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I heard you.

Everything changed for me that horrible day in January, 2 years ago. 

I was devastated, shocked and horrified to see what series four did to our beloved characters, and to the whole TV series as a matter of fact. I hung on to every lead, hoping there’d be something... 

Something that could save us all. 

I never found it. What I found was that I definitely needed to fall out of love with it all in order to become myself again. I needed to find some security outside the TV series which failed me in the end, after having saved me several times before. 

These last few days, I’ve been rewatching series two and three. I loved it just as much as I used to, but something had changed. It was not only series four that changed it all, but also; I had changed. 

In January 2017, I asked a TV series for one more miracle. Just don’t be dead. 

In January 2019, I realised I had actually listened to my own advice. 

I wasn’t dead. I didn’t want to die, I was just too afraid of living. Without Sherlock in my life, I had to find new coping strategies; to rely more on my friends, family and myself to save me. It’s rather poetic because once again Sherlock has only gone and saved my life. 

I heard you. 

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#sherlock

Gilmore Girls (Season 3, Episode 22)

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Keep buggering on.

"Pain. Heartbreak. Loss. Death." "You always feel it, Sherlock. But you don't have to FEAR it." We have all suffered. We have all been through heartbreaks. But our loss doesn't define us. We are this generation's suffragettes and we will have our freedom. We need to spread love and happiness, not hate and anger. We will go through more losses in the future, but instead of fearing and avoiding, start feeling and fighting. Love yourself and all your perfect imperfections, and help others do the same. Don't fear, just fight.

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Do yourself a favor and learn how to walk away. When a connection starts to fade, Learn how to let it go. When a person starts to mistreat you, learn how to move on.. to something and someone better. Don’t waste your energy trying to force something that isn’t meant to be.. Because the truth is.. for every one person who doesn’t value you - there are tons more waiting to love you better. Do better.

Reyna Biddy (via thelovejournals)

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Goodbye for now.

I've let things slide. Sherlock was such a important part of my life for a really long time, but I've come to realise that this emotional torture is just not worth it. 

I'm so happy for all the comfort I've found in watching Sherlock, but this is where I get off. I don't want to sulk about it or keep up the false hope anymore. Series 4 was sh*t, and I don't think I'll ever understand why it turned out the way it did. But anyhow, it's time to move on. 

I have found other things to focus on, and I've started to realise that my well-being is more important than any show, however brilliant it might be.

Thanks for everything and take care, everyone. Alone protects no one. Friends protect people. ❤

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It is with a heavy heart that I type to write these words as I remember this fateful day on which Sherlock Holmes duelled professor Moriarty (allegedly) and descended down the Reichenbach Fall in 1891. I can picture this as if I have witnessed it personally. The sight of his Alpine-stock leaning against a rock. Two sets of foot marks leading away to the end of the path, none returning. His silver cigarette case with a note. Followed by years of silence. (No wonder people of the 1890s actually mourned his “death.”)

The canonic significance of this event will never be lost on me… Have a blessed Hiatus, Sherlock, my literary best friend. Everyone thinks you’re a cold, calculating machine, but I know the depth of your loyalty, love, and kindness behind that facade. You have influenced my life in so many great ways… Believe me to be, my dear fellow, very sincerely yours always. xxx

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Same scene, same trope, same acting choices. So why not perceived in the same way?

The above moment is from a Swedish drama ‘Don’t Ever Wipe Tears without Gloves’ which follows the relationship between a troubled Jehovah’s Witness and a country boy who moves to Stockholm in the early 1980s, as the outbreak of AIDS begins. The BFI lists this television program as one of the top LGBT series to air on television. This moment above is mentioned as ‘a shot of the two men falling in love as snow falls gently around them and is achingly beautiful’

Now the only difference in the scene of Rasmus and Benjamin above and these scenes in Sherlock:

Is the genre.  Don’t ever wipe tears is a HIV story, a tragedy, and shows two men falling in love. Sherlock is a detective drama and shows two men falling in love. In fact, Sherlock and John fall far more beautifully into love than Benjamin and Rasmus. But the viewer wants to be told how to read the scenes. Led to an expected conclusion. Able to make a choice to watch or not. Homophobes don’t like to be surprised. 

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They're dead to me

I'm not listening to Mofftiss whatsoever. They destroyed the characters, the TV series and totally lost their marbles. 

And now they are trying to tell us they just went along with ACD canon?

Disgraceful.

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i feel Old

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What does John mean to Sherlock. I can’t even imagine how important John is to Sherlock. 

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Is it all a game made for us?

Remember that TFP promo picture with a chess? We don’t see any chess game in TFP and it seems that pic has not much in common with a plot of TFP.

But in TST we see Madame Ambassador playing a chess. And she says something interesting:

We have to look at her as a represantation of TJLC or as a fandom in general. She is exhausted. She is playing that chess for three months (a chess that Sherlock threw at her) since TFP aired on 15th January 

… so it has to be 15th April - EASTER - when finally her saviors come and get her out of that post TFP hell. 

So can we expect a miracle on Easter?

But if nothing happens on Easter and we are just overanalysing non-existent things because we were hoping for a history to be made in a great tv show - madame has a still good response for that:

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The 4th Episode: A Complete Johnlock Fix-It

The screen is black.  A woman’s voice cuts through.  It’s Molly’s voice.

“Forward? Or Backward?”

A blinding white light floods the darkness.  A pulsating heartbeat. 

“Backward,” sighs Sherlock.

White noise stings as scenes are replayed backward. Sherlock and John running backward.  John’s fist recoiling from Sherlock in the morgue.  The christening, backward. The birth, backward.  The plane glides into the air, tail first. Magnussen’s limp body jolts into standing position, Sherlock puts the gun back in John’s pocket. The flashdrive jumps from the fire, into John’s hand.  The gun drops, the coin falls back into Mary’s fingers. Sherlock raises from Magnussen’s floor, the blood-stained shirt turns freshly white. Mary stands across from Sherlock, gun drawn.

Roll Title Credits.

Keep reading

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Ever wondered what Sherlock would be like if John and Sherlock’s personalities were switched? Like John was the one who was a twat and Sherlock was the really nice and polite one?

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This transition shot from T6T is similar to the drug effects of TD-12 we see in The Lying Detective the next episode that affects the memory.

(Thanks to @jenna221b and @smoljohnlock whose observations inspired this post)

Faith tries to write down what happened before she forgets, but her note is confiscated by the perpetrator.

It also happens during Sherlock’s sequence of deducing Culverton’s “anyone” was the one word of the person he wanted to kill. The transition at the top also has a weirdly ominous tone with Sherlock passing by, and while the episode and series has other transition shots like it, it reminded me specifically of the end of the episode with the shark:

As I explained here, while Magnussen is also compared to a shark in His Last Vow in relation to the Samarra metaphor, the grim figure of death is actually Mary. In an episode filled with shark imagery that very much jumps the shark, beginning the bad reviews of the season, and doesn’t make sense because it’s not real.

Mary is the shark, Mary is death, Mary is Samarra, Mary’s supposed post-humous Retro-Netflix DVD Subscription message is the final shot we see in The Final Problem before the last shot of John and Sherlock being frozen in time. Mary is still alive, somehow altering what we’ve seen with the TD-12 drug.

Immediately afterwards as Vivian Norbury is dragged out like a Scooby-Doo villain with a projector behind her (“that’s not how it happened at all”) we see Mary’s ashes supposedly enveloped by flames.

This satanic imagery links her to Moriarty once again (the I.O.U. apple as Satan offering Eden the apple in The Reichenbach Fall, Moriarty in the valley of death in The Hounds of Baskerville), as did the script of His Last Vow, referring to her as “satanic.”

The flames are blue, linking Mary again to the blue visions of water Sherlock keeps having, Mary is the shark again, Sherlock keeps thinking it must be Moriarty. The connection to Eurus and Victor in The Final Problem doesn’t make sense because it’s not real, Sherlock has no reason to connect that to this moment, aside from the incredibly loose “Eurus killed Trevor, Eurus recorded reaction gifs from Moriarty five years ago, I have no way of knowing that tho as I stare at the missing figure of Thatcher which has the AGRA USB inside” which is already discarding the Mary connection.

Mary and Moriarty are the same person. “It’s the gap, it’s wrong.” Blue is fake.

John is seen walking through a graveyard as the shot is out of focus, and he looks like he’s dissociating (that 2017 #mood):

Someone is calling him but he doesn’t answer. He returns to the same dissociative march.

Zooming in and stretching out, the number is private.

This is reminiscent of Molly in The Final Problem, letting us know again that Molly is a mirror for John. Molly/John needs Sherlock to say it first before they can say it back, except with her the phone did say “Sherlock”, and in this instance John literally CAN’T answer because he is being prevented from answering the phone and communicating with Sherlock. Phones are heart metaphors, John can’t answer his heart, they can’t love each other because the the truth is being obscured.

Molly gives Sherlock the letter from John. In the context of how much this miscommunication/last minute confession has been set-up over the course of the show in terms of John and Sherlock confessing their love for each other, which was planned to be and will be the climax, this is the planted seed to uncovering what’s going on as we’ve all been saying, it was left unresolved on purpose.

Also remember that Mary literally did already drug Sherlock in this version of events by bringing and… drugging a fake note, bringing chloroform to a meeting containing information about her past that she had no way of knowing about, designed as part of the alibi to make Mary on the run look as good and redemptive as possible. lmao I don’t think it was a baby thing she was hiding in her fanny pack

In the beginning of The Lying Detective John is still dissociating but in a more coherent or settled state. The eerie way it’s set up makes it look like at first that Mary is really there and she’s holding John hostage… did she confiscate John’s letter or forge it somehow, as Culverton did with Faith?

This is part of the long-running parallel with The Abominable Bride which foreshadowed series 4:

Mary isn’t dead, she faked her death, drugged John, and is back for revenge. The ultimate revenge of keeping them apart. Mary and Moriarty are Emelia Ricoletti:

Also, I know that people are bitter on dale pike since we first found the AO3 fics, but I think the metaphor that I pointed out here still works:

Because… it’s exactly what the opening did:

Some of us assumed that John in the well would be the Garridebs moment, but it was faked. There was so much discussion about the hands in the opening, The Lying Detective’s first shot and it’s last not matching I didn’t realize.

Of course, as The Abominable Bride told us, John will be the one to save the day after John and Sherlock admit they love each other. If Mary and Moriarty are the same person but Moriarty is really dead (which seems up in the air, but Mary is definitely alive), John shooting Mary could be the equivalent.

The real Garridebs moment is still out there, frozen in time with the teacup as well as John and Sherlock in the last shot of The Final Problem. Sumatra is still out there, the bomb waiting to explode. It can still be prevented.

Leak the special, you monsters. John’s been bleeding out for almost two months.

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John’s hair conundrum

I’ve had a lot of spare time to simply think over the last couple of weeks and my wee little obsessive brain just can’t let go thinking about John’s fucking S4 hair! Honestly, it drove me mental that it was never hinted at, poked fun of, or tangentially mentioned that John Watson had this super massive make-over practically overnight. The most observant man in the world didn’t see fit to mention it? Or that the wife’s had grown several inches in the span of days???

What gives????

As I lay sick as a dog, this is the thing that haunted my idle hours, until it hit me. Duh! Like, we’ve been staring the reason in the face for ages now and I kind of feel foolish that it took me this long to realise (because, surely, someone else in fandom has figured this out and I’ve missed it, and if that is the case, all the apologies for being late to the game here and I do not mean to step on any toes)

Remember where we left them.

TAB

Holmes and Watson, together at Baker Street as it should always be. I know there is still fandom leanings that not all of TAB was mind palace, that some of the plane scenes might have been real, that some of them weren’t. I’ve seen it stated that this end scene was merely ‘decorative’. The bridging gap between the modern and Victorian. I agree that it is that, but that it’s also real. This ending was the same as the one of Moriarty at the end of HLV and I believe it’s meant to be read in the same way. 

This scene is our connection (bridge) to S4. 

Oh, but they did, Sherlock! Because he then gets up and moves to the window overlooking Baker Street and we see it in modern times.

We go from this, straight into The Six Thatchers. A wholly enthusiastic Sherlock, Twittering up a storm, taking advantage of multiple electronic platforms to solve crimes, spinning all those plates. 

S4 Sherlock truly is a man out of his time. The Victorian sensibility let loose in the modern landscape. It’s no wonder he seemed high. 

Where does this leave John? (and Mary??)

For me, understanding that when we look at S4 we are seeing Holmes and Watson as they would be in the modern era, helps tremendously in understanding their characterisations this series. The number one complaint I had immediately (and I’ve seen echoed in other comments as well) was just how wrong John’s character seemed this time round. If he is inhabiting the more stoic and staid Victorian Watson personality throughout S4 it becomes, not a case of character change, but perception change. This is Sherlock’s continued vision (EMP) carried over from TAB.

Hence the hair!

The hair is the same as TAB because this is the same John Watson as TAB. And that is why there is never any comment about it, imo. Why would there be? This is a dream / mind palace journey, so there is no right or wrong; there is no reason to make note of it for Sherlock (or anyone else) because it just is.

It goes for Mary, too. Transferring all of her TAB characteristics make perfect sense of her characterisation in S4. The sudden WTFery of having her character do a complete 180 now becomes, not sloppy careless shitty writing on Mofftiss’ part (and I am not looking for a reason to excuse Mofftiss for being complete asshates to fandom, this is has nothing to do with that at all) but the continued heart-wrenching need for Sherlock to make sense of who and what she is and what she did to him. Sherlock cares too much, too deeply and I believe, doesn’t have it in him to believe the truly worst in the people he has decided to love and trust. Much to his continued detriment.

So, looking at Mary through this lens starts to make sense. She’s in no way been redeemed. It’s merely that Sherlock hasn’t seen the light about her yet.

MARY (voiceover): My darling. (John sits in a chair at home reading a handwritten letter.) MARY (voiceover): I need to tell you this because you mustn’t hate me for going away.

That’s a enough to be going on with, don’t you think?

@loveismyrevolution @ebaeschnbliah @isitandwonder @tjlcisthenewsexy @yan-yae @gosherlocked @may-shepard @impatient14 @shawleyleres @themanandthemachine

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acd: dammit, i shouldn’t have married watson off. how am i going to get him on adventures with holmes now?

acd, after a few drinks: okay, so get this. watson’s at home, right? with his wife. and this other woman comes and asks for help. so watson has to go to an opium den to get her husband. and there he bumps into holmes, who just happens to be doing an investigation in that exact opium den. so then watson gets rid of the other guy and tells his wife he won’t be coming home and holmes invites him to a client’s house in the country.

acd, downing another shot: