john watson#buckingham-ashtray
119 notes
·
View notes
Text
HOLD TF UP FOR A SECOND-
so we all know john couldn't find sherlock's pulse because of this "ball under an arm" trick, right?!
but-
WHAT IF JOHN HAD NEVER TRIED TAKING SHERLOCK'S PULSE AT HIS WRIST BUT HIS THROAT?!
#COME ON#IT WAS PURE LUCK JOHN CHECKED HIS WRIST NOT HIS THROAT#WHAT WOULD HAVE HAPPENED IF HE TOOK SHERLOCK'S PULSE ON HIS THROAT#WHAT THEN HUH?!#omg#someone write a fic#maybe me#to write#lol#bbc sherlock#johnlock#sherlock#john watson#sherlock holmes#sherlock meta#(kinda lol)#benedict cumberbatch#martin freeman#turtely's op
267 notes
·
View notes
Text
My thoughts about The Private Life of Sherlock Holmes:
Let's start by summarising the movie -
No crime-solving happens in the first 34 minutes. The first act is all about Holmes and Watson's dynamic, exploration of the nature of their relationship with each other, etc. If you're the type of person who only watches/reads Sherlock Holmes for the cases, you'd believe this portion is skippable. Only the blink-and-miss detail about the "Midgets' case" is important as far as Holmes' detective work is concerned.
However, if you think exploring Holmes and Watson's interpersonal relationship and their casework are both equally important, like I do, the first act is GOLD. Most of the Tumblr gifs about this movie are from the first 30-35 mins lol.
1.) Holmes enters and they bicker like an old, married couple.
H: Oh, come now, Watson, you must admit that you have a tendency to overromanticize. You have taken my simple exercises in logic and embellished them, embroidered them, exaggerated them ---
W: I deny the accusation.
H: You have described me as six-footfour, whereas I am barely six-footone.
W: A bit of poetic license.
Not only is this whole scene just delightful in general but the theory about Watson being an unreliable narrator in ACD canon is actually being supported throughout the movie, starting right here.
--
W:It's those little touches that make you colorful...
H: Lurid is more like it. You have painted me as a hopeless dope addict - just because I occasionally take a five per cent solution of cocaine.
W: A seven per cent solution.
H: Five per cent. Don't you think I'm aware you've been diluting it behind my back?
This exchange was lovely. Way to slip in their closeness through a few words.
2.) Watson doesn't think it's odd to barge right in when Holmes is completely naked and taking a bath?
Also, why the hell does Holmes bathe with his bedroom door wide open?
And what's that thing he's taking a bath in called? Does anyone know about this stuff? Was this thing common in that timeline? It doesn't seem to fit a grown man like Holmes.
I have so many questions and I'm speechless at the same time. I'll just drop this here:
3.) Then Watson persuades Holmes to go to The Swan Lake ballet.
Watson enjoys that ballet, a little too much at that, mostly because he's staring at all the women on stage. (We'll get back to this later.)
Holmes on the other hand has dozed off. All he can admire about the most beautiful dancer, Petrova, is her strong arches. Which is... 🏳🌈
Then that whole scene about Nicholai and Petrova and Holmes in the dressing room. XD
Petrova offers a Stradivarius violin to Holmes in exchange for sleeping with her for a week, so that her child would be beautiful like her and brilliant like Holmes.
Holmes gets out of the situation by lying to both of them; saying he's in a relationship with Watson.
Honestly, that whole bit. Just look at the lines:
N: She has been dancing since she was three years old, and after all, she is now thirty-eight.
H: (gallantly) I must say she doesn't look thirty-eight.
N: That is because she is forty-six.
And:
Nicholai: (about Tolstoy) Too old --- Then we considered the philosopher, Nietzsche --
H: Absolutely first-rate mind ---
N: Too German --
Etc. They're all so funny. This whole scene is something else.
In fairness to Holmes, he did try to get himself out of the situation by lying about having hemophilia in his family, or saying that he's unromantic because he's English, etc but Petrova was having none of it.
Watson coming into the room all of a sudden gives so much clarity and calmness to Holmes. He just knows what to say to help himself because of Watson.
This unforgettable exchange:
N: You mean, you and Dr. Watson - He is your glass of tea?
H: If you want to be picturesque about it.
On a side note, I absolutely loved Nicholai's face journey throughout both scenes - in the dressing room, stuck in the middle of Holmes and Petrova's awkwardness, and later on when he asks about the alleged Holmes-Watson romance to Watson after having spread the rumour in the whole room.
I just loved his reactions a lot.
According to this movie-
Caprice of Mother Nature = Gay.
Half-and-half = Bisexual.
Watson comes to know about the rumour, after having had the time of his life with both men and women in the ballroom. Watson is pissed off, he goes home and confronts about the whole thing to Holmes.
They have a row at Baker Street, in which Watson is being extremely heteronormative again. Thinking too much about his reputation without stopping to question his own feelings and his weird fixation on Holmes' love life.
There's that famous line again:
W: Holmes, let me ask you a question. I hope I'm not being presumptuous -but there have been women in your life?
H: The answer is yes -- you're being presumptuous. Good night.
Awesome.
This marks the end of Act I.
The existence of these 33 minutes of the movie is proof that the writing team in this adaptation knows that exploring Holmes and Watson's characters and what they mean to each other is as important as Holmes' casework. Billy Wilder takes this seriously, even though there are some jokes here and there about it.
The whole of Act I is filled with raising questions about Holmes and Watson's preferences, etc. Does Holmes feel love or is he just a machine? Does Holmes feel love for Watson? Does Watson know about Holmes' feelings for him? Does Watson feel the same way about Holmes?
In my opinion, all the answers to the personal questions about Holmes are as clear as a day. What's really questionable is whether Watson knows and/or feels the same way about Holmes or not. Different viewers might draw different conclusions/inferences after watching this movie.
After this, the movie takes a turn because "Gabrielle" enters the picture, and the actual crime-solving begins from here. The tone becomes a bit more serious in this act.
A young woman, completely wet and in shock enters 221 B. Watson has to pay for her fare to the cabbie before he and Holmes take her upstairs to take care of her.
She can't remember anything at first, then from her wedding ring, Holmes gets to know her name: Gabrielle Valladon. Her husband's name is Emile Valladon.
She appears to have temporary amnesia because of getting hit on the forehead and almost drowning in the Thames.
She reveals info about herself that she's from Belgium, her husband was here in London for a job, they used to write to each other, and after some time, the letters from her husband stopped coming. She'd gone to the London police first after coming to this city. She says the police had advised her to consult Sherlock Holmes.
Now, this should make the viewer skeptical of her. Scotland Yard does consult Sherlock Holmes when they need him, but they aren't going to let him have the whole case if there's a situation like this.
Besides, that woman ending up at Baker Street specifically seems to be planned, anyway. Also, there's always this man who keeps waiting for her or someone else's signals on the outside.
I know what we see on screen comes from Watson's drafts on loose pages, but this movie's narration seems to be Third Person Omniscient POV to me. Where the viewer is privy to more information as compared to the characters.
The three of them keep looking for her husband's whereabouts, and she pretends to be helpless, needy, and fragile (to stroke the ego of the men around her, I believe. I mean that could be one of the reasons...) with temporary amnesia throughout most of the movie. Holmes and Watson don't suspect a thing about her as they keep working for her and she keeps sending cryptic messages to the "Trappists" (German government) with her parasol.
The thing I love about this act:
Ilse von Hofmannsthal aka Gabrielle Valladon is actually a competent character who happens to be a woman. We can see something shady is going on with her even though we don't know her real name, but one of the most brilliant people on the planet doesn't suspect anything. He thinks she's just a woman looking for her husband's whereabouts. He thinks her back story is real.
He keeps on thinking that until Mycroft basically tells him in the third act which is why we're able to see for ourselves that Ilse was genuinely able to outsmart Holmes. We don't have to be told by the narrative voice about Ilse's strengths (*cough* unlike BBC Sherlock and a lot of female characters written by Steven Moffat *cough*).
I, for one, felt respectful of Ilse or "Gabrielle" for real. It was quite refreshing to me after having watched some modern Holmes adaptations.
Holmes, Watson, and "Gabrielle" go looking for the cause of Emile Valladon's death after they've found his coffin in the graveyard, in the guise of having a picnic. Holmes and "Gabrielle" pretend to be a married couple - Mrs and Mr Ashdown, and Watson is their valet. The scenes after this point are delightful mainly because of Watson's reactions (which could be read as his jealousy over Holmes, too).
Also, me when Holmes calls Watson 'John' in an archaic Holmes adaptation:
Because of his sort of stupidity, Holmes takes Ilse, a German spy, right in front of the submersible (which he thinks is a mechanical 'monster' that lives underwater) in a boat, along with Watson.
Ilse was trying to grab as much information as she could about that secret project because she was working for her country. Who knew someone would show her the live version of that model so readily (albeit unknowingly)? :P
The three of them are obviously unable to find anything about Emile Valladon, so they go back to the inn room they're staying in.
That's when one of Mycroft's men comes to pick Holmes up and take him to his elder brother. Here's when the third act begins, I think.
Mycroft had warned Sherlock not to pursue "Gabrielle's" case any further during the second act. But Sherlock didn't listen, because a.) he's an empathetic man, and b.) Mycroft can't just order him to do or drop something just because. Sherlock is not a child anymore.
I know Mycroft was only trying to protect Sherlock, and that he couldn't have told him the real reason to stop him at that time, but still.
Either way, months of planning and testing the submersible have gone to waste because Holmes did not suspect at any point that his client, "Gabrielle Valladon" might have just been lying to him since the start. Can't blame Holmes for that. Ilse was meticulous.
Mycroft shows the model to the queen and she strongly disapproves of the model and curses it a lot. Personally, this seemed to be a shitty decision on her part, and I felt so frustrated and annoyed at her in that scene. She didn't even care to hear about its features. She just rejected it on the spot! :(
Mycroft decides to 'give the submarine' to the German government. It's implied that the Trappists were drowned along with the submarine itself in the deep waters. (That's what I gathered from that scene - correct me if my interpretation was wrong).
In conclusion, while Ilse is genuinely able to outsmart Holmes (unlike some writers forcing us to believe it in their adaptation because they told us so), the German government isn't able to go anywhere with the info they've gathered through Ilse because of Mycroft's last move. Moreover, the English government would have sent her to jail, if Sherlock hadn't suggested Mycroft send her back to her own country.
So, in the end, it's a lose-lose situation for all of them.
1.) Sherlock Holmes didn't know that Ilse was faking her name and her whole identity for a long time, so he unknowingly helped a German spy, thinking he was just helping an ordinary client. Ilse almost had him and the viewers could see for themselves that she'd outsmarted him.
2.) Even after Ilse von Hofmannsthal has got what she wanted for her government, as a spy, they aren't able to make use of that info because of Mycroft. And she has to get out of England anyway.
3.) Mycroft Holmes also fails, to some extent, because ages of effort to plan the submersible, hide the plans, and test the model in secret - all of it has gone to waste. The queen doesn't even want to hear him out in the end.
But even if it was a lose-lose situation, the battle was damn intriguing because of the high intellect on both sides - Holmes brothers and Ilse.
Months later, Holmes receives a letter from Mycroft about Ilse's arrest and execution by the Japanese government. Reading that, he's so moved that he can't even finish his breakfast. He gets up and asks Watson for his cocaine supply. Watson tells him, and then Holmes grabs the bag and goes to his room. Holmes shuts himself in, Watson gets up from the breakfast table too, sits beside the fireplace, and begins to write something on a piece of paper. Probably about the case, but for nobody to see.
End of Act III and the movie.
--
I loved the background score of this movie. It's quite touching and refreshing to listen to.
A lot of dialogue exchanges in the movie are so deep if you stop to think about them. It's unbelievable how much writers can convey through a few words. Some of them are quite funny too - particularly from Act I. There's a thin line between being funny and mocking, and TPLOSH didn't cross that. It was nice.
I love this portrayal of Sherlock Holmes. It's clear how deeply they've understood him from the original canon. Pretends to be dismissive and closed off but actually cares about everyone way too much.
I also liked Mycroft in this movie, even if he didn't have much screen time.
About Ilse von Hofmannsthal - I loved her. Seriously, this is how you write female characters, modern writers! People say ASIB is a direct adaptation of TPLOSH, which is true, but I'd prefer TPLOSH over that episode any day, and one of the reasons is the way the female lead has been written in the former. Not exactly a fan of how Moffat wrote her in his adaptation. He did her dirty, I'd say.
Characters like Ilse make me think that the writing team of this movie knew what feminism is. I can't say the same for the modern Holmes adaptation that has been heavily inspired by TPLOSH.
I loved the plot of this movie too. The case in itself was also pretty interesting and kept me hooked throughout. Even if it wasn't exactly resolved finally, and the ending was melancholic.
I wasn't expecting the movie to be this good. Which is why it took me so long to sit down and watch it.
I only have one complaint about this movie - Watson's characterisation.
I mean, Watson wasn't half as bad as I'd expected (I thought he was going to be horrible, based on the snippets of the movie I'd seen before), but still. I like how he doesn't fall into the bumbling idiot stereotype. As far as the casework is concerned, Watson is also quite competent and observant in his own right. He can handle the medical work too.
I've got problems with his heteronormativity, and the fact that when it comes to deducing what lies in Holmes' heart, he's dumb as bricks. It's annoying. Like, it's one thing if he doesn't feel the same way about Holmes, but he doesn't have to be so weird and homophobic about it. Also, I think Holmes should've told him about the truth related to Ilse and the 'mechanical monster'. I've had enough of 'keeping Watson in the dark for his own good', damn it! He should be more in the knowledge.
Watson's character was the only element in the movie that didn't receive justice from the writer. As a Watson-centric fan, I need this to stop happening in future Holmes adaptations. People should see more from his POV too, and stop to actually see where he's coming from, and properly understand his character in the next show/movie/whatever they make.
What I gathered from the movie about the characters and their interpersonal relationships-
Holmes is in love with Watson but doesn't admit it... for valid reasons this time. (side eyes at Watson's homophobia).
Watson is deeply attached to Holmes but sees him as a close friend. I wish he felt the same way about Holmes in this movie, but alas! Though if he doesn't feel that way about Holmes, why the hell does he seem so jealous of Ilse in Acts II and III? This is beyond me.
I think what they've tried to show is that Watson is too close-minded to confront his possibly repressed feelings for Holmes, deep within his heart? Maybe. It could very well be my wishful thinking lol.
But as far as Holmes' feelings for Watson are concerned, it's not even wishful thinking. It's just... right there. I wish the subtext about Holmes' pining were spelled out. I know why it couldn't (the Doyle estate was being a pain in the ass at that time), but still. It's quite clear what they wanted to write as far as Holmes' emotional side was concerned, but they dropped it from the scripts after Act I and decided to focus on the case instead.
Holmes is dismissive of 'Gabrielle' at first, but he becomes sympathetic for her after some time. He reaches out to help her with her situation, and as the plot moves forward, he grows affectionate for Gabrielle/Ilse, which is why he doesn't hold a grudge against her when he realises he's been outsmarted by this woman (even though his ego was mildly hurt for a while).
The way they maintained a balance between the plot and the characters is commendable. I love seeing well-written women in fiction and this movie showed me that.
I was surprised to see how good this movie turned out to be, as compared to my preconceived opinions. The Private Life of Sherlock Holmes has officially become my comfort movie now. Miles ahead of BBC Sherlock, in my opinion.
Thanks to my discussions with @jamielovesjam in a previous post about this movie lol. I wouldn't have wanted to watch the movie if not for the long talk I had with them. Also tagging @gaypiningshit and @helloliriels for further discussion.
End of my unnecessarily long rambling.
#sherlock holmes#john watson#holmes/watson#meta#the private life of sherlock holmes#TPLOSH#sherlock meta#my long ass review of a newfound favourite movie#movie review#gregorovitch being passive-aggressive#Ilse von Hofmannsthal#new blorbo acquired#strong female characters#a lovely movie overall#long post
97 notes
·
View notes
Text
Okay I’m late to this as it has already been out a year but I just discovered the series A Better Story on the TJLCExplained YouTube channel by the always lovely @victorianpining and I cannot scream loudly enough when I say that if you haven’t watched it, stop whatever you are doing and watch it now.
Rebecca’s analysis is as piercing and intelligent as it is open-minded and thoughtful and at every step there is so much heart.
If you were hurt by season four, it is time to heal and A Better Story is exactly the medicine you need. You will be held with complete compassion and understanding as you come to terms with it all
Even if you never want to come back to BBC Sherlock, consider taking the time to heal anyway. I’ve seen the old Sherlock pain rise from the deep like a monster in other fandoms and it really does spoil things— sucks out all the fun and corrupts the interpretation. We need to heal.
And if you don’t have any lingering trauma, damn watch it anyway. It’s joyful and intelligent and brilliant. The game is on.
youtube
64 notes
·
View notes
Text
Fans of Mark Gatiss know that he's a hardcore horror girly and his most formative experiences of the genre is with the high aesthetic atmospheric horror of the Hammer films.
Which makes the vibe of BBC Sherlock make all the more sense given that plot-wise it was effectively a police procedural/detective drama (to quote Honest Trailers "It's 'Law and Order' rules, folks!") But it never /feels/ like that while you're watching it.
It's because it borrows so much of the visual styling, story beats, and even sound design from atmospheric horror films of the 60s and 7Os while telling a modern version of a Victorian era character.
The mid-century aesthetics are almost like a stepping stone between the two time periods that helps it gel together.
BBC Sherlock isn't just a modern retelling of the Sherlock Holmes books- it's a horror retelling as well. And the ultimate proof of this concept lies in the only totally original regular character in the show: Molly Hooper.
If we could just start with the aesthetic of Molly Hooper...
Feminine colors in modest cuts- Fashionable in a very mid-century vintage way and in stark contrast to basically every other character. And it largely goes unnoticed at how differently Molly is styled because at the time "Twee" fashion was seeing a surge in popularity and Louise Brealey was already pretty much on the vanguard of that trend in her personal style before being cast on the show.
But costumes are choices, deliberate ones made by creators. I think this choice was meant to evoke a specific trope in all our minds.
Molly is indeed the only original character in a show the creators swore would not have any original characters. And why would they? How would they? Throw new characters into an adaptation that has a cult following that spans longer than a century?
What kind of original character could hold up against literal literary icons?!
One built on a classic trope, Mark Gatiss's very own favorite horror trope: The Final Girl.
We almost know her right away when we see her- the clever, resourceful, modest (brunette!) and almost as soon as she turns up, she's unwittingly used by the central villain to get close to Sherlock.
She aids Sherlock in his clandestine activities and seems to be his source for the body parts he experiments with and earns his trust enough to play a central role in faking his death. Then ultimately is trapped unknowingly in a SAW style house of horrors scenario wherein every other participant up to that point had been brutally killed.
She lived to tell the tale.
She ticks every box on the Final Girl check list, right down to the cardigan, high ponytail and tweed skirt of the smart one in a group of young campers who *doesn't* have shower sex while there's a mad killer on the loose.
If the story were told from her perspective, it would be a horror and she would be the final girl.
Her presence as a character cements the horror atmosphere and makes it feel natural instead of corny but also doesn't oversell it past the point of overshadowing the detective genre aesthetics.
In fact she blends in so well she, and everything she represents, almost slips passed the audience unnoticed- the way all final girls survive.
#molly hooper#bbc sherlock#louise brealey#sherlolly#sherlock#sherlock meta#final girl#hammer horror#mark gatiss
150 notes
·
View notes
Text
OH MY GOD
Do you need more proof that S4 is fucking fake? And more likely a drug induced coma fever dream?
Remember E? The woman on the bus that "Eurus" pretended to be and had a text affair with John? How did she give John her number? Written on a piece of paper. And what was her number?
I always wondered if there was a signiificance to this phone number. I looked for meta on this but never found a one with proper proofs, forgive me if I overlooked any and please let me know if so. As is with this ridiculous show that even after re-watching it for the 143rd time, I still get baffled at things I didn't notice before!
And I cannot believe that this number comes from
The Hounds of Baskerville
Henry Knight's napkin with the train girl's phone number on it.
Sherlock: The girl – female handwriting’s quite distinctive. Wrote her phone number down on the napkin. I can tell from the angle she wrote at that she was sat across from you on the other side of the aisle. Later – after she got off, I imagine – you used the napkin to mop up your spilled coffee, accidentally smudging the numbers. You’ve been over the last four digits yourself with another pen, so you wanted to keep the number. Just now, though, you used the napkin to blow your nose. Maybe you’re not that into her after all.
E was sitting across from John on the other side of the aisle on the bus. And it seemed she already had the number written down the way she is looking at the piece of paper, she probably just wrote Exx at the bus stop scene. John contemplated throwing her number in the bin but then decided to keep it after all.
What does this tell me? A clear indication that S4 is an amalgamation of what THoB is essentially all about - re-written memories due to childhood trauma, drug induced hallucinations, doing therapy (Sherlock's recurring dream), on the verge of suicide, not knowing what's real and what's not, betrayed by someone close - we know what Henry Knight saw was never real, the HOUND was never real. We also know Henry Knight is a Sherlock mirror.
If you notice the phone number screen grab from THoB, the 3rd last and 2nd last number seem to "1 and 5" that is rewritten by Henry, the last number is not visible to us. The last three numbers on E's number is "552".
"You’ve been over the last four digits yourself with another pen..."
This is Sherlock's version, he has rewritten this with his pen. All of S4.
#thob#sherlock meta#meta#my meta#eurus#s4 fuckery#e's number#phone number#bbc sherlock#tst#tld#tfp#sherlock#john watson#sherlock holmes#johnlock#tjlc
498 notes
·
View notes
Text
Hello I'm just here to remind you the flash drive Mary gave to John wasn't the one he threw into the fire
271 notes
·
View notes
Text
You know how I complain about the lack of emotional resolution in The Final Problem? It's not an issue exclusive to that episode.
In The Great Game, there is an explosion at 221B, when John enters the room expecting to see a hurt or injured Sherlock, but instead, we see Mycroft and Sherlock talk about a case.
Why is this interesting? We know Mycroft went straight there after he heard about the explosion, most likely for reasons other than the case like, idk, to check if his brother is still alive? We are not shown that. If Mycroft showed any concern towards him, it is entirely off screen.
We are shown Mycroft watch Sherlock get tortured and speak to him in bad Serbian (why was the Serbian so bad? Was it supposed to be bad?), mirror the actions of his torturers and refer to his torture as a "holiday."
What are we not shown? Mycroft helping him out of the chains. Arranging for him to get his wounds mended. Any possible show of concern. See a pattern?
The Great Game was mostly from John's pov, so it makes sense there. John wasn't there. Here you have no excuse, as season 3 is mostly Sherlock's pov.
So why did they not show us that? They were afraid of consequences. It's the same reason the Lazarus explanation felt like a retcon and a cop-out to people.
I saw a hypothesis that just as Option 1 was Anderson's fantasy and Option 2 was the fangirl fantasy, Lazarus is Sherlock's fantasy.
In this version, he had the events perfectly in control, Mycroft didn't cause him to get screwed over and it was all intentional and they worked together, John, Mrs H and Lestrade were not in any real danger, Sherlock didn't get as emotional on the roof and didn't cry etc. etc. etc.
You see if Mycroft was to blame for the fall, if he was what truly led to Sherlock's downfall and it wasn't all premeditated, you would have to address that.
Sherlock would be angry with him. He would resent him for something he actually did as opposed to a vague reason we were never given or explained.
You wanted to play with emotional stakes, but you didn't want any relationships to actually evolve.
That's why John's beating of Sherlock is not addressed in The Final Problem even when it would be relevant.
That's why Molly is shown back in 221B at the end when the last time we saw her, Eurus put her friendship with Sherlock in serious jeopardy if not outright kill it.
That's why they wrote Rosie into the show and then did next to nothing with her.
That's why 221B explodes and then is rebuilt in a quick montage at the end of the episode.
That's why Eurus is put back into the very same prison she had no issue mindfucking everyone in and escaping from.
That's why we don't see Sherlock reacting to Mycroft being freed or have them discuss events of Sherrinford.
Because they wanted to put these characters through hell, but not actually have anything change.
#sherlock s4#the holmes brothers#sherlock holmes#mycroft holmes#john watson#molly hooper#rosie watson#rosamund mary watson#eurus holmes#sherlock s4 critical#anti sherlock s4#mofftiss critical#lack of emotional resolution#sherlock meta#sherlock s4 meta
105 notes
·
View notes
Text
Random thoughts-
Is it just me or Mary Morstan had potential to be such a good villain ,as both John and Sherlock loved her in their own way and fighting against that kinda person would have been their toughest battle ever,another Moriarty level enemy.
Mary WANTED to kill Sherlock, out of jealousy or to protect her secret( I guess it was both). God knows why writers took a sudden U turn there. She threatened him again,boasted about her shooting skills to Sherlock. Ofcourse she would have shot him again if John wasn't present there. Episode was going so well and then BAM the white washing began and it made no sense whatsoever.
"she saved me John" "because you chose her" "she called the ambulance". No Sherlock ,she didn't want to save you. You said so yourself in your mind palace(Molly - "you are going to die"), your heart stopped fgs. She was a danger to John according to you. Actually only JW s reaction looked reasonable(atleast initially). What happened that makers suddenly turned our detective into a marriage councellor post that incident ?? The story no longer was about two friends fighting crime together, it was all about Mary and how great she was. That conversation with John at Christmas was when I hated her the most- "ohh now you want to talk ,after months of silence" ( sherlock is inviting her for Christmas now,at his house with Mycroft right there completely oblivious, yeah right). Now I would have been so excited about this of this was villain Mary talking.
It all seemed like makers started her off as another love interest, turned her into a villain and got confused towards the end. Her death sequence was one of the most poorly shot scenes of the series according to me. CAM, Culverton and Eurus didn't do anything for me tbh, their was no build up there and it was pretty boring. But Mary s graph would have been so cool as a villain, a wasted opportunity really. Also I wanted to see more of Irene Adler and Janine (loved her character btw).
My point is this series was riding high initially only and only because of its leads. Benedict and Martin, their extraordinary acting ability. Their chemistry took the show to another level.
Two of them against the rest of the world became two against each other. Chemistry went downhill and so did the show. Makers really f*cked up big time just to whitewash one character. You had a whole literature ready for you by ACD and you managed this!!!
68 notes
·
View notes
Text
the most amusing part of being a johnlock/tjlc fan is that for the majority of the time it hurts SO DAMN MUCH you quite literally want to throw yourself off a building and then when you actually reach the rooftop you discover you have company: “hey isn't that sherlock”
#221b baker street#bbc sherlock#i am sherlocked#johnlock#sherlock#sherlock fandom#sherlock headcanon#sherlock holmes#tjlc#sherlock meta#the reichenbach fall#johnlock headcanon#john watson#sherlock bbc#buckingham-ashtray
37 notes
·
View notes
Text
why Sherlock fans say that john is bisexual while Sherlock is gay while Sherlock kissed molly and moriarty??
#acd canon#bbc sherlock#bbc john watson#johnlock#sherlockbbc#sherlock bbc#sherlock x john#sherlock and john#sherlock x moriarty#sherlockholmes#the adventures of sherlock holmes#sherlock#sherlock fandom#holmes/watson#sherlock loves john#sherlock is gay#sherlock meta#221b baker street
73 notes
·
View notes
Text
BBC Johnlock died in The Lying Detective in my opinion, at least in canon (we can extrapolate it in fanfiction to write fix-it fics, but that's a different thing.) I say this as a Johnlocker who still very actively ships it in the show.
In TFP, the portrait of “John Locke” in Mycroft's house starts crying tears of blood out of nowhere in the beginning. That's the real symbolism we all needed to notice.
#johnlock#bbc sherlock#sherlock holmes#john watson#the lying detective#the final problem#sherlock meta#mini meta#shitpost#crack#I'm salty#hot takes with gregorovitch
85 notes
·
View notes
Note
HELP STEPH!!
I’M STARTING TO DOUBT TJLC??!?! (is that even possible?? Shame on me my parents are starting to contaminate me with their heteronormativity)
Anyway,
I KNOW that you can put faith in me again and remind me that it’s there so idk could you pls pls, anything, something… I need some good proof of Johnlock that would even make the straightest most boring person ever believe in it.
<3
Hey Lovely!
OH GOSH, I'm probably the worst to restore faith since I have maintained some skepticism since S4 aired myself, HAHAH. A lot of people have left me because of it, sadly misunderstanding that my skepticism comes from other external factors rather than JUST the show. Because I do genuinely believe that it WAS supposed to be a Johnlock ending but then ~~THINGS~~ happened, lies were told, and shit was stirred behind the scenes. Just various happenings OUTSIDE of JUST the show made me skeptical, is all. If you're only looking at JUST the show, I can see how one remains hopeful (minus S4, but that's a personal opinion, LOL)
I do, though, have some posts made after S4 that I have either written or compiled here:
S4 Meta Masterpost (Aug. 3, 2018)
Convincing a Friend of TJLC
Is There a Difference Between TJLC and Johnlock?
Johnlock Isn’t Just a Coincidence
Is Johnlock Canon After S4?
Do I Still Believe in Johnlock After S4?
ASK: I’ve Been Away for Awhile; Do You Think Johnlock Will Happen?
ASK: Do you think S4 was Queerbaiting?
General Meta On S4 Masterpost (Feb 2020)
Johnlock / TJLC Meta (All the Gay Subtext Masterlist June 24/19)
TJLC Analysis of ACD Canon?
The last link has lots of amazing links to other meta that should help restore your faith :)
Sorry I'm not much help otherwise, Lovely! <3 I have tried my best, because I just want you happy <3
27 notes
·
View notes
Text
Characters' train of thought explained through mycro expressions
Well, I say explained, but just hear me out.
It occurred to me just now that I was making one of my silly posts, that they way Sherlock and John react to Sally Donovan's words might reflect something that I hadn't previously considered.
Up until this point in ASiP, John has just met Mrs. Hudson, with whom Sherlock seems to be so close, and her first thought was not only that he and Sherlock were romantically involved, but that they were already serious enough to be moving in together.
Then, there's Sally Donovan. She calls Sherlock a freak, so from here on, it must be obvious to John they're not in good terms.
Sherlock then remarks Sally didn't make it home the previous night, and Sally knows he's right; furthermore, she knows why she didn't make it home; she was with Anderson, with whom she is actually romantically involved, but presumably, she doesn't want to give Sherlock, the man she constantly ridicules, the power to ridicule her back over Anderson, so she tries to prevent Sherlock from going any further with his deductions by deflecting to John and the reason he's there.
Sherlock proceeds to introduce John by his professional title, "Colleague of mine, Doctor Watson", because he's eager to show off his association with him, something I have previously theorised about in this post, but Sally doesn't care about that, now does she?
"Colleague? How do you get a colleague?" she asks then, and the question is obviously meant to imply Sherlock is so utterly unbearable that no one would want to be around him, but it serves another purpose too. By teasing Sherlock about his involvement with John, she can easily deflect from her own involvement with Anderson.
Now, let's see the boys' reactions to the question again, shall we?
Sherlock turns his head and rolls his eyes because he's obviously offended, but he's already used to it; after all, Sally is hardly the first person to treat Sherlock this way, but John, John frowns as if offended on Sherlock's behalf because at this point, neither Sally nor Mycroft have warned him about Sherlock being... well, Sherlock yet. It is then that Sally adds...
Sherlock lowers his head, once he finally gets what Sally is implying. It is true that Sherlock doesn't know that she spent the night with Anderson yet, but just the fact that she was out all night might suggest she spent it with someone, and now she might be asking if John followed Sherlock home for the exact same reason.
Thing is, at this point, they have just met each other, and they seem to be getting along. This doesn't happen to Sherlock that often, and he must know John is special, which is the reason he invited him along in the first place. Why would a man who is said to have no friends and who once said "Alone protects me" would immediately ask John to live with him and work with him within 24 hours of having met him if he wasn't the exception to the rule? I can only imagine how badly Sherlock wants to be the exception to the rule for John as well, and how scared he might be of driving him away; after all, he's learned from everyone else around him that he's a freak, that he puts everyone off, that he's meant to be alone, and he doesn't want John to see him in that light because he wants him to stay.
Sally's comments have effectively made John question why he's even there. He rolls his eyes and prompty suggests it might be better if he waits outside, but that's not all there is to it.
Why would John suggest that? He could have just ignored Sally's question, but instead, he reacts just like he did when Mrs. Hudson ("Of course we'll be needing two"), and Angelo ("I'm not his date") implied he and Sherlock were a couple, by retreating. Sherlock can't be happy about this, but he reacts like he did before too, by ignoring the situation and bringing John along anyway. He can deal with Donovan later.
The opportunity presents itself when they come across Anderson, and it takes Sherlock less than a second to deduce by his deodorant that he is the person with whom Sally spent the night, which is then confirmed by their reactions.
So this little remark...
This was payback. If Sally really thought she could make him look inadequate in front of John, well then she'd better take a look at her own choice of companionship first. Inappropriate and immature, sure, but so was Sally Donovan's behavior from the start.
So we're finally in, and who do we have next? Ah, Lestrade! Kind, and unassuming Detective Inspector Lestrade, who mirrors Sally's question upon seeing John, but Sherlock is having none of this.
Translation: "I'm not doing this again. This is nobody's business but our own. He's here, he's with me, and I intend to keep him, so would everyone please back off?"
I may be wrong, but I think that ultimately, this might be at least part of the reason Sherlock doesn't respond when they are interrogated about the nature of their relationship. Why bother when it's obvious to him people don't know the first thing about them? This is them, this is the two of them against the rest of the world, this is private, this is their life together, this is what they are to each other and Sherlock will have no one question it or ridicule it, let alone trying to understand it.
Almost 12 years later, and here I am, trying to question it, and trying to understand it, but that's neither here, nor there.
#i've written my second meta#bbc sherlock#sherlock meta#ok but hear me out#sherlock x john#sherlock holmes#john watson#johnlock#asip#a study in pink
157 notes
·
View notes
Last Seen Blogs
