#sherlock s3e1

[neil-perrys-suicidal-tendencies]

SEASON 3 E1

I fucking forgot he was abused in Serbia.

[the-lesbianest-batman]

can we talk about how unhinged sherlock is in s3e1????

boy got out of the torture situation by spilling the tea on that guards wife and grinned at "terrorist threat".

then, in london. "you enjoyed it" to mycroft and bitching out over johns mustache.... "I can't be seen out with an old man" istg babygirl

what on earth possessed him to HONESTLY THINK that pranking john as a french waiter was a good idea? "like a face from the past" "with an element of SURPRISEEEE" "one is suddenly staring into the face of an old friend".... fucking crazy, he'd announce it LIKE THAT???? also just causally stealing a girls eyeliner, a man's glasses and another man's bow tie....

AND WHO ANNOUNCES THAT THEYVE FAKED A SUICIDE WITH "short story: not dead." and when Mary said "oh my god" he replied "not quite" sknsnskksksn "you died". "no, I'm sure, I checked." AND THE ABSOLUTE GALL ON THAT MAN TO DARE SAY "just let me ask one question: are you really gonna keep that????"

foregoing that evening... playing operation with mycroft and calling him out as lonely had me in STITCHES. also the "nope, I helped him put up some shelves" TOOK ME OUT. like... molly assumed I'd take her to dinner and now we're solving a crime and I'm suggesting a fish shop, ITS TIME FOR GAY JOKES.

now circling back to john. where did "I PREFER MY DOCTORS CLEAN SHAVEN" come from ???????!!!! GIRL WHAT???

moving on to the tube carriage..... WHAT MADE HIM THINK IT WAS A GOOD IDEA TO FUCKING PRANK JOHN AGAIN LIKE "HAHA WERE GONNA DIE IN THIS CARRIAGE NOW TELL ME YOU LOVE ME YOU FORGIVE ME" what kind of drugs was sherlock onnnn?????

[bettercallcohen]

"I think I'll surprise John."

"The Empty Hearse" S3E1 - Sherlock (2010 - 2017)

[spaceradio]

Paris S3E2

When a bottle of highly-expensive whisky goes missing, Martin becomes the Miss Marple of MJN Air with Arthur assisting as his trusty Doctor Watson.

Qikiqtarjuaq - S3E1

MJN Air flies a party of tourists near the North Pole. Arthur goes hunting for polar bears, Carolyn for a rogue lemon and Martin for a believable French accent. Meanwhile, Alfred Hitchcock makes a surprise appearance...

[overhatedcharacterspoll]

OVERHATED CHARACTERS POLL: Sherlock Holmes (Sherlock)

Feel free to explain your position in the comments or tags, but any harassment, over-the-top fighting, or personal attacks will result in you being blocked. Do not attack real people, be they fans or creators, over fictional characters.

Mod note: This show did permanent damage to my teenage self. Dear Lord. I will never forgive the writers for S3E1.

[imitationgame77]

Sherlock and Co

I saw some post raving about Sherlock and Co (Podcast), and thought would give it a try.

I have always liked the Holmes stories since I was about twelve, and watched many adaptations and read many pastiche/parodies.

I passionately loved the BBC Sherlock up to, maybe, S3E1, E2 just about OK, then kind of got disappointed after that. I thought maybe the creaters were under too much pressure to create something to surpirse the overly passionate fans or something.

Anyway.

Sherlock and Co is also a modern adaptation, but instead of John writing a blog as in BBC Sherlock, now he is a podcaster.

Sherlock and John sound a bit like the BBC version - Sherlock with a baritone RP voice, and John, lighter and more down-to-earth voice. Their characterization is also different. Compared to the BBC version, they are both a lot more relaxed.

What I like about it is that they are telling the original stories, but in cleverly modernised settings. There are 62 stories written by Sir Arthur Conan Doyle, and they are on about 17th story.

I am pretty impressed the way they have managed to do "The Solitary Cyclist", "The Blue Carbuncle", etc. Retelling the Victorian stories in the 21st Century setting without changing the core structure must be challenging.

I quite like the more amiable and loveable versions of Sherlock and John, even though I visualize them as Cumberbatch - Sherlock and Freeman - John.

It is also good that each episode is only about 30 minutes. I can listen to it while commuting.

[timetragic]

Sherlock S3 Finale Idea pt 2.

So I've ditched the idea of the key, here is what I'm thinking. Starts Pre S2E3

Moriarty needs help to steal the crown

He asks Magnussen because Magnussen can pull strings

Magnussen wants something in return

Magnussen wants to take over/control of the country

Moriarty tells him how he can take over (aka manipulating Mycroft)

Magnussen learns Mycroft's weakness (aka Sherlock)

Magnussen helps Moriarty steal the crown. He also contacts Mycroft on what Moriarty could do

He helps Mycroft help Sherlock survive the fall (So he can manipulate him better)

Mycroft realizes Magnussen is about to do something bad, so he hides Sherlock and tells him to take down Moriarty's (Now Sebastian Moran's network)

(Also Sebastian Moran will be a character, but tbh he is more of like my OC, so he will probably be very out of character from the fandom. I got into this fandom pretty late, and well, yeah)

Sherlock is pretty much facing two issues at once during the 2 year-long gap. Sebastian Moran's network + Magnusen's Network

Magnusen is like trying to Capture Sherlock or something

Anyway, stuff happens, and Mycroft decides Sherlock would now be better off back in London.

Brief tangent to talk about Sebastian Moran

Sebastian Moran was Moriarty's second in command. He was also supposed to kill John in S2E3

Moriarty found him in the army, and convinced Sebastian to join him because

- Good Pay

- He gets to help the good criminals (He's kind of like Moriarty the Patriot in this regard) or so he thinks

- He gets the thrill of the chase

He respects Moriarty to a degree because of his smarts, but as time goes on, his respect lowers because of the horrible things Moriarty does, but he continues in his job because of the details above.

When Moriarty died, he took over.

He changed the network to focus more on helping good criminals Ig like in Moriarty the Patriot

He also needed someone to look over London while he focused on maintaining control and switching things up.

The person he hired was Mary

He gave Mary good pay, and a chance to just live a normalize life without fear.

However, someone out there (ehm Magnussen) still has Mary's blackmail, while Moran can protect her, it is only so much. The only way the threat will be gone would be if she confronts Magnussen.

Mary took the job

She met John, fell in love, Sebastian Moran was fine with it, as long as she still did her job, and things didn't get in the way

S3E1

S3E2

After S3E2, there will be a 2ish year long gap, so Rosie will be like 1.25 years old

Magnussen, during this time, needed to get more resources and form a better plan to take over.

I have somewhat of an idea how thw next part will play out, but I'm not for sure yet. Pretty much, similar events to S3E3, but with different turns, and hopefully more stakes. Down here is a plan I thought up, but it is very susceptible to change.

• Magnussen arrives to London cause his overall evil plan which is ________

• Sherlock hates Magnussen, so he goes to do something

• Sherlock gets behind because reasons.

• Mary shoots John in the leg

• Secrets get revealed.

• Magnussen escapes and abducts Mary

• Magnussen is closer to world domination.

End of part 1

• Magnussen already knew Mary was coming, but didn't expect John and Sherlock

• Mary got deliberately abducted by Magnussen

• Sebastian told Mary that he can find a way to remove her blackmail, but she gotta do something first.

• John is dealing with the aftermath

• Sherlock is dealing with the aftermath

• Mycroft is investigating, and he figures out Mary's current employer, Sebastian Moran

• Sebastian was Moriarty's right hand man. Also, the guy who was gonna shoot John

• Sebastian case mini

• Sebastian doesn't like Magnussen because he threatens the current way he wants to do things

• Sebastian finds Sherlock and John annoying.

• Sebastian has a plan to remove Mary's blackmail, while Mary is in abduction, and to hurt Magnussen's plans, but he sadly does need the help of Sherlock, and John

• They are so close to finishing their plan, and while Magnussen was stumped a bit at first, he was able to easily get things undercontrol, take the last piece he needed to Control London, and execute his plan.

• He kills Mary

• Magnussen plans to just change the hierarchy or social order of things, like a Dystopia.

• Sebastian still has a network, but it is severely damaged.

• Mycroft loses his Job.

• New Rules suck, They find it difficult to follow

• They get used to some of the rules.

• They work with other people to figure out what to do.

• They find a point of entry

• They start the arc

• High tension, Sherlock out smarts Magnussen by the end.

• Britain is restored

• Reformation happens.

• Epilogue part 1

• Epilogue part 2

I've thought of including Johnlock, but it might have to happen in a sequel story or in the epilogue. This will probably pre-slash.

So yeah, hopefully I continue progressing this story lol.

[writingwife-83]

Has anyone done this poll? I can’t recall… so let’s give it a go!

[inevitably-johnlocked]

It's fascinating that sometimes John appears to be a big presence and other times he looks tiny. Like in s1e3 when he collapsed and squatted against the stall in the pool scene, he looked bundle-sized; also in s3e1 at the restaurant, when he was straddling Sherlock trying to strangle him, he looked just like a bundle placed on Sherlock's lap, a furious bundle, of course, lol! Mr. Freeman is a great actor.

Hey Nonny!

OOOOF AGREED!!! Martin is SO GOOD at projecting himself as a big man in a small package (Google says he's 5'7"), and he's ALSO good at "being small" if the scene calls for it. Martin is a great actor, and I'm SO glad he was our John Watson! Because I don't SEE Martin, I see JOHN. It's amazing.

[greenchrysanthemum20]

Permanent Changes to Brain Chemistry (Or, This isn't the Genre you Think it is)

Hmmm, been thinking about Coffee Theory lately, and also the new wave of Aziraphale had a plan and was trying to communicate in Secret Code to Crowley but Crowley didn't get the part where it was in fact a code..... I have to wonder as someone who has been around the fandom block once or twice, I think both of these theories come from the same place: The Sherlock Hiatus. Yes, folks, we are in the new rendition of The Hiatus™. It feels weird to call it that, as Good Omens is not a show that regularly airs but that fact that we will be in a drought of Canon from August 2023 to 2026 at probably the soonest means that we are in fact in A Hiatus Season. Well, what the fuck does Sherlock have to do with Good Omens ??

I'm glad you asked! My New Thought of the week is that the Sherlock Hiatus permanently changed the brain chemistry on this website, or at least of fans of a certain stripe. Sherlock was a show that I obsessed over (rather late to the game, in 2017), and so did many others. With the cliffhanger of Sherlock's jump at the end of season 2, there was nothing for fans to do but theorize and theorize and theorize.

Sherlock was also a show that actively hated its queer legacy, and by extension, its fandom (looking at you, Steven Moffat). This is getting long so my point is, I think the off-beat super complex theories about GO and the final fifteen come from a place of being actively cat-fished by Sherlock, years ago. I mean, Sherlock S3E1 basically took all of fans' theories, tore them to shreds, spit on them, lit them on fire, and then presented it's own, Even More Crackpot theory as to how Sherlock survived??? The whiplash, maaaan.

So fans, having gone through All Of That, with Sherlock, have now come to almost expect mysteries in fannish shows to be overly complicated. And just, that isn't how Good Omens works?? Like, Neil and the rest of the cast and crew Do Love the fandom, and want to tell a story that is Doing Right by the fans. (Dottie and Sadie in Neil's asks are hard not to swing as the products of a good natured uncle winking and thumbing his nose at you). And second, I think these elaborate theories mistake the final fifteen as being part of a mystery show when in reality the final fifteen are part of a tragedy. Aziraphale is Hamlet. He is a tragic hero. We are to root for him, despite his flaws, or even because of them. It is because of Aziraphale's altruism that he makes the choices that he does. Altruism is Aziraphale's Hamartia, his tragic flaw.

He may be being played by Metatron, but because of who he is as a character, as a guardian and protector, Aziraphale cannot walk away from the chance to protect the earth and make things better in heaven without sacrificing a large part of his values and Who He Is. Metatron knows that Aziraphale is altruistic, as a constant, but that that altruism can be twisted and led astray.

In a tragedy, there is a point called Peripeteia, which means the point in which the tragic hero's flaw condemns them to a certain course of action. This is what we see Aziraphale go through in the final fifteen.

He is offered a choice, and he makes a choice, and in the end, it isn't a choice. Looking at GO through the lens of a tragedy, all of those statement can coexist, and they each have equal weight.

Crowley, on the other hand, is Orpheus. Don't look back. You are leaving, you are on your way out the door, you can sense her presence behind you. Don't look back. The cavern grows darker, the threat looms larger, you talk into the echoes, and every time you hear her reply, you cannot tell how far away she is from you. Don't look back.

You look back. You kiss him, furiously, in a bookshop. You have looked. She is taken from you. Crowley knew that that kiss was never going to have worked. But he needed to kiss Aziraphale anyway. He never could have told Aziraphale before the Metatron showed up that he loved him. (Can one blame Orpheus, for being a plaything to the muses?) (Can one escape a Hell that doesn't send Strongly Worded letters?)

You have to look. You have to love her. You have to let her know you love her, even as you cannot have her.

Obviously, Good Omens as a whole isn't a tragedy, but the final fifteen of Season 2 are one, and I think we have a lot to learn from treating them as such.

[noirshitsuji]

hello i am back here to promote an elementary fic i just posted about s3e1 joan having the man the myth the unflinching eye of the storm sherlock holmes come back into her life

it's here if you want to read it

[ivytwines]

how do I feel about bbc sherlock s3e1 these days (asked nobody)?

well I mostly feel that they should’ve figured out how to get that guy safely off the roof before throwing him off it in the first place

[brainrotallthewaydown1312]

my roommate wants to watch Sherlock for the first time. i watched it as a kid when it was first coming out and my intro to online fandom happened during the richenbach gap. at the height of tjlc.

part of me wants very badly to watch to the end of season 2 and purposely take a week off of watching and replace it with video essays about how crazy the fandom went between seasons 2 and 3. discuss all the theories about what was going to happen. make them hate moftiss as they should. and then after the week is up, show them s3e1 and how the show spent so much time making sure the audience knew they were being made fun of. just so they can feel a fraction of the richenbach gap pain.

is this as funny as I think it is or would that just be mean?

[kingofhearts709]

cant wait to make it to s3e1 of bbc sherlock so i can guffaw at the concept of sheriarty while also secretly wanting it to happen

[inevitably-johnlocked]

Hi dear librarian! 1/? I was wondering if there's a term to describe a phenomenon that plagues so many films nowadays and partially responsible for the downfall of BBC Sherlock and MCU: it appears that the creators/screenwriters are afraid of or uncomfortable dealing with strong negative emotions. It's very obvious in Sherlock S3,S4, and MCU after Infinity War. They immediately interrupt an emotional scene with a quip, joke, or a solution. It really disturbs the plot flow, emotional buildup,

2/? and the tension of the show. E.g., in Sherlock S3E1 the reunion scene and the underground scene, in S4 the ghost Mary non-stop quips before the emotional hug. In S2, they really shouldn't have revealed Irene or Sherlock survived immediately after the event. I don't know what the writers were afraid of. Without a proper buildup, the resolution doesn't feel satisfactory. I'm very happy that in GOTG 3 they avoided this problem and it's probably the only MCU film worth seeing recently. 3/3 Another example is the Thor series. I know Thor 1 has many plot flaws, but they got the aesthetics right and with a Prometheus type of self-sacrifice, it feels like a proper fusion of technology and mythology. But later they wrote Thor as a laughing stock for his depression and in his own 3rd and 4th film, every remotely serious emotional scene was undermined by something. Just why?! That's part of the reason people say MCU doesn't feel relatable anymore. Thx for reading and stay cool!

Hey Nonny *HUGS*

Thank you for this insightful ask, and my answer is essentially this: shareholders and studio meddling, and probably bad writing by people who think they know better. A lot of the MCU, for instance, is SO boring and repetitive right now because they're too afraid, it seems, to stray from "what is safe", stuff that won't have people bitching at them, or they're trying too hard to recapture what made the Infinity Saga so amazing. They spent TOO long being praised and in turn stopped trying so hard, and under Chapek, dude was a greedy bastard who worked Feige to stress. I'm glad that they pulled back, it seems, and I hope it stays that way, hopefully so they can make new movies up to the quality of GOTG 3 again. Studios like Dreamworks and Indie studios are taking risks, and it's paying off, because people are bored with the sanitization of Disney and Marvel. Everything has to have no true villain in Disney.

That's not to say I don't still enjoy Disney, I do, but Marvel as-of-late has put out more flops than fantastics. And I suspect some of it is studio and shareholder meddling. It's a miracle Gunn got to do what he wanted for GOTG3, and I'm glad he did. With Thor 3 I feel like Taika got raked over the coals because he had to follow whatever plan they wanted for his vision. I dunno. Marvel for me is so hit-and-miss these days.

As for Sherlock... I think part of it was BBC meddling and another was ego-tripping, because Mofftiss continually put out winner after winner of seasons, so they thought, because just the TWO of them got an Emmy for TAB, well, they're good enough to get it for a WHOLE SEASON! (which, for the record on my opinion, I think Mofftiss are better at ONE SHOT episodes, not an entire series on their own... they run out of ideas and then throw whatever their weird fanboy fantasies want, and without a third writer to reign them in, we get S4). So yeah, that's what I mean by bad writing as well. I BELIEVE Moffat or his wife owns Pinewood Studios that they film in, so like... it's literal studio meddling, LOL. But yeah sometimes a writer or director can also be too big in their britches, and whatever they say, goes.

So yeah, I dunno. It's honestly a mix of everything and fatigue with the unoriginality of content these days. I think that's why I don't really watch anything anymore unless a trailer REALLY grips me, or it's recommended to me by a Lovely. I stick mostly to old-faves because I know I won't be disappointed, or fandom-related content.

What do y'all think?

[thisblogisnotcursed]