#not only is this sherlock not famous yet but actually its his BROTHER that everyone knows about. mycroft. who famously only appears in like.

[lesbonoi]

under discussed part of chapter one: sherlock is known for being mycrofts brother (when he isn't recognized as violet's son). even mycroft himself refers to sherlock as "living in his shadow" in one letter. a number of times when he introduces himself its like a 50/50 if someone goes "oh is mycroft your brother" wrt game's story it explains part of why sherlock is Like That All The Time but in a real life context of . Like. Sherlock Holmes as a pop culture icon. its really funny.

[agentnico]

Enola Holmes (2020) Review

The game is afoot.....sorta?

Plot: When Enola Holmes, Sherlock's teen sister, discovers her mother missing, she sets off to find her, becoming a super-sleuth in her own right as she outwits her famous brother and unravels a dangerous conspiracy around a mysterious young Lord.

It’s strange to wonder that Sherlock Holmes and Godzilla may share something in common. Though that is indeed the case, at least from the perspective that they both have been adapted to screen so many times in so many different versions. And there’s more where that came from, baby!! Godzilla vs. Kong shall be gracing our screens at some point in the future once studios begin to trust sending their movies to the theatres again (no thanks to Disney!), whilst Robert Downey Jr. has been teasing the third instalment of his take on the famous London detective for a while, but for now Netflix is bagging in on the action by adapting a fan-fiction of the property with Enola Holmes, based on the book series by Nancy Springer, which is more of a modernistic contemporary take on Conan Doyle’s classic. Again though, this is the case of where I watched the film but haven’t read the original book. I mean, I’ve read many of the original-original Sherlock Holmes novels, those are great, but when it comes to fan-fiction I cannot say I have made the effort to check them out. I don’t read fan-fiction at all actually, hence why I never read Fifty Shades of Grey. Then again, nor did I read Twilight for that matter, and that’s an original book, but hey-ho, I have no time for Pattinson-looking sparkling vampires. I digress though, today we’re talking Enola Holmes, and if it is worth your time.

It’s okay. The film is okay. It’s likeable yet predictable; characters are overly cartoonish and quirky, making me question if this is a movie for children. Then there a couple of gory moments which made me rethink who the target audience here really is. As a whole, the movie also feels scattered and all over the place with the off-pacing causing me to be bored quite a few times throughout. Plot-lines feel disjointed and partially random. I’m pretty sure there is a love story sub-plot, yet it felt so forced and unnecessary that it should’ve been missed. Also, the lack of intrigue to the central mystery is a definite blow to the proceedings, since the mystery itself isn’t really, well, mysterious so to speak, and the pay-off is straight disappointing. The puzzle-solving element is minor. There’s also the inclusion of fourth-wall breaking in style of Deadpool and Fleabag, but that comes to diminishing returns. That shtick has been done too many times now in films, as such it comes off annoying more than anything else.

Two elements worth discussing. First off, this movie is really feministic and tries to be really progressive towards the #MeToo movement. I can respect commentaries on oppression and class privilege, however the movie falls short of it’s “girl power” depiction. The main lesson Elona learns during her adventures is that her future is in her own hands. Fair enough, good lesson if not a bit too broad, but okay, well done! Glad for you there, Elona. However, Enola’s refusal to conform to the Victorian standards comes at the cost of belittling everyone else. All other characters are constrained in their stereotypes where they are not given any opportunity to break out of, and Enola laughs at them all with the motto “you guys suck, I’m Enola b****es!!” It feels like the film is trying to say that female characters can only be good if they accept their tomboyish nature, and that honestly comes off as a wrong message. Look, I really admire what the film is trying to do, but there must’ve been a better approach to this. As such, Enola comes off as self-centred, and the issues of the Victorian class system left unaffected. And second big point, the Holmes connection. Sherlock Holmes here, played very charismatically by Henry Cavill, is much burlier and friendlier than previous iterations of the characters, and in fact is nothing alike to Conan Doyle’s original creation. Don’t get me wrong, Cavill is very appealing and likeable in the role, but its not Sherlock Holmes, and I feel like if the Holmes factor was simply taken out and Enola was just a sister of this random nice buff London gentleman, it would have worked better. But I get it, business companies want to cash in on a popular brand, so I get it. 

As a whole, I myself wasn’t that impressed with Enola Holmes. Visually its actually quite appealing, with the cinematography and style reminiscent of something that would air on the BBC, but as a whole the movie is a mess. Also, I really really really don’t like Millie Bobby Brown. Hmmm....I feel like I should’ve started with that. 

Overall score: 5/10

[kissmyassloves]

The Selected Enola Holmes: Chapter Two (2)

Enola had been drinking in the beautiful man's appearance to the point that she hadn't realized quickly enough that she was staring. Thank god she was in relative darkness because the spreading warmth on her cheeks was probably evident. Clearing her throat and looking anywhere but at him, she cooly composed herself and tried to hide the wince that resulted from her upper arm being in pain. She then hurriedly uttered an,

"I'm fine."  Or at least I will be,  she thought.

The young man wasn't convinced, but he dropped it. Instead, he looked at her with curious eyes and a boyish smirk. At that, she decided that she was going to go on that walk that she desired earlier. As she turned to leave, she had noticed that  he  intended to do the very same thing. She couldn't just shoo whoever this man was off. not after he was why she was even out here. Enola was many things, but she wasn't rude (on purpose, anyway). So what could she do but allow him to fall in step beside her? But wait. She hadn't even asked this stranger his name to properly thank him.

"You're Enola Holmes, right? I remember seeing your picture when the selected were being announced."

She nodded and then proceeded to ask him with a small polite smile,

"So what name should I attach to the face that helped me get out here."

That seemed to shock him momentarily. His expression and silence seemed to weigh whether she was joking or not because he genuinely could not tell. Though she couldn't think why she would be. Was she  supposed  to know who he was? See, Enola had grown up in the countryside in all fairness and though she did read and get an education but she wasn't as attached to today's famous figures as most of the people her age were (if this man could even be deemed notable, that is). She had still been waiting for a response from him, and when he realized, he scrambled to respond with an "I'm Reese."

That was enough to make her stop walking just as abruptly as he had said it. Did she hear that correctly? She looked at him to see if he was deceiving her, but then it all started to click. She actually took in the crisp suit he was wearing and the slightly loosened tie around his neck. ��No doubt expensive, and   he must have been working late and finally caught a break , she thought. That would have explained his absence at dinner tonight. His hair was slightly disheveled but somehow kempt. Probably from running his hand through it on more than one occasion today.  He looked like he could have needed the fresh air as much as she did. Which meant that...he actually  was  the prince.  Shit .

                                     ------------------------------------

Pull yourself together, Holmes!  she thought to herself. Even if he was the man she had negative preconceived notions about. She still had to keep her guard up and stay in the game. But he didn't seem like a stuck up prick. Not if the way he helped her out just now said anything. She had already embarrassed herself twice that night in front of the prince, no less, and she wasn't going to do it a third time. She could already see the amusement dancing in his kind dark eyes. And she decided then and there that she would have to put distance between herself and yet another man. Especially if they were eliciting notions of  kind eyes . Really, what had gotten into her, she had only just met the heir, and she already sounded like she had a crush on him. She tells herself that she  doesn't , at least.

"So you're the man all this fuss is for" she hadn't meant to say it, but he seemed to take amusement in the statement and laughed. She'd decided that the sound was...nice. But she'd never let him know that.

"And I believe you signed up to be a part of it, Lady Enola and as they say, teamwork makes the dream work," he winked. There was no trace of mean-spiritedness in his remark, and she couldn't help but smile because he did have a point. Even if she was there for entirely different reasons than he probably thought.

"Touché," she conceded in fun.

"So how do you like the palace so far?" he had his hands behind his back and fell back into step with her.

"well, your highness-"

"-please call me Reese."

"well,  Reese,  honestly? I think it's...huge for lack of a better word. And so...rich."

He snorted at that with an eyebrow raised. "Rich?"

She could see the amusement and lightly shoved him, hiding a smile. She'd realized that he was easy to warm up to. She didn't know if that was good for her or not, considering her intentions of being here in the first place.

"yes, rich, and don't get me wrong, it's beautiful and all but...you know? You'll have to forgive me for my limited vocabulary. It's been a long day," she chuckled.

"Understandable. I like to come out here after one of those too. That and my little passion for botany."

"So am I looking at ye pride and joy?" she joked as they strolled.

"Oh, absolutely, a thing of beauty isn't she," he played along.

"Could use a trim if you ask me," he let out a laugh, and it was starting to worry her how she couldn't help but genuinely smile every time he did so.

"So Lady Enola, am I to assume you'd find a way to trim an already perfect hedge?"

"Perfect in whose eyes, Reese?"

"Mine"

                                     -------------------------------------

That one word and the way he said it lit something warm inside of her. Maybe she was reading too deeply into this, but it had sounded like a double entendre. Her blush was making itself known. And the look he was giving her wasn't helping the little somersaults her stomach was having either. Were they still talking about the hedges? Doing her best to keep things relatively normal, she cleared her throat. She continued like nothing had internally tripped her up in the first place.

"Right. But if I may be honest with you, I don't really care about flowers. At least not the way you seem to."

"Not many people do, I'm afraid. But that's alright. We can't all be blessed with taste" that earned him another shove.

"Prince Reese everyone, a true comedian" she joked, rolling her eyes in amusement. He mock bowed, and she laughed.

"No, really, though, flowers can be used to communicate how one feels. Like a language of sorts. A lot of people use them for love and-"

"-is that what you intend to do? Leave various flowers for all of us to decipher your affections" she was joking, of course. Still, he didn't catch it quickly enough if his rising blush was anything to go by.

"oh! no, I mean maybe, but I genuinely intend to talk to you all and get to know you but honestly...I'm not sure how to go about all of this. I know the basics but dating 35 girls at once is...I just feel like I don't know what I'm doing."

Enola could sympathize, and guilt was starting to rare its ugly head. Here, she took advantage of a prince who was basically pouring his heart out to her and giving her an escape from her brothers while trying to find a wife and balance his duties in front of the entire country.  Damn her conscience for what she was about to tell him.

"Ok . You should probably know something."

He looked deflated, "oh, you have a boyfriend back home, don't you?"

"no!- no, It's not that. I don't actually," why was she so eager to shut that down? And why did those somersaults return when he perked up at her debunking his theory? Anyway,

"I was just going to say that my intentions for entering the selection weren't entirely pure. You see, my brothers are looking for me and wanted to drag me back to a life of misery. My oldest brother Mycroft more than my other one Sherlock, really. And to put some distance between them, I entered this competition knowing that they wouldn't be able to touch me if I got selected by some miracle. And now I feel terrible because, excuse my french Reese or Viscount Tewksbury, but you're not the prick I thought you would be. I feel terrible knowing that you're practically housing and feeding me when I initially had no intention of helping you. On top of that I could be waist I g your time and in the place of a girl that truly wants to be here. A girl that could end up being the love of your life. I'm truly so sorry." she had finally stopped pacing and looked him in the eyes to weigh his reaction.

                                       -----------------------------------

She couldn't quite read the shifting emotions on Reese's face, which only worried her more. She was sure that she'd be the first girl to be kicked out of the competition now. And the irony of her also being the first of the selected that the prince even got to spend time with like this wasn't lost on her either.

"Did you really just call another of my titles after my first name? You do know that Viscount could also act as a first name as well as Reese, right? Or even Tewksbury. It's all the same to me."

What ? Is that what he picked up from all she had just said? Enola was now stunned to momentary silence.

"wait, you're not... mad ?" she really was lost here.

"How could I be mad at honesty?" he was as collected as she had first seen him earlier that night under the dim lamplight. He really was telling the truth.

"So I guess I should prepare to leave then?" she was trying to find some sort of course of action.

"Now, why would you do that? Wouldn't that make it easier for your brothers to get to you? They already know where you are, so the news of you leaving would be spoonfeeding them your whereabouts."

Did she hear that correctly? Was he suggesting that he'd actually let her... stay ? Maybe he had a longer day than she did because he just might be delirious, but she wasn't complaining. And his earnest eyes that were honestly considering and assessing her and her situation only made her want to hug him.

Was she becoming soft?

"So are you saying..."

He looked at her with a small smile and confirmed her suspicions,

"Yes, Lady Enola, I'm saying you can stay. I'll keep you in the competition until you decide to leave or come up with a plan to escape your brothers if you choose to drop out. Just let me know."

This man was heaven sent. There was no other explanation for it. He really did care. And before he knew it, she was barreling towards him for a hug repeating phrases of thanks. His minor shock passed as his arms enveloped her, and enjoyed the warm gesture. Her hair smelt of roses, and he tried his best not to take a whiff. He wasn't a creep. Realizing her actions, she hurriedly pulled away and composed herself. She knew that she'd had to find a way to repay him somehow because that's just the way she was.

In fact, she had an idea of how.

                                -------------------------------------

"What if, in exchange for staying here, I help you pick out the girl of your dreams? You know, be your wing-woman of sorts. It's the least I could do." His gaze on me lasted a beat longer than usual, and he responded with,

"Would you really?"

He seemed relieved. There was something else there that Enola couldn't quite place, but that didn't matter right now. What mattered was helping him because she knew she could, plus she perceived he needed it.

"Of course, it'll be fun and something to do while I'm here. Please. I insist. we can even have a secret signal we can use with each other if we need to tell the other something important. or if we just want an audience with each other"

"like a wink?"

"something like that but maybe something more discreet?' I say an ear tug."

He agreed and sincerely couldn't find it in him to say no to a deal like that, so he didn't.

He offered his arm, to which she accepted, and they both walked back to the palace with renewed promise and closeness that wasn't there at the beginning of their encounter.

[literaturegeek53]

Sherlock Holmes - Character Analysis

Introduction

The character of Sherlock Holmes needs no introduction. He is the most famous detective in the world and almost everyone knows who he is. Which is why I decided to base a character analysis on this phenomenon. However, doing so has been a tedious task. Nevertheless, this article contains certain perspectives about the character which I deduced and hold as personal opinions and I have tried to verify and validate it to my utmost possibilities. However, as the reader goes through this article they may come across certain concepts which they either agree or disagree too. Therefore, I would like to inform that this is but a single perspective regarding an extraordinarily complex character. Various other perspectives and concepts can be and are derived from the character of Sherlock Holmes. Thus, this specific article strives to deliver my perspective.

Hence, for the purpose of elucidation, this article has been divided into the following sections:

1.      Sherlock Holmes and the ‘brain-attic’

2.      Sherlock Holmes and ‘deduction skills’

3.      Sherlock Holmes and John Watson

4.      Sherlock Holmes and ‘boredom’

The character of Sherlock Holmes is very intricately woven with quite a few layers of complexities to which each individual reader relates differently, which is why it has continually charmed and entertained readers for more than a decade. As much as it appears to be human rather than fictional, there are a few more peculiarities about this character which makes it stand out amongst all the others; discerning all of which is perhaps next to impossible. However, as mentioned above, this article will try and break down the character of Sherlock Holmes so that we can begin to comprehend the artistry with which Sir Arthur Conan Doyle pieced his character together.

 Sherlock Holmes and the ‘brain-attic’:  

To begin with, Sherlock Holmes most famous ‘brain-attic’ – a place which he has masterfully designed and stored with information – or furniture, as he would put it – which may come in handy to him in his profession as a consulting detective. The theorizing and implicating of this magnificent project into real life is no small feat – we as readers realize that. Which helps us fathom the intellectual capabilities of the character of Sherlock Holmes. He is not just ‘smart’, or ‘brilliant’, or a ‘genius’, he is above them all. He has equipped himself with knowledge in almost every field, especially in chemistry and yet he is not a scientist and neither a doctor. Out of all the professions in the world – any of which he would have excelled in – he chose to formulate his own profession: a consulting detective.

What does this tell us, the readers, about this character? That he is cocky, perhaps? As Doctor John Watson informs his readers repeatedly that Holmes was egoistic. And so he is. He is the kind of person who would want to ‘stand out’ amongst all the others. He wouldn’t want to be numbered or referred to as any other ‘normal human being’ but rather an ‘extra ordinary human being’. He possess this tendency right from the start of the novel ‘A Study in Scarlet’ and throughout the short stories and novels to come. A simple example of this would be the time when Sherlock refrained himself from explaining to John his reasons for believing that the case was already solved and that he had all the facts he needed until the very end of the story in the novel ‘The Hound of Baskerville’.

Likewise, through understanding his execution of ‘brain-attic’ we can also infer how organized Holmes might be if he were truly a real person. Because storing all of that knowledge and compartmentalizing accordingly is a very egregious job which requires profound organization skills. The fact that Holmes was successful at achieving this feat alludes the readers into believing that he would have been just as organized in real life as he was with his ‘brain-attic’ – however, in the stories he is quite the opposite. Also, just as careful and picky; as he stored only that which he deemed useful and discarded the rest. Anything which he deems unimportant is supposed to be ‘forgotten immediately’ so that there is more space for storing that which is important. This points towards his sense of importance.  

Moreover, as we begin to know the character more and more we realize what this cockiness and egotism does for Holmes: it renders him friendless. As readers we completely contemplate why that is, which is one of the most amazing factor about this character that he is so real that we can actually understand its qualities and judge it accordingly. No person would want to be friends with someone who is as proud, egoistic and uncaring as Holmes – it would drive anyone mad! And it drives Watson mad several times on numerous occasions. However, the fact that Watson sticks with him for such a long period of time, again, says something about our egoistic character, whom at first seems devoid of sentiments and the human touch. What it says is that overtime, without a doubt, Holmes develops feelings for his companion. He becomes his friend – best friend – someone who he can count upon, someone who he knows will always have his back. Moreover, both of them also share this hunger and thirst for adventure instilled within them which is why at each adventure, each case, each new homicide both of them seem as excited, enthusiastic and curious as the other. Hence, making them two of the most compatible partners in the history of detective partners.

Sherlock Holmes and ‘deduction’ skills:

Moving on, secondly – and probably the most obvious – Holmes’s ‘deduction’ skills. These skills are weaved into Holmes with such proximities that no other human being has ever been capable of similar deduction as per his caliber – except for his brother Mycroft. Sir Arthur Conan Doyle’s biggest and most remarkable achievement – in my opinion – for his famed character comes through his skills of deduction.

However, how does this prominent attribute portray this character to us? It exemplifies to the readers that he is a ‘logician’, which means he is practical and sensible to the very core. Anything which would be characterized as nuisance or illogical would seem improbable to Holmes. Moreover, it also suggests that he is a very keen observer, as he puts it in his own words: “you see but you do not observe.” He has honed his observing skills to the zenith and uses his acquired knowledge on numerous subjects in order to deduce and gather reasonable and logical conclusions. This again suggests that his brain has been trained to think and process information logically and to disregard that which defies logic. This perspective explains to the readers a lot about Holmes’s psychology and how he might have trained his brain to work accordingly.

Furthermore, this explanation could expound the reasons for his disregard for human sentiment. It is because sentiment defies logic. Since Holmes’s brain is wired to accept that which is according to logic only, his brain is incapable of understanding or registering human sentiment; which is why he does not have any friends and does not seem to care that he doesn’t have friends. Which is also the reason why he takes such pleasure in even the most horrible of cases which induces fear and horror into its victims and turns their lives upside down.

This can be further understood through his own words: “But love is an emotional thing, and whatever is emotional is opposed to that true cold reason which I place above all things. I should never marry myself lest I bias my judgment”. This explains that anything other than dispassionate objectivity purged of the personal was less than what Holmes aspired to. He prided himself in having no prejudices and of following docilely wherever facts may lead. His approach permeated his whole approach to life. Which is why he declares that he shall never marry himself.  

Sherlock Holmes and John Watson:

The friendship of Holmes and Watson is more of a brotherhood; both of them soon find it difficult to live without the other because they have grown so used to each other. In this context, through analyzing the character of John Watson we, the readers, can grasp a better understanding of Sherlock Holmes’s character – atleast one aspect of his character. This is because no one knows Holmes better than Watson, and since he is the one narrating their adventures it seems very fitting to understand Holmes’s character through Watson’s formulated perspectives about him.

Firstly, we know that Watson thinks of Holmes as egoistic, too smart, show off, and a machine. As he writes in his own words trying to explain the enigma which is Sherlock Holmes: “He was, I take it, the most perfect reasoning and observing machine that the world has seen”. Besides that, as readers delve into the relationship between these two beings, they realize that both of them hold immense gratitude and reverence for each other. Watson envies Holmes’s arsenal of deductive reasoning while Holmes envies – even though he barely vocalizes it – Watson’s companionship and his never altering friendship. This alludes towards reasoning that Holmes is, in fact, capable of human sentiment. That in his brain-attic there somewhere lies a minute essence of human sentiment which reacts vigorously in accordance to Watson and his friendship.

Moreover, through their companionship we, the readers, also discern that Holmes is very loyal and an honorable man. He honor’s his friendship with Watson very much, risking his life for him on numerous occasions. This also suggests that Sherlock Holmes – who was first incapable of making any friends – later on develops an abiding relationship with John Watson; a relationship which he would never risk for anything in the world because he values it too much. This as a result gives us an important insight into what Holmes deems most valuable in his life, besides his work and cases. One can ascertain that because of his relationship with John Watson Sherlock Holmes evolves into a better man – perhaps the best version of himself; as Watson too states towards the ending of ‘His Last Vow’ that Holmes was one of the greatest ma he ever knew. Hence, we can then comprehend how John Watson, his companionship and friendship were an important tool in order for Sherlock Holmes to become the best of himself. Thus, illustrating the importance of their friendship for both of them, as Watson found a best friend himself with whom he lived numerous breathtaking adventures which he would never forget.

Sherlock Holmes and ‘boredom’:

Anyone and everyone who knows Sherlock Holmes knows this simple fact that he disdain’s boredom. He feels repelled by it. His brain needs to be stimulated the whole time. If not then he becomes restless.

What does this say about his psychological condition? That he constantly needs to work. Since his brain is a receptacle of such vast amounts of knowledge he constantly needs to use it for something or the other, or else he would soon lose his mind. In contemporary terms, this would be classified under a psychological disease.

The question is, then, that how does a psychologically ill person become such a great detective? The answer is simple. It is because he made it a part of his life, a part of himself; solving puzzles, solving cases, constantly working at one thing or the other, striving to unravel some sort of mystery every day. That is what makes Sherlock Holmes who he is, that is what makes him tick.  

Another thing which we can discern is that Sherlock Holmes fear’s boredom. He dreads it – almost like a kid who dreads monsters. It is because his brain is wired that way. It has a certain system through which it works and boredom or idleness is hazardous for that system.

Likewise, due to his fear of boredom, Sherlock Holmes has a motive to work, actually work, for his cases. Because he knows that these cases are all he has to subside his boredom by stimulating his mind.

Moreover, this perspective could also explain why he chose the profession of a consulting detective rather than being a doctor or an industrialist. It is because he was aware of the fact that those other jobs and professions wouldn’t be able to simulate him and his brain in the manner in which the profession of a consulting detective would. He was aware that being a doctor offered no sort of a challenge or a puzzle. However, being able to solve crimes committed by human beings, each yielding different psychological opinions and justification of their acts, was a lot more challenging and stimulating.

 Conclusion

Sherlock Holmes is a highly complex character. I don’t think that anyone, besides his creator, will ever fully understand him – which is what makes him even more interesting. Even then, it is no secret that by understanding characters we can better understand human beings, because human’s are the ones who create these characters and in doing so they carve out a part of themselves, a part of their consciousness, and induce it within them so that they feel realistic and alive. Sherlock Holmes is a very prominent example of this theory. Mainly because it hasn’t ceased to intrigue audiences even after all these years, and at some point in Sir Arthur Conan Doyle’s life he was asked whether he had based this character of his on an actual human being.

Therefore, I think that understanding characters is of great importance. They provide us with a whiff of psychological trance which we wouldn’t otherwise be able to receive from a normal human being. Again, Sherlock Holmes is a prominent example of this and elucidated above.  

Hence, I would urge the students of English Literature to better analyze and understand this character so that they can themselves understand the nature of human beings better through it, which will ultimately help them understand literature, nature, and life better.    

[snycock]

Mary Morstan is a Mary Sue

I was browsing around and came upon the Universal Mary Sue Litmus Test, and was struck by the definition the test writer gave of a Mary Sue:

 “…a character (male, female, or otherwise) who is given or is expected to be given unwarranted preferential treatment and unearned respect, thereby compromising the integrity and believability of the story and/or its characters.” (italics mine)

 Wow, I thought, that seems like a perfect description of Mary Morstan in Sherlock.  I know that one of my major frustrations with season 4 (and, to some extent, season 3) was her usurping John’s role with Sherlock and driving a wedge between them, despite Mofftiss saying that she would not (of course, I know that they lie).  And then there’s the whole defying-physics, leap-in-front-of-a-speeding-bullet thing…

 I found myself wondering how she would score on the test.  

 The answer is: very badly.  She got a 150.  Anything over 50 is considered to be “…almost certainly a Mary Sue, and a bad one at that.”  

 Details about specific responses under the cut...

 (I paraphrased some of the questions - the original test and original wording can be found at the link above)

Is your character described as especially beautiful?

(In script, Mary is described as “very striking” at first introduction.  Contrast with the script descriptions of John (thickset, weathered) and Sherlock (tall, lean, imperious) at first introduction.)  

 Does your character have any of the following: particularly unusual/exotic birthmark, tattoo, or blood color?

 Has your character been in a lot of physical fights/battles but doesn’t have a lot of scars to show for it?  

 Do you (Mofftiss) think of your character as a role model?

(I’d say given her role in s4, yes they do.)

 Does your character openly call anyone else incapable, incompetent, foolish, etc., but the character or characters referred to as such DON’T find your character’s behavior insulting, hurtful, rude, belittling, condescending, or insubordinate?

And do most/all of the character’s friends fail to get angry at your character’s behavior, despite knowing that their friend was insulted?  

Is the insulted person the type of person who’d never let that type of behavior slide with anyone else?

(I think Mary does this with both John and Sherlock)

 Does your character ever strike or attack any other character…yet the character or characters affected don’t get angry or upset over it?

And do most/all of the character’s friends fail to get angry or upset, despite knowing what your character did?

Is the victim the type of person who’d never let that behavior slide with anyone else?

Did a serious injury result?

 Do authority figures NOT punish your character when they probably would have punished xir peers under the same circumstances?  

 Are the rules of the universe bent or broken for your character?  

 Did you choose your character’s occupation and/or hobbies because you think they sound neat, glamorous, prestigious, or exciting?

 Is your character some sort of genius or prodigy, and/or is unusually accomplished for xir age, time period, place, occupation, and/or social status?

In something that is extremely desirable and/or useful within the story’s universe?

In something that is extremely difficult for virtually anyone to achieve?

Is your character simply the best or among the best among xir peer group?

Is xe famous or renowned for any of these?

Are other characters extremely impressed or astonished at your character’s skills?

Do they impress even the most cynical, jaded, exacting, or experienced?  

(Mary says her assassination team was at the “top of our game” for years, Sherlock describes her as having an “extraordinarily retentive memory”)

 Does your character end up in a tight spot and turn out to have cool, yet uncompletely foreshadowed powers or skills that were dormant and/or unknown before?

 If/when your character does make any major mistakes, are they quickly and easily forgiven with no real consequences for the character?

Did these mistakes ever result in important property or items being seriously endangered, damaged, or destroyed?

Did these mistakes ever result in people being seriously endangered and/or injured?

Did these mistakes ever result in anyone dying?

(pretty much the entirety of The Six Thatchers, there)

 Does your character ever single-handedly take out more armed forces than you can count on one hand using xir kickass awesome skills in one go?

 When your character makes new friends, do they care about your character as much or even more than they care for friends they’ve had longer after knowing your character for only a short time?

Would any of them die for your character?

Even characters that are not known for their friendly, outgoing attitudes?

Does any character who is normally portrayed as being cold, callous, or even cruel to others treat your character with warmth and kindness?

(I’d argue that all of these apply to Sherlock’s relationship with Mary.  When he shoots Magnusson, he’s essentially sacrificing his life for hers.)

 Do other characters often quickly and readily put their own responsibilities, dreams, and even lives on hold in order to help out your character, and/or quickly and readily engage in illegal or risky activity to help your character?

 Does your character’s love interest give up on or ignore prior responsibilities, deeply-held convictions, personal goals, passions, or lifelong dreams and ambitions to be with your character and live the life your character wants?

 Was your character orphaned, abandoned, kicked out, or at least raised by a person/family that was not xir own family?

 Was your character the very last or only survivor of anything?

(Mary thought she was the only survivor of Tbilisi until Ajay showed up)

 Has your character lost a close friend?

 Does your character angst about something xe did in the past?

 If your character has to prove xirself, does xe completely pwn everyone else and make them look like buffoons in the process?

 Do you (Mofftiss) feel insulted, attacked, or defensive when someone does not like your character?

If people don’t like your character, do you believe it’s just because they don’t “get” xir, or that they’re just jealous of your character?  

 Does a story arc pretty much center around your character, or is xe the main source of conflict in the story/arc?

 Does your character have a capability asset (talent, ability, skill, etc.) that for intents and purposes is identical to one had by a canon character, and the canon character’s capability is supposed to be extremely rare?

If your character’s capability asset is identical or near-identical to one a canon character has, does it work even better or more efficiently than the canon character’s?

Do your character’s capability assets allow xir to do the same job or fill the same role or function as a canon character, on the same team or in the same workplace as the canon character?

Do your character’s capability assets allow xir to do something a canon character did in the original story?

(this is probably my biggest beef with s4 – that Mary essentially took over John’s role with respect to helping Sherlock with cases and was seen as being as good as or better than John in that role. Sherlock even points out that her skill set is more impressive for the work than John’s)

 Does your character belong to or join an elite or special group?

Does xe specifically join the team/clique/crew/unit that the canon characters belong to?

Is xe accepted as one of the gang quickly, easily, and with no complaints or reluctance from anyone whose opinion matters?

(see above about replacing John/solving cases with John and Sherlock.  I also feel like this speaks to Mycroft’s lack of protest about his little brother solving cases and running around with a) an assassin, b) the woman who shot him)

 Does your character need a canon character to help xir work past xir problems and traumas?

Does the canon character have to reorganize xir schedule or set back other projects or personal goals to make time for your character?

Has the canon character never been shown as the type of person to try to reach out and help people in this way?

(I think this speaks to Sherlock’s complete willingness to help Mary in TST)

 Does a major canon character fall for/is attracted to your character?

Does your character fall for/is attracted to a major canon character?

If your character falls in love with or becomes the significant other/partner of a canon character, does your character’s love interest break up with a canon partner in order to make way for your character’s relationship?

Does your character end up moving in with or living fairly close to any of the canon characters?

(even if you don’t see John and Sherlock’s relationship as romantic, you can’t deny that John marrying Mary broke up John and Sherlock’s partnership/friendship, something that didn’t happen in the original ACD canon.)

 Does your character save the canon characters from a situation or come up with a solution that they probably could have done by themselves before?

 Does your character alter the behavior or habits of any canon character, or get any canon character to do something they’d normally be reluctant, averse, or even opposed to doing?

And the canon character isn’t angry or at the very least annoyed with your character’s antics?

Was the behavior or habit in question one of the fundamental, defining traits of the canon character?

 Is your character ever taken, threatened, and/or endangered by the villain?

Was there a special reason the villain targeted your character?

 Does your character do something that only a canon character should have done?

 Does your character play a crucial role in resolving the conflict of the story/arc?

Does your character actually die in the process?

Does everyone mourn the death of your character?

Is xe revived/resurrected/brought back later?

 Does your character know everything/almost everything about what’s going on in the story/arc?

While the canon characters know almost nothing at all?

Does your character play a central role in the resolution of the story/arc?

Does this plot/arc replace a canon storyline?

 Do you plan on writing stories about your character’s children?

[wazafam]

The actors in the MCU may have dominated with their big-screen characters, but many of them are also talented voice actors. Some MCU actors are well known for voicing popular roles in animated superhero movies, like Samuel L. Jackson in The Incredibles movies, otherwise known as Nick Fury. Even Doctor Strange's Benedict Cumberbatch has voiced a version of everyone's favorite Christmas character, The Grinch.

RELATED: Batman: Soul Of The Dragon: 10 Familiar Voices Behind The Diverse Cast

The funny thing about voice acting, though, is that those in the audience may not immediately catch on to what actor is voicing a character. Paul Rudd, for example, was one of the many Hollywood actors who took part in the adult dark comedy, Sausage Party, and many might be surprised that quite a few other MCU actors have voiced characters on the small and big screen.

10 Chris Pratt: Emmet (The Lego Movie)

Legos have, for a long time, been a favorite childhood toy. The toys range from many themes and even popular movies. In 2014, The Lego Movie was a computer-animated comedy based on the Lego line of construction toys and it centered around a Lego character named Emmett.

The role was voiced by actor, Chris Pratt. Pratt's character is mistaken for "the Special" from a prophecy and gets tangled in a resistance movement. Emmett aids the resistance in stopping a tyrannical villain from gluing the city to his perfect image.

9 Paul Rudd: Derek Dietl (Monsters Vs. Aliens)

Paul Rudd has an extensive filmography, from being well known as Mike from Friends to Ant-Man in the MCU. Amongst his long list of accolades is a voice role in the 2009 computer-animated movie, Monsters Vs. Aliens. Rudd played a supporting role as Derek Dietl, a local weatherman.

His role was also the ex-fiancé of the main character Susan, voiced by Reese Witherspoon. Derek takes any opportunity to further his career, even if it strains his relationship. On their wedding day, Susan is struck by a meteorite, causing her to grow big. She and a group of misfit monsters have to fight off an alien invasion.

8 Tessa Thompson: Lady (Lady And The Tramp)

One of Disney's classic movies, Lady and the Tramp, from 1955, got a makeover in 2019 when the movie of the same name was recreated into an alive-action/CGI hybrid. An upper-class Cocker Spaniel named Lady becomes friends with a homeless Schnauzer-mutt named Tramp (Justin Theroux).

Lady was voiced by MCU actor Tessa Thompson. The movie was sweet, as two dogs of different social classes fall in love, all while in the midst of a misunderstanding, as Lady believes her owner will abandon her after the birth of their baby. The movie even kept the famous pasta scene from the original animated film.

7 Tom Hiddleston: James Hook (The Pirate Fairy)

Tom Hiddleston took part in a direct-to-video feature-length animated movie that is part of Disney's Tinker Bell franchise. In The Pirate Fairy, Hiddleston voiced a different yet similar version of the most despicable pirate from the fairytales, Hook, James Hook to be exact.

RELATED: Disney: Ranking All Of The Tinker Bell Movies, According To IMDb Score

The character disguises himself as a cabin boy, while Zarina (Christina Hendricks), a fairy, takes control of the crew after promising to make the ship fly using fairy dust. In true Hook fashion, he double-crosses Zarina and reveals he's the leader of the pirate crew.

6 Robert Downey Jr.: Patrick Pewterschmidt (Family Guy)

Robert Downey Jr. is coveted as being the best and only portrayal of the MCU character, Iron Man. While Downey also became well known for his on-screen portrayal of Sherlock Holmes, he also did one voice role on television. In the fourth season of Family Guy, Lois learns that she has a brother.

Voiced by Downey, Patrick was sent to a psychiatric hospital after walking in on his mother's affair as a child. Lois, who is actually his long-lost sister, goes to visit him and deems him mentally fit and has him released, unaware that Patrick really is mentally unwell and a serial killer.

5 Samuel L. Jackson: Lucius (The Incredibles)

There have been countless memes made of the comical moment in The Incredibles when Lucius can't find his super suit. The superhero character was voiced by none other than Samuel L. Jackson. Jackson is well-known for lending his impressive voice for television and animated movies.

His role as Lucius is almost more recognizable than some of his other roles in Quentin Tarantino movies or as Nick Fury in the MCU. It's comical to realize that the voice role is also that of a superhero, but this one has the real power to freeze water.

4 Tom Holland: Walter Beckett (Spies In Disguise)

The animated spy-comedy movie, Spies in Disguise, not only had Tom Holland voicing the main character of Walter, but also Karen Gillan as Eyes. Holland played the socially inept super-scientist who gets entangled with the worlds' best spy. After a fluke accident, the spy gets turned into a pigeon.

RELATED: Tom Holland's Best Movies That Aren't MCU, Ranked (According To IMDb)

It's up to Walter to help the spy stop a major villain while also looking for the antidote to turn the spy human again. Shortly after Holland's role, he would again voice another character in the remake Dolittle, as Jip, with Robert Downey Jr. in the lead role.

3 Scarlett Johansson: Princess Mindy (The SpongeBob SquarePants Movie)

Scarlett Johansson has been a part of the MCU since her debut in the second Iron Man movie in 2010. But before MCU stardom, she also voiced a character in a movie about a yellow sponge when the acclaimed children's animated show, SpongeBob SquarePants got its first movie in 2004.

It's up to SpongeBob and Patrick to save the Krabby Patty formula and stop Plankton, who stole King Neptune's crown and framed the crime on Mr. Krabb's. Along the way, SpongeBob meets Princess Mindy who gives them encouragement and tricks them by making them think she's "turned them into men" so that they have the guts to continue their journey. Mindy was voiced by Johansson.

2 Benedict Cumberbatch: Grinch (The Grinch)

Jim Carrey's famed holiday movie and character in How the Grinch Stole Christmas got a reboot in 2018. There were some differences and similarities between both versions and instead of Carrey, the green and grumpy character was voiced by Benedict Cumberbatch.

The animated version followed a similar idea to the original. The Grinch becomes increasingly grumpy as Whoville is ready to celebrate Christmas. To get some peace and quiet, the Grinch hatches a plan to steal Christmas and all of Whoville's holiday joy.

1 Zoe Saldana: María Posada (The Book Of Life)

In 2014, Guillermo Del Toro produced a new 3D animated movie, The Book of Life, centered around the colorful and heartfelt storyline of a Mexican bullfighter. The story starts with a fight between Manolo Sánchez (Diego Luna) and Joaquín Mondragon (Channing Tatum), wagering on who will get to love María, voiced by Zeo Saldana.

When Maria and Manolo confess their love, they are interrupted and Maria is bitten by a snake. Manolo thinks she's dead and dies as well, hoping to be reconnected in the afterlife. Once he learns that she is alive, he fights for a way to leave the afterlife and return to his love.

NEXT: 10 Non-Studio Ghibli Movies To Watch If You Love Their Films

10 Animated Characters Voiced By MCU Actors | ScreenRant from https://ift.tt/39lUJNG

[nitrateglow]

What are some movies you consider to be underrated?

There are sooooo many; I’m sad I only have time to list a few here. I think everyone who’s ever been on my blog, knows ofmy admiration for underrated work like Blast of Silence, The Old Dark House,The Bitter Tea of General Yen, Ball of Fire, The Black Cat, Horus Prince of theSun, Eyes Wide Shut, Battling Butler, and O Lucky Man! There are actually so many movies I find underrated, butI don’t want to bore everybody by detailing each one. So here are a few otherswhich I haven’t detailed as much, but they are underrated indeed:

Donkey Skin (dir. Jacques Demy, 1970)

Really all of Jacques Demy’s movies should be listed, but I’lljust settle for my favorite of his work, this borderline surreal musicaladaptation of Donkey Skin. If you haven’t heard of the original fairy tale,then the plot is basically about a princess whose father wants to marry her.Disguising her beauty with the skin of a donkey, she goes into hiding where hemeets a handsome prince and, well, you can figure the rest. This movie isunique in how it both adheres to and subverts fairy tale tropes. Unlike several18th and 19th century renditions of classic stories, theprincess here is given more agency in determining her fate and going after whatshe wants. The movie also includes uncomfortable musings about taboo desires,but most people don’t notice them right off the bat. The film also pays a lotof homage to Jean Cocteau’s 1946 classic Beauty and the Beast, from certainscenes to the casting of Jean Marais (who played the Beast in the older movie)as the incestuous king, so you may want to see that movie first, though it isn’tnecessary to enjoying Donkey Skin.

The Most Dangerous Game (dir. Pichel and Schoedsack, 1932)

I really dig this movie, which is a well-paced andatmospheric horror film from the genre’s first golden age in American cinema. Itstill reigns as the best adaptation of the short story, even as it expands uponit by adding sexual subtext into the mix. The giant jungle set gives the moviea claustrophobic, trapped feel, adding to the predicament of the maincharacters. It does have moments of camp, but that doesn’t stop the morechilling and thrilling moments from working. This is a movie I’ve seen so muchI memorized it beat for beat and I actually prefer it to the more epic KingKong, though that is also a damned good movie.

Young Mr. Lincoln (dir. John Ford, 1939)

My favorite John Ford movie. It follows a young Abraham Lincoln,back when he was a lawyer, dealing with a murder case. Because this takes placelong before Lincoln was involved in politics, he is not presented as thedemigod other movies tended to make him out to be; instead, we get a young manshowing signs of greatness, but also racked with moments of uncertainty anddoubt. While I often speak of great movies which shock and confront theaudience with their subject matter, Young Mr. Lincoln is a gentler movie,infused with low-key humor and humanistic compassion. No one really talks aboutthis one, I guess because it’s a non-Western Ford film, and that is a shame.

Scaramouche (dir. Rex Ingram, 1923)

Yeah drag me to the guillotine, but I much prefer this movieto the more famous 1952 talkie remake. It’s a great French Revolution eraadventure story about a lawyer who wants to avenge his best friend’s death atthe hands of a nobleman. Great fight scenes that feel like actual fights(unpopular opinion: I don’t care for the really long swordfight at the end ofthe remake; its over-choreographed nature felt like compensation for the movienot sporting that good of a hero/villain dynamic… kind of like Revenge of theSith’s ridiculous final battle), lots of epic sweep and spectacle! It’s not thedeepest movie in the world, but it has good characters and a story that keepsyou entertained all the way through.

The Private Life of Sherlock Holmes (dir. Billy Wilder,1970)

This movie examines the mythos of Sherlock Holmes and theVictorian era with an almost elegiac gaze. It mixes dark and dry humor withmelancholy, though it is ultimately a great, if episodic, Holmes mystery.  When most people talk about this movie, whenthey talk about it at all, it’s because there is a scene where Holmes pretendshe and Watson are a couple in order to throw off the sexual advances of a primaballerina. When Watson later asks if Holmes is gay, he gets an ambiguous answerand the Watson/Sherlock shippers go insane as a result. This scene actuallydoes get to the heart of the film: it asks how much do we really know aboutHolmes as a man and why does he keep himself so detached from others? Like mostgreat movies, the film never gives you a definite answer and invites you tobring your own conclusions.

Marie Antoinette (dir. Sofia Coppola, 2006)

A movie people tend to love or hate (much like all of Sofia Coppola’s movies). I obviously like it alot. It’s a character study of the doomed queen, particularly her alienation asa foreign consort at Versailles. The film is more about what happens inside thecourt than the revolution brewing outside it, though its threat is felt keenlytoward the end of the movie. There are several intentional anachronisms meantto highlight Marie Antoinette’s youth at the time of her ascension to thethrone, to make modern audiences understand she was still a child in many ways; the soundtrack is permeated with 1980s music, linking the decadence ofthe French aristocracy and royalty with the prosperity of 1980s America.

A Midsummer Night’s Dream (dir. Jiri Trnka, 1959)

A stop-motion version of the Shakespeare play. It does makesome changes to the text, particularly to the Mechanicals, but I think theyactually add a sense of melancholy and reflection of the nature of art thatwasn’t in the original play. It’s my favorite movie version of the story and Iwould recommend it even to people who didn’t care for the source material. It’salso gorgeous to look at, a masterpiece of the stop-motion form.

Blood for Dracula (dir. Paul Morrisey, 1974)

A great 1970s cult hit. Set in 1920, Dracula is starvingbecause he finds it harder and harder to find virgins to feast on in the modernworld. He preys upon an aristocratic Italian family, assuming the marriageable daughtersare virginal. Boy is he in for a surprise! Also he has to contend with a hunkyCommunist handy man. This movie is incredibly goofy and gory, though it doesalso have some poignant moments that make you feel sorry for Dracula.

Dracula (dir. Francis Ford Coppola, 1992)

A LOT of people hate this movie and I won’t say I don’t getwhy. There is a lot of dumb stuff in it and it comes off as overindulgent attimes. Yet despite these flaws, I admire the movie’s ambition and what it doesget right. Gary Oldman is perfect as a sad yet ferocious vampire who defies Godto reunite with the woman he loved. The visuals are pure gothic, absolutelygorgeous. And I love how the movie is in some ways an homage to the earlycinema of George Melies and the Lumiere Brothers. There’s even a scene wherethey used an old turn of the century camera to film a crowd scene! That is socool!

[segadores-y-soldados]

Reaper: References

Alright so that “The game’s in the refrigerator” full audio came back around on my dash and I realized that not everyone probably recognizes Reaper’s references, so I figured I’d make this post to help pool sources and quotes, and also as a potential resource guide in the future.

Lots more under the cut!

A little bit of context

So as most Reaper/Gabriel Reyes fans know, Gabriel is from Los Angeles, California.  Los Angeles is the second-most-populated city in the United States (second only to New York City).  When the Spanish came, they founded a mission in the region named “Mission San Gabriel Arcángel” (wink wink) for the Archangel Gabriel, messenger of God.  For those of you unaware, the original route connecting for the 21 Californian Missions is called “El Camino Real,” or “The Way of Kings”/ “The Royal Way” - whether intentional or not, Gabriel’s last name of “Reyes” means “Kings” in Spanish.  The route is now historic and marked with bells that denote the way.

There are two major “valleys” in California - the Great Valley or Central Valley which spans the majority of the state, and is where the majority of California’s agriculture is grown, and the San Fernando Valley, which is the smaller valley where Los Angeles is located.  Californians can refer to either as simply “The Valley,” but more often than not when someone says they “went to the Valley,” or are “heading to the Valley,” they are referring to the San Fernando Valley.  Among American pop culture, “going to the Valley” is often a reference to someone heading to Los Angeles or Hollywood to try and become famous.  

Lastly, Blizzard’s headquarters are located in Irvine, California, which is one smaller cities that make up the “Los Angeles metropolitan area.”  This is cheekily referenced in the Numbani map, where a flight from “Irvine, CA” is listed as “delayed” on the Airport’s board.  Meanwhile, the Los Angeles flight is still “on time” on the map’s flight board.

Gabriel’s first reference to his ties to L.A. is on the Hollywood map, where he will say the line “Home sweet home” occasionally.

The Los Angeles Lakers

It’s not surprising then that Gabriel is a fan of the Lakers, one of Los Angeles’ two professional NBA basketball teams.  The Lakers have been known to be a strong team for some time (although we can nitpicks over fluctuations in their status), and regardless of how someone might feel about them (...like me), the team has produced some of the greatest players and basketball games in the sport’s history.

Second Reference: “The game’s in the refrigerator.”

The full line is: “The game's in the refrigerator: the door’s closed, the lights out, the eggs are cooling, the butter's getting hard, and the Jell-O's jigglin'!” (note that this is Reaper’s exact line).  This is a nearly dead-on word-for-word quote from a LA Lakers’ commentator, Chick Hearn, who was known for his unique phrases.

https://en.wikipedia.org/wiki/Chick_Hearn

You can watch the original quote here: https://www.youtube.com/watch?v=XVi98BZ2OwA (against the Sacramento Kings!)

The meaning of the phrase is basically that “the game is pretty much over, we pretty much know who won.”

What’s fucking HILARIOUS about this is that by the time the “game” of Overwatch takes place (roughly 2076-2078) the line is almost NINETY YEARS OLD.  Reaper is making a fucking sports reference that, for him, occurred almost a century ago.  

BUT THAT’S NOT ALL.

Third reference (that may not be finalized): “Kobe, eat your heart out.”

https://clyp.it/y34uzzv0?token=d18fc817b96d0f98c6fd8b1e461a28a7

About 7 months ago, a user on reddit pulled a bunch of then-unused audio lines from the game ( https://www.reddit.com/r/Overwatch/comments/4sz7o8/i_extracted_some_of_the_audio_files_from_the/ ).  Some of them have been used (the Halloween and CNY lines).  Reaper, Lúcio, and Reinhardt have basketball reference audio lines that may or may not make to the game (March Madness event, maybe?).  Reaper’s line is a reference to one of the greatest basketball players of all time, Kobe Bryant, who just retired in 2016.  Kobe spent all 20 years of his professional basketball career on the Lakers and among most Americans is simply referred to as “Kobe.”  A fairly popular “slang term” among Californians (and other Americans) is to say the phrase “Kobe!” when taking a shot - at the hoop, at the trashcan, at...anything really.  The slang version was first popularized by Dave Chapelle, an American comedian.

http://full-lifeconsequences.tumblr.com/post/152446878702

Here, the McElroy Brothers demonstrate how the term is supposed to be used.

...It does not guarantee skill.

Sports, sports, sports!

And this is the one that got me thinkin’ about writing this, because I have yet to see ANYONE talk about this:

Fourth reference: “Welcome to the black hole.” / “Welcome to the Black Hole.”

I’ve offered an alternate version where the words “black hole” are capitalized because the phrase is almost certainly another sports reference.

Another Californian sports reference.

https://youtu.be/X_2hsVvBPS8?t=391 (time 6:30 - I haven’t actually heard him say this in-game tbh)

https://www.youtube.com/watch?v=l8rdZ8wBsr4

The most diehard, intense fans of the Oakland Raiders have been called “The Black Hole” for sometime now, due to the fact that they dress in the team’s dominant color of black, accented with silver and/or grey.  These are the primary colors Reaper dresses in as well.  The phrase “Welcome to the Black Hole” is used by these fans as, well, a greeting or a statement.

Oakland is pretty damn far from Los Angeles, but the LA Rams are...not as notorious as the Oakland Raiders.  Oakland is far closer to San Francisco in Northern California (on the other side of the San Francisco Bay).  It has quite the reputation in the U.S. for being a “rough city,” but recently there’s been quite a bit of changes in the area (the gentrification of Oakland and SF Bay as a whole is really not the point of this post).  The Raiders’ entire aesthetic matches Reaper’s to a tee.

Which comes to the next one:

Fifth Reference: “Just win, baby!”

“Just win, baby!” was the catchphrase of one of the most well-known Raiders’ coach Al Davis, who led the team to a era of success in the 60’s and 70’s.  This makes the quote literally over a century old for Reaper (dude’s a nerd, I’m telling you).

“Under Davis' management, the Raiders became one of the most successful teams in professional sports. His motto for the team was "Just win, baby."[1] Davis was active in civil rights, refusing to allow the Raiders to play in any city where black and white players had to stay in separate hotels. He was the first NFL owner to hire an African American head coach and a female chief executive. He was also the second NFL owner to hire a Latino head coach. He remains the only executive in NFL history to be an assistant coach, head coach, general manager, commissioner, and owner.” - Wikipedia on Al Davis

https://www.youtube.com/watch?v=0RAlrzcdfRY

The Raiders are unfortunately currently in the process of trying to move to Las Vegas, Nevada unless the city of Oakland can meet the team’s requirements for staying.

Lights, camera, action

And just to round out the group, I’m gonna cover all my bases and get the easier ones out of the way too.

Sixth Reference: “I’m back in black.”

I kinda assume most people are familiar with this one, but in case you are not, this is a reference to the song “Back in Black” by AC/DC.

https://www.youtube.com/watch?v=pAgnJDJN4VA

(God damn, what a fucking good song)

Another song titled “Hell’s Bells” also came from the same album (“Back in Black”) as the song “Back in Black”...yeah it gets a little confusing at times.  The album “art” is easily among the most iconic albums of all time for both its drama and its simplicity:

https://upload.wikimedia.org/wikipedia/commons/9/92/ACDC_Back_in_Black.png

Seventh Reference: “If it lives, I can kill it.”

This one is a reference to Arnold Schwarzenegger's line “If it bleeds, we can kill it.” from the movie Predator.

https://www.youtube.com/watch?v=eNr0WXQ3Ho4

Notably, Schwarzenegger is one of the more recent “Hollywood movie stars” to have become a prominent Californian politician.  (Also notably, the Soldier: 76 skin “Commando” is another reference to another Schwarzenegger film “Commando” - aka the original “Taken”.)

Eighth Reference: Death Blossom

This one was new to me too!

https://www.reddit.com/r/Overwatch/comments/5ufces/til_death_blossom_is_in_fact_an_actual_military/ddtjbzy/

“Death Blossom” is a reference from the movie “The Last Starfighter” as a “last-minute surprise attack” where all enemies are obliterated in a “guns-blazing” “death spin.”

https://youtu.be/nmPGuMGs8cg?t=125 (time: 2:05)

(Seriously, please watch the link, I’m begging you)

The term has been picked up by American military members as a reference to surprise attacks where someone goes in “guns-blazing” as a final-resort attack.

Ninth Reference: “I’m not a psychopath - I’m a high-functioning psychopath.”

Finally - a reference that isn’t already thirty to forty years old.  This one comes from the BBC series “Sherlock,” in which the modern version of Sherlock Holmes says as a retort to accusations that he’s a “crazy psychopath”: “I’m not a psychopath - I’m a high-functioning sociopath.”  (I believe modern psychology does not differentiate between the two anymore, although really, neither term is particularly medical or scholarly.)

Reaper’s turn-of-phrasing on this one is meant to be cheeky and sarcastic: he’s correcting people by pointing out that he’s not “not just a psychopath” but an “ultra, high-functioning psychopath.”  Interestingly, there’s a concept among the modern theories of psychopathy that there are “successful psychopaths” - people who have low empathy abilities, exhibit ruthless behaviors, and may manipulate others to get what they want, but typically have the social skills to stay out of jail for any crimes they may (or may not) commit.  The hypothesis argues that many CEOs, politicians, lawyers, etc. are possibly “successful psychopaths” who channel their behaviors into economic or social successes.

http://www.psychologicalscience.org/news/were-only-human/psychopath-successful-psychopath.html

“They found that fearless dominance was significantly associated with overall presidential performance, leadership, public persuasiveness, communication ability and willingness to take risks. Scientists have examined the relation between fearless dominance and “everyday heroism”—that is, altruism entailing social or physical risk, like administering CPR to a stranger in need. Fearless dominance was associated with such everyday heroism, and it was also associated with early wartime heroism among U.S. presidents.

“So are psychopaths and heroes simply “twigs from the same branch”? Perhaps, although the successful psychopath remains something of a scientific enigma. This provisional evidence points to some tantalizing possibilities, but we still do not know for sure why one person with pronounced psychopathic traits ends up as a habitual and cold-blooded criminal, while another ends up as the prototype for Agent 007.”

(Please note that this is not an academic, scholarly, or medical piece - merely a conversation-starter)

And last but not least:

Keith Ferguson, Reaper’s American voice actor, was born and continues to live in Los Angeles.

http://thebageltron.tumblr.com/post/145037436303/i-still-cant-believe-reaper-and-bloo-share-the

So the real question we need to be asking Blizzard is:

WHEN WILL REAPER GET A “It’s hot in Topeka” LINE.

https://www.youtube.com/watch?v=L_IlsPypwZs

[pollaidh]

“This kiss is for all the world.” (From Mrs Hudson’s car chase theme, Ode to Joy.)

Meta on The Lying Detective with reference to Johnlock. There’s a lot of new stuff in this meta.

The Lying Detective was about 3 things: - Confession of a feelings hiding in plain sight - The depths to which Sherlock loves John (going to hell to save him and absolutely trusting that John will arrive on time) and John loves Sherlock (he will save him despite everything), - The fact we might all just be human (I.e. The common humanity in all of us, where it doesn’t matter if we are male, female or other, gay, straight or bi, or any other perceived difference. Underneath we are all the same.)

The case itself The case itself was not important in the wider arc: - Sherlock admits that the recordings from the hospital room will be inadmissible in court, hence his whole convoluted plan was about John, not about CS. - In his therapy session, John says: “Of course it’s about Sherlock. Everything’s about Sherlock.” John’s grief, and the plot of the story are about Sherlock, and him.

The episode After we get a look into Sherlock’s psyche during The Abominable Bride, this time we see inside John’s head, thanks to his personality being at war with itself, manifesting itself with arguments with an almost corporal Mary.

We see Sherlock almost kill himself to save a suicidal John, and we see John begin to see the light and save Sherlock. The scene in 221B leading up to the hug is the rawest, most genuine we’ve ever seen Sherlock, as well as John, with looks and open countenances we have not seen since the brief second after Mary’s pregnancy was announced in TSoT when all seemed lost. They are truly getting to the heart of the matter.

Confession

More specifically the theme was about making confessions that change the way people think about you, and the fact once you confess you can not turn time back, your bridges are burned. You will always be seen differently. This may sound familiar to around 10% of the population.

Confession was mentioned at least 10 times in the episode, which is significant signposting. Culverton Smith was the most obvious - he wanted to confess  in fact he can’t stop confessing at the end. He is confessing in plain sight, over and over again, on billboard, on adverts, without people realising that they should take his words literally - he’s a killer, a cereal killer.

So whatever confession we are to expect from Sherlock, who was the only one prevented from confessing, delayed presumably until Final Problem, or whatever the show and creators are about to confess, it’s been hiding in plain sight for a long long time. “The safest place to hide is in plain sight.”

Phrases, mainly used by Culverton who has a pathological need to confess to what he has done (slight paraphrasing possible due to note-taking): ‘You can’t tell a friend a secret and take it back again.’ ‘Once you’ve opened your heart, you can’t close it again.’ ‘Share something personal and if it’s important… need to confess.’ ‘Must be careful not to burn our bridges.’ CS likes to confess to the dead. ‘Confession is so very enjoyable, I should have done it sooner.’

Confessions of love, not murder

Many of these confession references, while apparently regarding murder, actually involve hearts and personal matters, which indicates the confession theme is wider than simply CS’s need to confess to murders. Sherlock makes references to burning up (fire = heart as per Moriarty), and there’s a fire in the final scene in 221B, he also references, again, falling, harking back to both Reichenbach and the fall in TAB. He’s still terrified of falling (in love).

This is an incredibly strong foreshadowing of a confession of Moftiss’ conspiracy (TJLC - which was also referenced in TST - all good conspiracies have an acronym). Whatever confession John and Sherlock make, it’s going to be personal, about the heart/love and they are going to feel a hell of a lot better once it’s out, so to speak.

Confessions of identity

John does make a ‘confession’ just before he and Sherlock hug. He confesses that he’s not what everyone thought he was. He’s different and he’s never been the man we/Mary/Sherlock thought he was. In other words he was ‘born this way’. John appears to be tangling good man/bad man, and possibly straight/queer in his head, pointing to internalised homophobia that has stopped him from being or confessing his true self. Finally Mary, in his head, gives him permission to be what he really is, and the two sides of John’s (at this point) split personality reintegrate, leaving him whole again.

We also come full circle from ASiP where Sherlock misses the fact that John’s Harry is his lesbian sister - and this time John assumes Sherlock’s sibling is his brother. Identity is important in this show. We also discover that John fancied Sherlock’s sister/twin, Eurus, and ‘wanted more’.

The confession is also going to make them ‘so famous’, as CS points out in his police interview, and when Lestrade points out that CS (the show) is already famous, he’s says it will make him so famous he breaks into America. This is one big confession coming up. It will be on everyone’s lips.

Hiding in plain sight

There’s also suggestion that, hiding in plain sight, this secret and its confession can be predicted, by analysing data across the world, every little detail, to predict what comes, just as Sherlock does. A reference to the fans and TJLC meta writers digging deep into every clue this show provides?

We also see two women, who appear to already know the truth: - Sherlock and John accept that Molly can see through Sherlock, to the truth, where John cannot, letting the ‘bullshit’ get the in the way. We’ve seen Molly read Sherlock accurately before Reichenbach, in the lab, and probably also in TSoT when she saw the Vetruvian Man with John’s head on it in Sherlock’s drinking file. - Mrs Hudson points out to Mycroft and John (who is starting to realise) that Sherlock actually is an emotional creature, perhaps referring to the ‘urges’ conversation in TAB greenhouse. Throughout Mrs H seems to be pointing out the obvious about how Sherlock needs John and John needs Sherlock.

Opening doors Sherlock admits that when under the influence of an awful lot (near fatal) amount of drugs, they ‘open certain doors in his mind’. On the surface he’s referring to the fact he seems to have come up with facts he couldn’t know (but which in reality were provided by Eurus), but subtextually he may be referring to the last time he was on a near fatal dose of drugs - in TAB - where he seemed to have some internal revelations that have not yet been fully explored in the show. One might even say, the drugs opened certain closet doors in his mind.

It is what it is It is what is is… This is repeated by John, Sherlock and Eurus (how did she know?) It is what it is can be read as a sign of acceptance that nothing can be done, and this seems to be how John and Sherlock take it, however Erich Freid’s poem from which it is translated is all about love. ‘It is what it is, says love’ is the refrain. It is what it is sounds uncommonly close to ‘I am what I am’, and common humanity.

It is nonsense says reason (Sherlock/Mycroft) It is what it is says love

It is calamity says calculation (Mycroft) It is nothing but pain says fear (Sherlock) It is hopeless says insight (Sherlock/John) It is what it is says love

It is ludicrous says pride It is foolish says caution It is impossible says experience It is what it is says love

Conspiracy?

Two conspiracies may be relevant - TJLC, as covered above, and a plot arc conspiracy.

Mycroft was linked to the yet Queen again (office portrait behind him at the end) which may refer to a seemingly inconsequential discussion about the Queen being untouchable when Sherlock is entertaining the kids at the hospital. Of course, Mycroft has been linked to the Queen once before - at Buckingham Palace, when Sherlock and John have a shared joke about him being a queen (also code for gay). Perhaps Lady Smallwood is not in luck. Or does this point to a conspiracy…

And if so, are the named representatives at Culverton Smith’s meeting table relevant? It doesn’t seem necessary to the plot that they are named, but they are: - A high ranking police officer - A member of the judiciary - Sits on the board of a prominent broadcaster (BBC?) - 2 members of CS’s team - 1 family member It could be a nod to the influence and connections of Jimmy Savile, who had friends in high places, but ‘the universe is rarely so coincidental’. I suspect this is either (1) an in-joke about those in the know of TJLC, because they must have kept it incredibly quiet or (2) related to a conspiracy arc within the series, perhaps the overarching conspiracy. People who know about Eurus? Or something even worse?

The Third (and fourth?) Holmes Sibling

Euros, Mycroft and Sherlock are siblings, and yet we are told by Sherlock how strange it is that people stop at three, finding it comforting (it’s actually a well known literary device - mention something three times). Given that Eurus is one of four sibling winds, two of which seem to relate closely to Mycroft and Sherlock’s characters (including one of them being in love with a man) it seems likely there is (or was) a fourth Holmes sibling. If so why? Some suggestions from Greek and Roman mythology that the fourth brother was a friend of thieves and highly dangerous… Moriarty after all? And it’s never twins (mentioned twice now across the series, so third time lucky in Final Problem?), but perhaps Sherlock and Eurus are twins, or Eurus and Moriarty, or Sherlock and Moriarty though the latter seems less likely.

Worrying is the clear modelling of Culverton Smith’s character on paedophile Jimmy Saville. Was CS actually erect in the murder scene? It looked like the camera caught something. The whole Jimmy Savile parallel drew uneasy laughs, but was there a deeper reason, does this link into the Holmes family secret? And why was Sherlock so vehement in his dislike and antipathy. Normally he likes clever criminals, but this one seems to make his skin crawl, even more so than blackmailer Magnusson, generally thought to be (in Canon) one of Sherlock’s most despised criminals. Is there a history of abuse in the Holmes background? Sherlock and Mycroft seem on reasonable terms with their parents, but what if some of the siblings had a different parent? Sherlock’s mother as a genius mathematician (mirroring Moriarty in Conan Doyle) seems suspicious. On the other hand I’d expect Mark Gatiss to be wary of anything that suggested homosexuality is related to sexual abuse in any way (either the abuse causes gayness idea, or the gay people are paedophiles fallacy), because this is hardly the kind of LGBT+ friendly message the BBC and Gatiss want to spread. There’s also CS’s comment that some people have urges not to, not to forget (I.e. To remember).

Saving the best until last - You millions I embrace you, this kiss is for all the world.

What is the relevance of Beethoven’s ‘Ode to Joy’ in Mrs Hudson’s car chase? Sherlock rarely uses pre-existing music, the only other time as far as I’m aware are in TSoT where the music/lyrics on the stag night and wedding party is incredibly relevant. Ode to Joy is the European national anthem, so may indicate the proximity to Euros (the god for which Europe is named) or Mrs Hudson’s connection to Euros. Euros was obviously in the scene, as she was disguised as John’s therapist, but is this reference deeper than it looks?

The lyrics of Ode to Joy certainly seem to have unbelievable relevance as bolded below: References to brother, a beautiful daughter (Rosie, as John has just mentioned), references to fire. “Your magics join again what custom strictly divided” (history has divided two men in love), “all people become lovers”, friends, and most of all: “You millions I embrace you (millions of LGBT+ people), this kiss is for all the world.”

"Ode to Joy"

Joy, beautiful spark of divinity, Daughter from Elysium, We enter, drunk with fire, Heavenly One, thy sanctuary! Your magics join again What custom strictly divided;* All people become brothers,* Where your gentle wing abides.

Who has succeeded in the great attempt, To be a friend's friend, Whoever has won a lovely woman, Add his to the jubilation! Indeed, who calls at least one soul Theirs upon this world! And whoever never managed, shall steal himself Weeping away from this union.

All creatures drink of joy At nature's breast. Just and unjust Alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end. [Even] the worm has been granted sensuality, And the cherub stands before God!

Gladly, as His heavenly bodies fly On their courses through the heavens, Thus, brothers, you should run your race, As a hero going to conquest.

You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy There must dwell a loving Father. Do you fall in worship, you millions? World, do you know your creator? Seek him in the heavens; Above the stars must He dwell.

Johnlock - QED.

Other questions I’d like someone to answer… Why does Sherlock collapse on the bridge with Faith? Does the height trigger something to do with The Reichenbach Fall? Why does he flashback to his childhood? Does something Faith says or does trigger the flashback.

What is the wider relevance of HH Holmes, with his special serial killer hotel. Is he family? Are Eurus and the other descendents and this is where their madness has come from? Evidence seems to indicate that Sherlock at least has not seen (or possibly even been aware) of his sister, since early childhood.

What’s this about stabbing things to understand them, yes Sherlock has an unfortunate tendency to skewer anything he finds interesting. What about his dog? Was Redbeard sacrificed to childhood science?

Why is Mrs Hudson not a civilian?

Did Irene really send the text alert, or was this part of Sherlock’s complex plan, if he really can predict actions. Or was he expecting it (from Irene, or having sent it himself, using the same tone, which he admits doesn’t necessarily mean it’s from Irene) and his desperate attempts to make John stay were to get John to hear that text tone and show jealousy. On balance Sherlock looks way too raw and genuine in this scene, it may just be coincidence, though it’s not clear why he tried to bluster his way out of it (unless he was rapidly re-analysing his data to discover why Irene’s text would make John return).

Relevance of case mentioned, Murder at the Zoo, which may link to an old film of the same name, which was about revenge against a cheating husband, also seems to involve snakes so possibly a reference to The Speckled Band.