Redbeard/Yellowbeard, Vernet, & Time Travel: Various Ways HoB & T6T Are Connected
Gatiss: To be honest, I put [an explanation of Redbeard] into the
first draft of episode two, and actually explained it – the reason that
Sherlock was behaving like a child was because he’d once upon a time
fallen for that story that your bunny rabbit has gone to live on a farm
somewhere. And then we thought, ‘No, let’s hold it back because we can
tease it a bit.’ And we genuinely thought, ‘We can keep this running for
years.’ But then actually…
Moffat: It’s nice to have resolved it.
Gatiss: So the truth is that when he was little – and obviously
Mycroft tormented him about it – is that his dog died, and he totally
fell for the idea that Redbeard had gone to live in a happy valley
somewhere.
Yes, we’re back to the rabbit idea…as in HoB and time travel…mentioned here. (Read that meta, because otherwise, the rest of this won’t make sense.)
Moriarty
Is he not the celebrated author of The
Dynamics of an Asteroid, a book which ascends to such rarefied heights
of pure mathematics that it is said that there was no man in the
scientific press capable of criticizing it?
— Sherlock Holmes, The Valley of Fear
This
topic had been covered by *Newcomb about 20 years before, and it may
have been him that inspired the character of Moriarty.
Mary reading Dynamics of Combustion, and 221B is blown up in TFP, but she alsomanages to jump in front of a bullet in T6T before Sherlock even really has time to react.
The book that Moriarty wrote involves chaos theory.
Remember in the meta about the blog entries being recycled in S3 and S4? It’s related to that, due to the butterfly effect
Simple actions and events can alter history, especially if your memory isn’t reliable.
“The butterfly effect is exhibited by very simple systems. For example, the randomness of the outcomes of throwing dice
depends on this characteristic to amplify small differences in initial
conditions—the precise direction, thrust, and orientation of the
throw—into significantly different dice paths and outcomes, which makes
it virtually impossible to throw dice exactly the same way twice.“
Not sure if we have talked about this. Two men, same hair colour, same hair style, blue jacket, light shirt, sitting to Mary Watson’s left on a plane, both looking at her. Any ideas?
Okay so I know this guy is James Holmes who played Lady Bracknell in The Importance of being Earnest in the west end once and also played Emory, a very camp gay in The Boys in the Band alongside Mark Gatiss last September to November…
Yeah guys, of course that man who’s evidently 1000% done with Mary is a John mirror! The fact that it’s such a lengthy scene makes it evident too. She’s lying, presenting a fake persona – just like she does with everybody– and over-the-top acting – exactly the same she does when she jumps in front of Sherlock to take that bullet. And the things she says to that poor man!
MARY: Pardon me. I can hear a squeaking. Can you hear a squeaking? MAN: No. MARY: Only I watched a documentary on the Discovery Channel. MARY: “Why Planes Fail.” Did you see it? MAN: (Politely) Can’t say I did. MARY: Oh, truly terrifying. Swore I would never fly again, yet here I am! FLIGHT ATTENDANT: Everything okay, madam? MARY: No! No, it’s not, but then what’s the use in complaining? I hear a squeaking. Probably the wing will come off, is all. FLIGHT ATTENDANT: Everything’s fine, I promise you. Just relax. MARY: Oh, okay, relax. (Slapping the man’s arm) She said relax! MAN: (Trying his best
though clearly annoyed by her) Um, did you have a nice time? In London? MARY: It was okay, I guess, but did somebody hide the sun? (Laughing and slapping his arm again) Did you lose it in the war?
“Did you lose it in the war?” To John’s mirror, seriously? I hate this. I hate that Mary’s only purpose in this show was HIDING THE SUN that is John (specially from Sherlock) and darken John’s life in general. They even dare to make her poke at the wound of John’s traumatic experience in the War, TWICE. Because she does it again at the end when she says John is “The Doctor who never returned from War”, which is A TOTAL LIE AND A HORRIBLE THING TO SAY. That’s her most effective villanous plan; manipulating the boys into believing they’re still trapped in
what they used to be, using their traumas to keep them in the dark. Erasing their character development is what she wants. It’s like the creators took pains to make her mock the boys’ pain and therefore ours, until the very last second.
Anyway, I wish I was right when interpreting that Mofftiss’ intention in this scene was to show Mary as irritating as she could possibly be, in order to make everyone in the audience feel about Mary just like the annoyed man feels –and therefore
sympathize
with John. Because, otherwise I find this long, exasperating scene pointless. I don’t see another purpose for it.
also the windows….the sun (sherlock) and the woman who allures john (by acting like sherlock) in the same spot lol
I’m still not entirely sure in what situations the hand-clenching stops and when it comes back. Could anyone fill me in? Thanks!
John tends to clench his hand (and unclench/stretch) when he’s about to confront his feelings, or is having trouble coming to terms with how he feels about a situation. Another big one is the Tarmac Scene from HLV before he takes Sherlock’s hand, but you can see more here.
I’m fascinated by the aggression and danger of the Baker Street confrontation in HLV.
I think everything that Sherlock does in this scene with regards to John is for John’s immediate safety. In the long term, too, but at that moment, Mary is armed, dangerous and backed into a corner, they cannot afford to have John antagonise her. There’s a possibility that Mary’s mission protocol after being caught is to terminate them both and flee.
I think that, with this in mind, we could see Sherlock speaking to Mrs Hudson as he walks through the door as an attempt to immediately get rid of her, for her own safety. If Mary were to suddenly abort the mission and shoot John and Sherlock in the head, Mrs Hudson would also be a target because she would be a witness. I don’t think Mary would want to leave any loose ends if this were the case.
So, when they come home and Mrs Hudson happens to be there in the flat, Sherlock immediately tells her to leave, specifically to go to her kitchen. Sherlock knows about Mrs Hudson’s drug habits: the line, ‘isn’t it time for your evening soother?’, is, after all, from ASiP, the first episode,
Bonus: Sherlock says this to get rid of her. This line means, ‘Isn’t it time for you to go?’. Here a reference to Mrs Hudson going to get drugs means, ‘get out of here, immediately!’. Also, note the similarity in his facial expression as he says, ‘what exactly in the point of you?’, in HLV and here, in ASiP, as he encourages her to leave his flat.
Mrs Hudson’s specific drug habits are reinforced via Magnussen’s earlier assesment: Marijuana and alcohol,
This is a reminder to the audience about Mrs Hudson’s backstory: it does not include using morphine. In fact, that’s one of Sherlock’s pressure points according to Magnussen (upon seeing his behaviour when they meet at the restaurant) but not one of Mrs Hudson’s.
Later at the Baker Street Confrontation, Mrs Hudson reminds us that it was not she who was the drug dealer, it was her husband,
Sherlock brings up her past as an exotic dancer, reinforcing the idea that Sherlock knows a version of the facts that Magnussen showed us earlier,
Again, no references to morphine in sight.
Sherlock must know that Mrs Hudson does not have morphine in her kitchen or anywhere else in her flat and yet he asks her to fetch him some. I think this is Sherlock’s veiled attempt at getting her to safety. In this scene I think he’s trying very painfully to get John to understand that they’re in grave danger. He can’t come right out and say it precisely because they are in great danger. He tries to redirect John’s anger at himself even as he tries to give John hints of how much danger they’re really in.
I think it’s worth noting that Sherlock avoids eye contact with Mrs Hudson as he requests morphine from her and immediately after as he yells at her. I think that when Sherlock lies he often fails to make eye contact and I think here he’s hoping that she’ll just go away and be offended enough not to come back. We see how he protected her in ASiB, I don’t think he’s doing things any differently in this situation: he’s just doing it covertly.
Mary instantly heads to a defensible position when they enter 221B.
She stands with her back to the wall, within easy reach of the knife in the mantelpiece.
Whatever her intentions, she’s definitely prepared for a fight. I think she’s not convinced that John won’t go for the knife to use against her.
You have a husband. A man licks your face. Your husband is dead.
A man threatens you with blackmail material that doesn’t exist. You ask another man for help. He commits a murder that never happened.
You have no vices and hold a position of great power. Clearly you are a victim. Or maybe you are a perpetrator. You are confused.
Your secretary is a criminal mastermind posing as an ordinary old woman. A man accuses her of being an ordinary old woman posing as a criminal mastermind. She draws her gun. You no longer have a secretary. You are very confused.
A co-worker confides his family troubles. You have history. You give him your card. He doesn’t call. You can’t remember you’re not interested in sex.
Your card states your name is Alicia. A man calls you Elizabeth. You can’t remember your real name. Maybe you don’t have a name at all.
Im glad theyve stayed so close to the source material. My fave book was when the squad got locked up in shitty high tech azakaban by a cross between fucking ebony darkness dementia ravenway and jigsaw
It means we’re playing a GAME anon we’re in a PLAY and RACHEL is just a PAWN in the MOFFTISS-VERTUE GAMES… actually hilariously if rachel is a pawn i say the chess game is us vs mofftiss adfla;j4grel;rkgj3 LIKE LITERALLY TRUE. good thing we’re destined to win or we’d be screwed tbh
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