plaidadder:

sanguinarysanguinity:

educatedinyellow:

oldshrewsburyian:

holmesguy:

artemisastarte:

holmesguy:

artemisastarte:

sidgwicks:

A Sherlock Holmes Commentary, D. Martin Dakin, 1972.

I also struggle with this. There are very few things that could cause it, but two spring to mind in particular. One is that Holmes was so distressed by Watson’s marriage that he had to cut ties – he simply couldn’t bear the torment of having to watch his friend be married. The other is a deeply significant task similar to that detailed in ‘His Last Bow’.

Yeah, I tend to go back and forth on thinking of ways to justify it vs. deciding that it’s not completely true. Sometimes I imagine that Holmes managed for at most a few months, but ended up writing after all, and in EMPT Watson is just fabricating or exaggerating when he quotes Holmes as saying that he wanted to write but didn’t. When Holmes says he wanted Watson to write a convincing account of his death, I think that could be true, but I think initially Holmes was running away from his feelings and he’s just telling himself that getting Watson to write a convincing account was his plan, when really it’s just a convenient consequence. Sometimes I imagine that none of it happened and they both were in on it and Holmes faked his death for entirely different reasons. But then the idea of an epic top secret mission which he really couldn’t reveal to Watson is pretty tempting to believe, too.

My fic has the Hiatus happening for a mix of reasons, but I confess it is so hard to write it. I have actually reversed Holmes’ statement ‘I feared lest your affectionate regard for me should tempt you to be indiscreet’ to Holmes saying ‘I feared lest my affectionate regard for you should tempt me to be indiscreet’ which puts a whole new slant on the matter.

Honestly I am so curious to see where your fic takes this!

This is an enigma that needs to be solved… I think the idea of Holmes simply not communicating with Watson is an impossibility requiring us to ferret out improbable truths. Naomi Novik’s short story, “Commonplaces,” follows @artemisastarte‘s hypothesis about Watson’s marriage being a source of deep distress to – and something of a crisis for – Holmes. And I myself have yielded to the temptation of hypothesizing indirect contact during the Hiatus.

For myself, I can’t see Holmes leaving Watson to grieve for three years as justifiable, either for the protection of his own feelings or because he thought Watson couldn’t safely be trusted with the truth. I’ve tried several times to make it more palatable to myself, I’ve written around it, I’ve read around it, and there are many beautiful ways of approaching the problem. But in my heart of hearts, I just can’t stomach it and prefer to imagine that the account Watson gives of the hiatus and his years of ignorance in “The Empty House” is not a true one. Heaven knows it’s full of plot holes anyway. It’s not a piece of the canon worth keeping, IMO, if it requires Holmes to treat Watson as though he can’t be trusted, or to place his own emotional safety above the most basic respect he owes to Watson’s feelings and friendship.

But I should add that I tend to opt out of this canon storyline as much because of my personal aversion to angst as anything else, and I know that many beautiful and wonderful stories do use this plot to delve deeply into both characters. I’m sorry, I wouldn’t want my own feelings about it to come off as dismissive of the other great approaches to the story that are out there in the fandom. I applaud everyone who writes about this, however they decide to handle it!

This is one of the things that I treasure about Nicholas Meyer’s The Seven Per-Cent Solution: it has Holmes go away with Watson’s full knowledge in order to get well again after he kicks cocaine. Everyone who cares about Holmes knows why he’s gone and that he intends to come back. Watson isn’t stuck mourning him, nor is Mrs Hudson stuck keeping a masoleum for the man for three years. And while he hasn’t left a detailed itinerary behind him, he’s not in deep hiding, either, which means it’s conceivably possible for his loved ones to get in touch with him, if they need to. (Gratuitous plug for my own fic, because I can.) It’s still terribly sad and worrisome – it’s not a parting anyone asked for, and there’s plenty of reason to fear for his safety while he’s gone – but it is stomachable as the ordinary kind of grief that happens between people who love and respect each other.

Which I suppose is the long way round of saying that I, too, prefer reading FINA and EMPT as being at least partially untrue. Because as @educatedinyellow says, the degree of distrust and/or disrespect shown to Watson is EMPT as written is… untenable.

I like the way Granada Holmes handled it; but still, yes, it’s hard to think about poor Watson kept in the dark for so long for such insufficient reasons. On the other hand, if you think about this in real-life terms: the *actual* gap in time between the publication of “Final Problem” and the publication of “Empty House” is about ten years. Up until the Return series, Holmes’s cases generally took place pretty close to the year in which they were published. If he were really being consistent with his previous MO, Doyle should have brought Holmes back to life 10 years after he disappeared. Just IMAGINE. From that point of view, setting “Empty House” only 3 years after “Final Problem” seems like an act of mercy–as if Doyle was thinking, OK, what’s the minimum number of years of separation I can get away with and still make Holmes’s ‘death’ have an impact? In retconning his own story, if you look at it that way, Doyle was subtracting 7 possible years of loss and grief. So if you look at it that way, everyone who then reworks the Hiatus in their heads to be shorter or less painful for Watson is just following in Doyle’s footsteps.

But if you have scruples about playing fast and loose with canon, there are many reasons Holmes might have done this which are left unstated in EH:

1) From a brutally utilitarian point of view, contacting Watson and letting him know what’s going on would probably have been extremely dangerous for Holmes. If you want to kill Sherlock Holmes, and you’ve decided you’re in this for the long haul, what are you going to do? Play whack-a-mole all over the globe while he stays one step ahead of you? No; you find Watson and put him under surveillance because one of these days, when Holmes thinks it’s safe, he’s going to drop him a line and then eventually come back. We tend to forget when we think about all this that a) Holmes went into that confrontation with Moriarty fully expecting to die, b) the plan to pretend to be dead comes to him in a flash while Moriarty is falling, c) he comes under attack from Moran and his goons almost immediately and d) he escapes with nothing but the clothes he’s standing in. He had no time to arrange this with Watson in advance, and no easy way of contacting Watson while he was still in the vicinity. So a certain amount of time would have to pass before he would even have been able to contact Watson.

2) Try to imagine Holmes sitting down to write to Watson, say, six months into this escapade, at a point when he’s reasonably safe and has fabricated another identity for himself and thinks he might be able to risk a letter, perhaps delivered in some ingeniously secret way by Mycroft. Exactly how does one write that letter? “My dear Watson, You will no doubt be surprised to hear from your old friend, who is not actually dead, even though he did watch you coming to that conclusion and allowed you to believe it for six months in order to save his own skin…” The worst of the damage is already done. Grief is at its most intense in the months right after the loss. He can’t save Watson from that. And what guarantee does Holmes have that Watson will even believe the letter is genuine? If you got a letter right now from a dead loved one, would your first thought be, “THEY’RE ALIVE! THANK GOD!” or would it be, “What sick son of a bitch is tormenting me with false hope?” When Holmes finally DOES come back, Watson has to grab him to satisfy himself that Holmes isn’t a ghost. (Yes, possibly also for other reasons, moving on.) Without Watson there in front of him, I can easily see how it would be much, much, much easier for Holmes just to go on, day after day, deciding not to write that letter than to face up to what he’s done.

3) Let’s say Holmes writes to Watson to let him know what’s going on, but doesn’t give Watson his location because a meeting would be too dangerous and asks Watson for his word of honor that he won’t try to find him. Watson gives it because he wants Holmes to be safe. So Watson’s next move is what? To try to take out the people who are threatening Holmes. And the result is what? Dead Watson.

So if you take all that into consideration…you don’t have to see Holmes as an inhuman machine to see why this situation is allowed to drag on for a few years, especially considering the fact that some of that time was spent exploring unknown regions. (Which in itself may have been an attempt at covert communication. Holmes says “You may have read” of Sigerson’s explorations, as if he’s expecting it…did he want Watson to read about them? Did he put clues in them? Did Watson just not read of Sigerson’s exploits, or miss the clues?) It’s also easy to see how Holmes would have mentioned precisely none of this to Watson, because knowing any of this wouldn’t make it any better. “I was afraid of dying,” “I was afraid to be honest with you about what I had done to you,” and “I was afraid to put myself through the grief and loss I put you through” are all things that don’t reflect particularly well on Holmes and wouldn’t bring Watson a lot of comfort. Watson, by this point, has been through the entire cycle of grief and the damage is done. I can see Holmes deciding, as he heads up to Watson’s study, that he’s not going to stoop to self-justification. Or maybe he does tell Watson all these reasons, and Watson decides they can’t go in the narrative because they show Holmes as being too human and too vulnerable.

marta-bee:

cosmoglaut:

out-there-tmblr:

hydoricmadness:

egmon73:

I feel so sorry for Mycroft

Indeed. When I first saw this scene, yes, it was kind of funny, but all in all I felt really sorry for him. They break into his house, change his movies, terrorise him in his own home… All of this because they want Mycroft to say it, and instead of, say, snooping in his documents (which is something much more easier to make, and doesn’t instantly give away anything), they decide to go to his own house, interrupt the only leisure moment we see him have in the show, and scare him until he admits it, even reaching to the point of disarming him, leaving him with no bullets, for him to lose almost all of his dignity, and then proceed to laugh about it. And then, instead of listening to his “it’s dangerous, so don’t do anything stupid” advice, they decide to bully him until he admits to ask help from them. And I’ll repeat it. Ask. It’s not like “hey, you’re my big bro, and this is a problem that affects us all, so let’s figure it out”. It’s more of a “hey, you secret keeper, ask us help, and then we’ll help you out.”

So yes, it might seem like a funny scene. But it really isn’t, for me at least.

But what I find interesting is that Sherlock’s charade is a smaller version of Eurus’ head games later in the episode. They both indulge in the idea of terrifying people – family members even – until they reveal the truth to you. (Which makes me think there were some understandable reasons for Mycroft keeping Eurus and Sherlock separated.)

I chose to believe that Sherlock recognised those similarities as he got to experience it from the other side, and it made him regret how he treated Mycroft. (It makes sense given the uncharacteristic concern shown by asking Greg to look after Mycroft and defending Mycroft to their parents.)

“But what I find interesting is that Sherlock’s charade is a smaller version of Eurus’ head games later in the episode.”

I.. I.. I never thought of this way and now I can’t think of it in any other way holy fuck…

This gets really interesting if you accept the mind-bungalow concept that TFP is playing out in John’s subconscious as he lays dying on his therapist’s oddly-striking rug. Because this is the Sherlock John thought he saw after the old woman’s murder in TGG: someone driven by the Game until he’s just plain cruel. And there’s John right behind him, all smug (and uncaring) smiles.

This is John’s nightmare, both of Sherlock and himself.

The thing I really like about TFP, especially working within an EMP theory of some sort, is that Sherlock becomes so human. He is shaken. He struggles, is sometimes wrong. He refuses to make a calculating decision by shooting Mycroft or John. And he’s so empathetic toward Eurus (and if anyone has a right to simply hate her, maybe even more than Mycroft, I think it’s Sherlock.

Here’s the beautiful bit: if this is all in John’s mind, this isn’t about the audience learning Sherlock isn’t some kind of ubermensch who transcends the mere mortals around him.We already know that. It’s about John learning that. It’s in many ways the Garridebs revelation, slightly inverted. And a lot of the time I’m too scared and jaded to really believe in overarching purpose and details that mean that, but when I’m brave enough to go there, this is the bit I love.

Okay now THIS is interesting

Christmas Day. Five Years Ago.

gosherlocked:

So the Christmas Sherlock called his brother (although he prefers to text) because he needed his help …

the Christmas of danger nights and caring not being an advantage …

the Christmas of telling John not to leave Sherlock because Mycroft was afraid his brother would relapse …

… is the same Christmas Mycroft gave his brother’s worst enemy as a Christmas present to their dangerous sister who wanted Sherlock dead and killed his best friend.

Keep reading

ebaeschnbliah:

monikakrasnorada:

Attention EMP Theorists!

There has been so much amazing meta regarding EMP since S4 aired that I feel it should be somehow collected and catalogued for reference. If anyone else agrees, then I would love to set up a blog to house and tag those metas. (And with my recent health issues, I just have a lot of time on my hands)

I have reserved @sherlock-emp to store and house all meta anyone would like to submit. They will be tagged according to contributor and subject.

If you are at all interested in contributing- or know of anyone writing about EMP theory- my messenger is always open.

@tjlcisthenewsexy @gosherlocked @ebaeschnbliah @tendergingergirl @loveismyrevolution @sagestreet @possiblyimbiassed @fellshish @sarahthecoat

Good idea! :))))

sherlockshadow:

What about Sherlock’s POV?

I think this is a
very important question that often gets ignored when discussing the
starting point for EMP.

Sherlock cannot have memories of
people, places, and things that he’s never seen.

So if HLV is where EMP begins, it must
pass the POV test. It doesn’t.

CAM’s MP is introduced at the end of
TEH. How does Sherlock know that CAM has a MP? How does Sherlock
recreate that same MP in his own mind in HLV?

The bomb fire video is not a video when
it’s shown in TEH. It’s inside CAM’s MP so it’s a thought or a
memory. How does Sherlock take CAM’s memory and turn it into an
actual video or a thought of his own in HLV?

Why does the line “Put that on a t-shirt” repeat?

When Mary points the gun at Sherlock,
he does a quick deduction.

How can Sherlock have a memory of this
scene from TEH? He wasn’t there…

If HLV is EMP, then TEH is EMP as well.
POV matters. It can’t be ignored.

Take TAB out of the equation. Fucky
HLV leads directly into fucky TST. And with it goes the POV weirdness. Balloon John and the changes to John’s flat further prove that
TEH/MHR is EMP. Sherlock can’t know what he doesn’t know.

S4 is telling us that this entire show is EMP. HLV is not where EMP begins, it’s the
beginning of the end.

@ebaeschnbliah @monikakrasnorada @gosherlocked @kateis-cakeis @sagestreet @mrskolesouniverse @sarahthecoat @possiblyimbiassed @raggedyblue @tjlcisthenewsexy

sherlock-meta-collection:

hemlock-her-loss:

hemlock-her-loss:

monikakrasnorada:

sherlock-meta-collection:

hufflepuffpentaholicinthebau:

“Culverton gave me Faith’s original note. A mutual friend put us in touch.”

Now what kind of person would be a friend of both Culverton Smith and Eurus Holmes?

I can think of one (1) person

And didn’t this note get written after his death?

Explain that Moftiss.

@brainofthe1storder

Here’s another question, why the hell would Culverton Smith show anyone the letter to begin with??? He could have just torn it up and Faith would have forgotten about it. It doesn’t make sense.

Moriarty was the person I thought of, too, @hufflepuffpentaholicinthebau. Especially given how the entirety of S4 was billed to be some sort of ‘showdown’ concerning him. I believe it was @loveismyrevolution that thought it was meant to be Mycroft? I’m still on the fence with just how ‘bad’ he might have been, but that is another possibility that I think might hold water.

Because your question, @sherlock-meta-collection is one that has bugged me as well. What exaclty was the point of ‘whomever’ it was giving the note to ‘Faith’? Culverton took the letter from the ‘real’ Faith (though, how do we know that really since TD12 compromises memory, and how did Sherlock know about that whole meeting? To recreate it on the street perfectly? Are we to infer ‘Faith’ described it in such detail?) So, Smith took the letter to keep his daughter from ‘remembering’ (almost a kindness, in his twisted way) But, then gave it to ‘fake Faith’ in order to have Sherlock come after him? WHY? And how did Smith and ‘fake Faith’ know each other in order to be of use to one another??

All this is to me is another case of Sherlock re-using events, playing them out over and over in his head because haven’t we had this sort of thing before?

HOLMES: One small detail doesn’t quite make sense to me, however. Why engage me to prevent a murder you intended to commit?

It never made sense that distraught Lady Carmichael went to Mycroft for help with her husband, who then sent her to Sherlock in order to prevent his murder by ‘the bride’ only to actually go through with it herself. It didn’t make sense because Lady Carmichael didn’t kill Sir Eustace.

So, why would we believe Smith had, in a roundabout way, asked Sherlock for help in ‘preventing’ more murders?

Smith was no more a murderer than Lady Carmichael. Because it’s all in his head.

(Pre-warning, this got a bit longer than I had intended)

@monikakrasnorada I also think that most, if not all of S4 is taking place in Sherlock’s head/MP. Even before I heard about EMP, I always got the feeling that the note in TLD was somehow from Sherlock and the deductions he was supposedly making about Faith, he was actually making about himself:

SHERLOCK: Well, you’ve changed. You no longer top up your tan and your roots are showing.
SHERLOCK: Letting yourself go?

Says the scruffy, unkempt Sherlock who is usually immaculately dressed and primped.

SHERLOCK: Oh, of course you don’t own a car. You don’t need one, do you, living in isolation, no human contact, no visitors.

Remember what John just told his therapist in the beginning of the episode?

JOHN: I haven’t seen him. No-one’s seen him. He’s locked himself away in his flat. God knows what he’s up to.

Then, Sherlock goes on to deduce:

SHERLOCK: Cost-cutting’s clearly a priority for you. Look at the size of your kitchen: teeny-tiny. (He walks past her towards the right-hand window then turns back to her.) Must be a bit annoying when you’re such a keen cook.

Says the man that, although his family seems to be wealthy, needs to have a flatmate for some reason, and so far as the small kitchen/keen cook goes, I’ll just submit these stills from later in the scene:

Then, later when Sherlock and Faith are sitting at the bus stop eating chips

SHERLOCK: You see the fold in the middle? For the first few months you kept this hidden, folded inside a book.
(He looks at it closely. Beside him, Faith is eating from the carton of chips on her lap.)
SHERLOCK: Must have been a tightly packed shelf, going by the severity of the crease.
(Brief flashback to the folded piece of paper being put inside the pages of a book.)
SHERLOCK: So obviously you were keeping it hidden from someone living in the same house at a level of intimacy where privacy could not be assumed.
(As he speaks there’s a flashback of a hand putting the closed book back in its place on a shelf amongst many other books.)
SHERLOCK: Conclusion: relationship.

This is referring to when John was living with Sherlock in 221B. So if the note is real, Sherlock kept it hidden away.

P.S. Does anyone else think that those hands look like they belong to Benedict Cumberbatch???

Also, that shadow sure as shit looks like Dr. John H Watson by the way, and I think others have addressed this fact, but I’m not sure who at the moment.

(More under the cut, this got reeeeeeeaaaaalllyy long)

Keep reading

(Part Two)

So, there are some of the Sherlock
comparisons, but what about the note, what exactly is the note and what is it
trying to tell us? That’s where I’m having a difficult time. I have noticed
that there is a list/note theme in the show (others as well, I think there are
even meta’s, but I’ll have to check later). We have the conversation between
Mrs. Hudson and Sherlock in TSoT:

MRS HUDSON:
Your mother has a lot to answer for.
(She takes the cup and saucer over to him.)
SHERLOCK: Mm, I know. I have a list. Mycroft
has a file.

And of course the many instances of list
conversations in TAB:

MYCROFT HOLMES:
You’re in deep, Sherlock, deeper than you ever intended to be. Have you made a list?
HOLMES: Of what?
MYCROFT HOLMES: Everything. We will need a list.

And in the “real world” on the plane:

SHERLOCK: Maybe there are one or two things that I know that you
don’t.
(He looks across to Mycroft, who returns his gaze.)
MYCROFT (pointedly): Oh, there are. (He
pauses for a moment.) Did you make a list?
(Sherlock has looked away again and is chewing on a thumbnail. He
turns to look at his brother again.)
SHERLOCK: You’ve put on weight. That waistcoat’s clearly newer than the jacket
…
MYCROFT (angrily): Stop this. Just stop it. Did you make a list?
SHERLOCK: Of what?
MYCROFT: Everything, Sherlock. Everything you’ve taken.

…

MYCROFT (his face turned away): We have an agreement, my
brother and I, ever since that day.
(Sherlock bites his lip. In a cutaway flashback, a much younger
Sherlock is lying on a mattress on a floor. Nearby, candles are burning in
bottles. Sherlock is writhing and grimacing under the influence of the drugs
he’s taken. Mycroft, apparently in his early/mid-twenties, is sitting on the
mattress near his brother’s feet and now reaches down to a piece of paper lying
next to Sherlock’s legs.)
MYCROFT (voiceover): Wherever I find him …
(In the present, Sherlock closes his eyes.
In the past, Mycroft picks up the piece of paper and unfolds it to read it
while his young brother continues to writhe in agony.)
MYCROFT (voiceover): … whatever back alley or doss house …
(In the present, Mycroft sinks back in his seat.)
MYCROFT: … there will always be a list.

I am not sure exactly what to make of it, but
it does seem to me that Faith’s note actually looks like a list. If you try to
imagine for a minute that you don’t know the story behind Faith’s note

It says:

Police Office

Judge

Broadcaster

Me

I need to kill
someone

Who?

That looks like a list of people that someone
needs to kill, and notice that ME is crossed out in blood, like the person has
chosen to kill themselves from the list.

I don’t have concrete conclusions, I just
wanted to put down all of my thoughts on Faith’s note. I will have to clean
this up later and make a proper meta out of it.

Any thoughts? (and I apologize about the length )

@monikakrasnorada

I thought I was posting this with my meta blog, and I wasn’t so I just posted it any way and now I’m reblogging here 🙂

Angry John, or S4 and EMP

gosherlocked:

Much has been said about John in S4, his anger, his changed personality, his distance, his resentfulness, his brutal treatment of Sherlock – I could go on. Sure, in TEH we got angry John, violent John, but then it could be excused – at least up to a certain extent – and knowing Mofftiss they might have found it even funny to correct Canon by having not just one, but three physical attacks. After all they clearly stated that to them Canon Watson’s reaction was not very believable. Anyway, we are shown that John has not forgotten the fall but has forgiven Sherlock by the end of TEH.

Then TAB happens and we get the above scene in the cemetery, a scene that is modern AND happens in Sherlock’s mind without a shadow of a doubt. John being angry, John choosing to leave with Mary, refusing to help Sherlock on his case. And there is also the short moment in the carriage when Victorian John is substituted by modern John, saying: “Sherlock, tell me where my bloody wife is, you pompous prick, or I’ll punch your lights
out!” Both scenes are not real. Both times John chooses Mary over Sherlock, leaving him, threatening him with violence.

And then, in S4, in two episodes we are supposed to take for real, we get the same angry John, the John who is distant, who leaves Sherlock, who blames and rejects him, who saves him only because his dead wife tells him to do so.

In my humble opinion – since I do not believe that Sherlock suddenly has turned into a prophet or a clairvoyant – Sherlock is processing all that has happened to him after the fall: John’s anger, losing John to Mary, being almost killed by Mary, realising and accepting his feelings, trying to ensure John’s happiness at the cost of his own, overcoming his self-loathing and repressed emotions. And this processing is still going on S4, making John’s behaviour more believable. This is not the real John Watson we see but Sherlock’s inner worst case scenario: a John who blames him, cuts him out of his life, brutally beats him while being high and weakened by drugs. This would also explain why there is no apology during the hug scene. While making progress, Sherlock still believes that he does not deserve an apology. He has still got a long way to go.

Keep reading

the-7-percent-solution:

withinthemindpalace:

sarahthecoat:

inevitably-johnlocked:

timey-wimey-drew:

fuck-off-watson:

marykk1990:

trained-cormorant:

sherlocks-final-resolve-is-love:

johnlockhell221b:

monikakrasnorada:

honeylocked:

londoncallingsigh:

jackietheslovakgirl:

londoncallingsigh:

I can only help you if you completely open yourself up to me.

That’s not really my style.

@inevitably-johnlocked
THOSE ARE SHERLOCK’S CHAIRS IT’S FAKE ALL FAKE I TELL YA

Lots of great comments on this one. Sherlock’s chairs, with architecture and window reminiscent of TAB – I’m totally convinced now that Sherlock is doing therapy in his mind palace. (I love everyone in this bar.)

WHAT!!!!!!!!!

Oooo, I hadn’t noticed the chairs!!!! He’s talking to himself.

@loveismyrevolution Look at this!!!!!!!!!!!

well crap

Ooooh, snap

Why do the walls only go part way down?

Oh my gosh.

@timey-wimey-drew

Please yes

UGHGH SORRY I’M NOT GETTING MY NOTIFICATIONS ANYMORE. D:

THIS IS FUCKED!!! Nice.

Not only are the chairs like “sherlock chairs” in the second image, but they are kind of like “john chairs” in the first, only white and a little more “bony” (pun not intended? or??)
HMM, what were the chairs like in the pilot,i forget…

Another case in point that Series 4 is fake. I even was telling my partner they were Sherlock’s chair. He didn’t notice.

@the-7-percent-solution what did we say about coincidences?

Ahhhh @withinthemindpalace I’ve never noticed this! EEEEEEEEE SERIES FOUR IS FAKE EMP THEORY IS REAL

“Only Lies Have Detail”

the-7-percent-solution:

tjlcisthenewsexy:

the-7-percent-solution:

monikakrasnorada:

the-7-percent-solution:

Ready to have your mind blown? The Night Sherlock gets shot at CAM Tower, Sherlock has three people help him through his injury.

First enters Molly, then Anderson,

Then Mycroft

Molly makes Sherlock question “Forward or Backward”

Anderson makes Sherlock question “One or Two?”

Mycroft nags him about being stupid, about him as a child, and about the East Wind that’s coming to kill him.

These are The Six Thatchers, The Lying Detective, and The Final Problem, in order.

Keep reading

Jesus, Paige. I knew this was coming. You told me you were writing ‘something’, but you didn’t tell me I’d need life-support after reading it!!!!

THE GLASS

That breaking glass in TAB has haunted me since it aired. Honestly. I couldn’t make sense in the whole expository scene showing us exactly how it was done when it didn’t matter and they couldn’t be bothered to explain the fucking fall! But, it was just a red herring. There was no gang of murderous brides so there was no ‘magic trick’ performed, hence no broken glass. For a while, I entertained Pepper’s ghost was the fall explanation, since Sherlock told John it was just a magic trick (and there still might be some double hidden meaning behind it, who knows??) But, reading this. OMG, reading this almost convinces me how right we are that time is frozen at that moment. Did he hear glass break or didn’t he? Did the bullet travel through him, or is it still inside him? Is it because this is an instantaneous thought process happening in that moment in time??

And then bringing the invisible glass back full circle. Does it disappear and reappear because Sherlock doesn’t know if it’s broken or not??

Then, breaking down each episode as a callback to forwards or backwards, one or two and the East wind. Honest to god. You have blown my mind with this and if anyone thinks they haven’t got this shit on lockdown and tight as this, I don’t know what to tell them. This show is a marvel.

@the-7-percent-solution @shylockgnomes @tjlcisthenewsexy @withinthemindpalace @88thparallel @artfulkindoforder @marathecactupus @kimbiablue @sarahthecoat @shamelessmash (bringing you into the fold)

@monikakrasnorada I am glad to have been of service. I hope your world has been thoroughly rocked.

@monikakrasnorada @the-7-percent-solution @holmesianscholar @shylockgnomes @88thparallel @mrskolesouniverse

I wrote basically this on Jan 8th this year. About the mirror in CAM’s office actually breaking, being symbolic of the exposing of a lie, just like the women conspirator’s glass in TAB does, and how the mirror in fact shattering could mark the return of the narrative to a frozen moment in time in HLV. Here’s the link and what I wrote (It’s in the PART TWO).

Holy shit @tjlcisthenewsexy you are an extremely efficient genius! Here i am going “I thought of something new!” and I’m like 9 months late! THIS MUST BE THE CASE. WHY WOULD THE GLASS ALWAYS COME UP.

So we’re in that exact same moment Sherlock got shot. Time has stood still. That’s where we left them.

The Lying Detective:

the-7-percent-solution:

Sherlock: “Really? I correctly anticipated the responses of people I know well to scenarios I devised? Can’t everyone do that?”

Yes. Literally everyone can do that.

Sherlock: “Really? I correctly anticipated the responses of people I know well to scenarios I invented through careful and complex thought? Can’t everyone do that?”

So Sherlock can run mental simulations and know what’s going to happen ahead of time? No! That would be crazy! Completely out of nowhere! It’s not like that’s exactly what Sherlock said he was doing at the end of The Abominable Bride when he told Watson about a future world and how they might fit into it. It’s not like The Abominable Bride ended in the mind palace simulation, Victorian Holmes looking into the future he devised for him and Watson.