miadifferent:

twocandles:

57–circlesofhell:

monikakrasnorada:

57–circlesofhell:

monikakrasnorada:

whimsicalethnographies:

57–circlesofhell:

i mean at this point i think these are real drafts. and for those who think the quality is a strike against that all i’ll say is…..we’re all writers here……..yall know drafts are Bad

This is one thing I will not entertain if determining fake/real:

All the best writers have editors. All. We have them too, we call them betas. And for scripts, they all then change during filming.

The first draft of anything sucks/is OOC/etc/etc/etc. Thats why it’s a first draft.

This is all true, but what I have trouble with is HOW much they changed? Look ast TSOT. It in no way resembles the nuanced, heart breaking ep we saw. That means , to me, if these are legit scripts, then none of this that we are seeing and believe is happening was planned. It is not reflected in any way to what they initially wrote, so what? Johnlockary is endgame? Smith was never supposed to be a DarkJohn mirror?? No thanks. Fake is all I’ll ever believe these to be.

It’s a draft……..

I agree, but would the thread of what we have interpreted not be there from the beginning? That’s all I’m trying to say. If these are real, how does that happen, that what we have seen as the finished project, not have some of its roots in the first draft?

I think the roots are in the draft. They track with what Moffat and Gatiss have said about their own aims with the show.

Tbh, these are very bro™ if anything, not exactly Johnlock-y, and especially the NOT GAY best man speech is pretty obvious imo. So seeing all this script crap really makes me think that that’s what was on their minds initially, aka NO Johnlock. And no matter how Johnlock-y the episodes turned out, that was not what they intended. I feel like they have some serious blind spots re acting and can’t interpret things for shit.

Yep. I’m not judging them for an odd draft. Writing is a work in progress. But what the scripts make very obvious (and what was my main underlying problem with s4) is, that Mofftiss have a completely different understanding of John and Sherlock than the fandom. These drafts – and same in s4 – are mocking John and Sherlock. How they are portrait makes you wonder, if the writers actually hate them and just want to deconstruct and pull them through the mud for entertainment.

I wonder, if there actually was a change in the editing team, so that we got a more raw draft in S4 than in the series before.

PSA *please read*

I’ve lost about 10 followers most likely because of my last post (referencing a certain view of the scripts) and I just want to say hi, hello, my blog is an archive.

It should be self explanatory but I don’t always agree with the stuff I archive but I am always tying to stay 100% unbiased.

Sometimes that means posts that are a bit ehhh. And I get it, sometimes that means you unfollow.

I will not get rid of a post because you don’t like it. 2 people have asked for that and no I will not be.

I do apologize for not tagging the post more for the content in the post and again if it slipped through your blacklisted tags because of that.

enjoytheelephant:

johnlockismyreligion:

isitandwonder:

Unpopular opinion: They truly intended for Warstan with platonic Johnlockary at the side (in addition pairing Sherlock romantically with a female, be it (most likely) Irene or whoever). It’s het.

Those drafts make this plain to me. It was all to be taken at face value:  John getting over Sherlock with Mary (kind of introducing her to him at the grave), Sherlock liking her, Mary liking him. He saw she was a liar but didn’t feel threatend by her (because pals), so he ignored it. John loved her, they teamed up as a trio. Sherlock was happy for John and Mary. Mary shooting him was surgery and should make her BAMF like the boys. Sherlock understood it and wanted to help her because he liked her. John forgave her. Sherlock killed Magnussen to protect her. They were all pals on the tarmac again. He still wanted to help Mary in TST when her past caught up with her. She sacrificed herself for him. John loved and therefore mourned her. Sherlock loved and mourned her in TLD, blamed himself for her death and accepted John’s rage as a kind of self-punishment by proxy. John thought Marywas a lovely, good woman and therefore couldn’t let go in TLD. She got the last word in TFP because both men loved her and missed her and are now living her legacy with her blessing.

It doesn’t even hurt to write this down, it just feels strange and a little ridiculous.

It’s not what I would have chosen. But Mofftiss obviously did. They wanted to do something new with the stories, infuse them with what they perceive as feminism (by introducing female characters like Molly, Janine, Irene, Mary, Eurus). ACD had said people could marry Holmes or murder him – same would go for John Watson I imagine. 

ACD had Mary Morstan feature in one story as a vehicle to get Holmes take her case. She was a client. Watson married her because he’s a stand-in for the middle-class reader.  We see Holmes through his eyes, he makes his personality and the stories accesible. In relation to Watson, Holmes is Bohemian, but Watson is coming from the middle-class perspective of the  readership of The Strand. Those people aspired to get married. I was normal for a middle-class doctor to have a wife and settle down.

What else ACD intended with Mary we’ll never know. But the gay reading isn’t new and was never deterred by Mary. The way ACD wrote her and her role in canon never truly opposed a gay reading.

ACD had problems with her character and the conventions Mary’s introduction called for afterwards (Watson excusing himself from his family home to solve crimes with Holmes), so he got rid of her in most stories or set them before the marriage.

Therefore, I think Holmes/Watson don’t need a Mary Morstan or an Irene Adler to complete them. But that is just my opinion and others may differ. I mean, I saw an adaption featuring a dinosaur…

It’s all fine. I’ve buried my hatchet. I can’t even say it’s bad writing – BBC Sherlock as a narrative featuring Mary Morstan as part of the gang is just a story I’m not interested in. I’d be rather grateful if they’d filmed those scripts, because it would have been obvious much earlier to me then. I would have prefered it if they had stopped being ambiguous much earlier.

I’m a bit angry with myself, and I laugh a bit about me. I hoped. I didn’t want to see. I was still caught up in the sometimes subtle, sometimes blatant homoeroticism of S1-2. But that’s me, that was my way of looking at it.

There won’t be johnlock in this BBC version. This chance died in front of Barts at the end of TRF. Afterwards, they really tried to tone the obviously gay down (still queerbaiting a bit for good, though), but we thought up elaborate theories to vindicate them and johnlock. Had we only known their thought process evident in these drafts…

That doesn’t mean johnlock is dead. It’s a ship. It has been a ship for decades. It continues to sail. Some day it might become canon. Until then, I’ll wirte my versions of them in fic.

Well said.
BBC is just a version of Holmes/Watson story, one of the many. Not the better. And I’m not interested anymore in what the authors have to say in a (eventual S5), I don’t care and I’ll keep on writing my version of Holmes/Watson ignoring their existence.

I would like to second that less ambiguity in season 3 would have really really helped with the platonic threesome story. Not all that interesting to me but I would have given it a pass. That means that the time to clamp down on the Johnlock subtext was the very beginning of s3 starting with MHR. Also why couldn’t Mary have shot CAM in the chest?! Then Sherlock could have still shot CAM in the head for Mary.

Of course other people liked the Mary story as is, but for some of us it would have taken some adjustments.

anarfea:

harriet-spy:

pip-says-hi:

notagarroter:

I need headcanons for when and why Sherlock started dressing the way he does.  It’s not how his father dresses (casual, homey, playful) and not how his brother dresses (elegant, finicky, proper).  At what point did Sherlock settle on an image?  Did he have a few false starts – are their old photos circulating of him trying out leather trousers or tweed jackets or cravats?  Did an ex-lover make suggestions, or did he model himself after a celebrity or a magazine spread?  How did he pick his tailor, and what conversations did they have about line and colors and textures and fit?  When did he first find The Coat?  Did it come with the red buttonholes, or were they Sherlock’s idea?  Or his tailor’s suggestion?

Basically I need more shoppinglock in my life.  

I don’t usually reblog/reply to fandom stuff, but… I have headcanons.

See, I really can’t help but think that Sherlock’s image IS just a look for him, just as much as Mycroft’s elegant, finicky, proper suits are a LOOK for him. Remember- the one and ONLY time we’ve seen Mycroft in a private, at-home setting, where he’s alone and not trying to make an impression on anyone, he was dressed in ill-fitting lycra- hardly the pinnacle of finicky and elegant fashion he generally presents. However, he’s learned that clothing makes an impression on the public. People see a man in a perfectly tailored and expensive suit, and they start jumping to conclusions. This man is wealthy. This man is intimidating. This man is in control. The suit is a costume, designed to present a specific image to the world, and Mycroft pulls it off like a pro.

Sherlock’s regular getup is no exception. We’ve SEEN that he has an entire wardrobe full of, for lack of a better word, costumes. Clothing for all occasions. And Sherlock is unquestionably a master when it comes to gauging peoples’ reactions to different kinds of clothing. I doubt it took him any time at all to settle on a LOOK.

… especially since, I suspect, he settled on it right as he was getting off the drugs.

Think about it. Here’s this scrawny, wild-eyed young man with needle tracks up and down his arms, trying to barge his way into police investigations and be taken seriously. He’d have been kicked out on his ass without question at first. But he knows that there are ways to offset that. I see him trying Mycroft’s style at first. Intimidating, perfectly tailored, expensive suits, and yeah, that got him in, but it also closed off everyone around him. People who are too intimidated are closed-mouthed, guarded, and very untrusting. That isn’t what Sherlock needs.

So he tones it down. He loses the suit jacket, but keeps the long sleeves, so no one can see the needle tracks. He tries out a few different colors of dress shirt, and found that people react well to the darker colors. It’s cold, so he grabs a long coat- the sweeping tails and high collar are very dramatic, like a cape, and he does SO love making a dramatic entrance. He stays formal looking, clearly a man of means and control, but with little casual touches (like occasionally wearing jeans and sticking with a plain scarf and avoiding and waistcoats like the plague).

And, as he gets healthier and gets some weight on him, he just doesn’t bother getting a new wardrobe, because that is BORING, leaving him straining the buttons of every shirt in a roommate-distracting way.

OK, I mostly don’t disagree with this analysis of Sherlock, but every time I see this reblogged I twitch a bit at certain Mycroft-related inaccuracies.

We see Mycroft at home, alone, not expecting company, three times.  The one already mentioned.  Once in SiB, where he is wearing a full country tweed suit.  And once in TFP, where he is wearing a suit, just without the jacket.

The “ill-fitting Lycra” was…when he was interrupted literally mid-workout.  I don’t really know anyone who works out in a three-piece suit.  I am honestly puzzled that anyone could think we could conclude anything much about Mycroft’s style based on what he wears on the treadmill.  (Beyond that he wears a long-sleeved shirt and pants when most people would choose something more abbreviated, which could suggest a higher level of formality.)

Speaking of the three-piece suit, it would actually not be a good costume choice for Mycroft to convey generic wealth and power.  While not as wildly unusual as it would be in today’s United States, a suit with waistcoat and pocket watch is still quite an affected look for a contemporary Englishman on an ordinary day.  You wouldn’t routinely see it on a City man or government official just going about his business.  It’s practically an Edwardian look (see recent photos of Ewan McGregor in the A.A. Milne biopic).  Not something you’d wear to the big board meeting or to meet people for pitches or negotiations, if your goal is to look like a Master of the Universe.  That’s not why Mycroft wears that kind of outfit.

To me, the function of Mycroft’s outfits for others is two-fold.  For those who don’t know who he really is, they serve to obscure him as some kind of fussy eccentric with a “minor role.”  For those who do, they emphasize his idiosyncrasy, his flair for the dramatic, and the power he has to indulge both.  Because…while Mycroft’s costume is costume, like all disguises in Sherlock, it’s also a self-portrait.  He wears a suit drinking at home alone in front of the fire on Christmas Eve because that’s how he conceives of himself.          

Agree with everything @harriet-spy said and adding that Mycroft and Sherlock’s clothes are their armor. They share this with Irene, whose nudity is her battle dress. It’s a way the three of them hold themselves at arms length from the rest of the world. It says “look, but don’t touch.”