the-7-percent-solution:

shylockgnomes:

rowanthestrange:

shylockgnomes:

possiblyimbiassed:

smoljohnlock:

smoljohnlock:

are they dropping hints orrr

Bonus:

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Interesting!

Why? @smoljohnlock why do you do this to us? I love the way your brain works though as mine is the same.

And we all know

How that ends

AHHHH That’s the interacting thing about a 50p.., THAT’S not just any old goddess on a nice helmet (wearing a sheet) that’s Brittania… with a LION!

Remember how Culverton Smith told you the best way to hide a pebble was on a beach?? And then the next episode MYCROFT hides a pebble on the beach….

The Language of Music: Sonata No. 1 in g-minor, by Johann Sebastian Bach

gosherlocked:

This is the piece Sherlock plays when Moriarty comes to visit 221b. The introduction to the fateful scene, one of the most analysed and brilliant scenes in the show. 

But it is also the piece that comes to Sherlock’s mind when Eurus asks him to play for her. 

Why this choice? He could have played anything but he chooses the piece he played during his fateful encounter with Moriarty, the scene that anticipated the fall after which his life was never going to be the same again. And at this point in TFP he does not even know about a connection between Eurus and Moriarty. 

You may know about my Sherlock = Eurus theory. If this is true, Sherlock would be telling himself not to play Bach (the piece associated with Moriarty and all the heartbreak that followed this encounter) but to play his Irene composition (symbolising love and sexual desire). Fine with me. 

geekyangie:

iamtheno1cumbercookie:

mizjoely:

sherlock-overflow-error:

multivariate-madness:

thesherlockexperiment:

moreiarty:

rosecoloured:

skulls-and-tea:

roadswewalk:

skulls-and-tea:

roadswewalk:

skulls-and-tea:

skulls-and-tea:

imagine being sister edgelord’s IT guy like, “you want HOW many projectors WHERe?”

dude hanging on a scaffolding over the well attempting to install a Dropcam like “it’s a good thing this chick’s mind-programming is so compelling because this gig doesn’t even include dental”

lmao omg

How about the beta testing.  “How emotionally challenging was your experience in test number 3.  Did you just piss your pants from fear or laughter.  Wrong answer and you can be Alex Garridebs in the next run-through.”

“bob, listen, the moriarty clips aren’t syncing with audio and the boss just threatened to strangle me with my own intestines, how good are you with Final Cut Pro?”

“So who’s going to tell her that retro-fitting the high-security cells on level -7 with automatic sliding secret doors linked to the main console will take 18 months?”

“Hey I have a newborn, guys, give me a break.”

“Alright, Fred, rock-paper-scissors?”

“Has anyone seen Joe? I thought he was on A/V for the Gun Room rehearsal”

“Dude, he failed the loudspeaker test-run, she mind-controlled him off the edge of the south wing during our last performance review.”

“That asshole owed me ten quid. Pass me a Rockstar?”

“So who wants to help me haul a grown man into a small fake room?”

“Who’s got the family pictures we need to put on the walls? Also we need glue, stat”

“I’ve only got scotch tape. I think the boss didn’t program me sufficiently”

“Someone needs to get me out of the well after I chain this guy to the bottom of it.”

“I can’t, I’m already lugging the water.”

“Damn it, Jack.”

“What are these boxes doing in my office? And what’s in them?”

“Oh, yeah, those. These are the flat screens.”

“Flat screens?”

“Yeah, on wheels and everything.”

“How many?”

“I don’t know, six, I think.”

“Jesus Christ, Brian. This is getting out of hand.”

“Well, if a certain someone had just refrained from going down there to speak to her in person that first time, we wouldn’t be in this mess, now would we?

“I’m sorry if I have a thing for creepy horror film chicks. Don’t kinkshame me!”

TFP The Final Production (Team).

“Listen, I thought it was bad when she told me to start painting the walls red, but now I have to go find a custom dog bowl. Do you KNOW how long it takes to find those?”

“Joe, just go on eBay or something–”

“Yeah, fine. But what about the light-up coffin?”

“Light-up coffin?”

“Yeah, Euros Dementia Dark’ness Holmes wants a coffin that looks like it’s glowing form the inside when you open it up.”

“idk man, try Etsy.”

“Euros Dementia Dark’ness Holmes”!

I LOST IT at that lol!

Hello Hiatus! 

This may be my favorite post of all about that episode.

Applying Yorke’s Story Models to BBC Sherlock Starter Pack

garkgatiss:

(Primer: Why is Yorke’s book relevant to BBC Sherlock?)

Five-Act Structure: 3-D (x)

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Five-Act Structure: 2-D (x)

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A bit of context from Yorke himself (x)

:

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Notes:

Ok, obviously I’m obsessed with this book and have a lot of ideas about this myself, but I still have a couple future metas with slightly different foci that are much closer to fighting shape than any of my episode-by-episode thoughts on these diagrams, plus this is so so fun, I literally have an enormous spreadsheet and a mind-map dedicated just to this, and just based on that there’s at least two full 3-D arcs and a 2-D arc that I can make out, possibly like ten if you got even more specific, I mean there is SO much material here for us to mine because we stan a beautiful, painstakingly constructed, and infinitely complex masterpiece of a show.

So like, hopefully this will get some of you guys started and isn’t too much of a spoiler, but for example I’m pretty sure the “problem” at the center of the 2-D diagram is none other than the final problem, i.e. “stayin’ alive.

watsonshoneybee:

tjlcisthenewsexy:

garkgatiss:

if that’s the exit from regression then maybe this is the entrance 

#backwards = regression. Bonus points for Sherlock making a **choice** (forwards or backwards) 

“The crisis occurs when the hero’s final dilemma is crystallized, the moment they are faced with the most important question of the story – just what kind of person are they? Finding themselves in a seemingly inescapable hole, the protagonist is presented with a choice.” (That’s John Yorke, my bolding)

Moftiss had to go all literal with it, didn’t they?? “Sherlock….you erm….need to choose which “””direction””” you’re going to ““fall””. No no no, forwards or backwards is absolutely not a metaphor, don’t be silly LOL”

“Their choice is to deny change and return to their former selves [BACKWARDS] or confront their innermost fears, overcome them and be rewarded [FORWARDS].” (That;s John Yorke except for the bits in square brackets, that’s me)

really puts a pin on this here emotional decision:

(I would do anything to keep you safe, including leave you)

and the swan dive from tab:

(there’s always two of us)

these are two moments in which sherlock moves forward but doesn’t resolve fully, imo because he needs john in order to do that. and if sherlock left regression station in 1895 and john left regression central in rathbone place, when will the two collide?