EURUS: Oh! Have you had sex? SHERLOCK (continuing to play the tune): Why do you ask? EURUS: The music. I’ve had sex. SHERLOCK: How? EURUS: One of the nurses got careless. I liked it.Messy, though. People are so breakable. SHERLOCK (still playing): I take it he didn’t consent. EURUS: He? SHERLOCK: She? EURUS: Afraid I didn’t notice in the heat of the moment and afterwards … well, you couldn’t really tell.
there is so much to unpack here i dont know where to start, first of all ‘nurse???’ mary was a nurse, but you know who john called a nurse once? sherlock
second, the nurse got careless which means eurus/john took advantage of them. plus the fact that eurus/john didnt really know what gender they were which is also a dead giveway of how bad john feels about his bisexuality and his feelings for men and sherlock, he thinks he’s a demon who would break and hurt his lovers because he thinks it’s wrong to desire ‘bodies’ like that, deep down he hates himself for his sexuality, a depravity that makes no difference between genders because in the end, all that is left is pain and misery. eurus/john likes the act but the aftermath of the shame and the guilt makes it unbearable.
and finally, this is a very clear callback to culverton’s confession about loving to make ‘people into things’.
In the same time, I am low key shocked and offended that a lot of people think that John beating Sherlock was an inevitable thing to happen and that it’s a natural conclusion and even a character development or whatever??… what the hell
Ever since Sherlock series 4 came out, collectively we were like “what the HELL is this?!?! This doesn’t make any sense!” BUT after many months of tossing ideas around the fandom, we have made theories that could explain the weirdness, but nothing we can all agree on. Now, this meta here may be absolute garbage to you, but I believe, in my heart of hearts, I’ve solved it. Please read it in its entirety with an open mind before you reblog it just to tell me I suck.
Thanks in advance, you da best
Paige
Here’s the short version: Sherlock actually jumped at the end of The Reichenbach Fall, just as Doyle intended him to die. Gatiss and Moffat said they are correcting something in this adaptation that no one else has gotten right before. Many of us assumed the homosexual romance was the one thing they were changing, but we were punched in the face right after The Final Problem came out. Gatiss and Moffat are changing the sacrifice. Holmes was intended to die for his friends but Doyle needed more money and rewrote the series after “The Final Problem”. That turned Holmes’ sacrifice into a cruel joke against Watson. This is what BBC Sherlock is fixing, and we’re about to see it come to fruition.
I know many theorists despise the homosexual reading of Holmes and Watson, while many people in general despise theorists on this site. That’s fine, I don’t care how people feel about gay theories and/or TJLC and its followers. But I’m here to tell you TJLC, at its core as a concept, was right. You may hate Moffat and Gatiss, you may think Sherlock is a piece of shit show, and that’s fine, you do you. But hear this one meta out, please. I think even the hardest skeptic can at least apprectiate the thought and logic behind this.
@the-7-percent-solution What about John’s blog? It mentions the wedding, and Sherlock and John talk to each other in the comments.
I feel it would very complicated to explain the whole S3 if it was EMP as well… for instance, why would Sherlock ‘dream’ about Magnussen?
But that “open your eyes” bit??… I haven’t gone back to the episode to hear it and I have chills down my spine already. They told us, but we didn’t listen??!….
I was thinking about that, too. Why does the blog update.
But Paige, You’re awesome and it’s an awesome theorie
The blog, in my opinion, should be looked at like the original Doyle canon. The canon had flaws – like Mrs Hudson changing names or the fact that there were two James Moriartys. The blog, like the originals, are mostly written by Watson. There is no reason to believe the blog is absolute truth. This unreliable narrator was rampant in the originals (if that’s what you’d use to explain the major inconsistencies), therefore why should we assume the blog to be an honest representation of what’s happened, when the original text is not? We already know the dates are occasionally messed up. It’s just as flawed as Doyle’s version. And that’s the whole point. You can read the blog as symbolic – which i think you should – meaning the cases are mostly 2-leveled metaphors. “Happily Ever After” and “The Geek Interpreter” take on a whole new meaning symbolically.
It’s just like in Doyle’s canon.
/Perhaps one day the real story may be told/
Also, @sherlocking-out-loud Magnussen is a representation of the media – can you IMAGINE what would happen if the media got news of Mary’s true identity? Can you imagine what would happen if the media knew of Sherlock Holmes’ homosexual secrets? This is why Magnussen, when threatened at gunpoint, told Mary “but what about your husband?” and the fact that her husband (John) is so English and honest. Magnussen, the blackmailer, knows a secret that will topple Mary’s life and make John leave. What this really is is the media getting ahold of the true homosexual love story, outing John, and knowing “it would break him”. John, who can’t handle others suspecting what he is to Sherlock. That flashdrive is everything she’s ever done – Magnussen getting ahold of that file is like the media seeing all the homosexual proof of the last 120 years.
Magnussen asks John if he’s read the flashdrive. John refused to look at all the proof of Sherlock’s gay love. Magnussen thinks that’s a pity – he thinks John could get off on that kind of stuff. You know, the wild assassin (gay) life he’s always been attracted to but told himself to stay away from.
I just want to share this discovery with you. I think i’m the first one who found this in Sherlock fandom (I can’t be 100% sure though). When Sherlock sword-fought with the strange guy in turban in TBB, He fell on the table with a bunch of papers right under his head.
On the uppermost paper with a profile portrait of Adam smith on the top, It says “Dear Econo..” “Can a cheap…” “a winner at…” and i found this advice column whose title is Dear Economist: Can a cheap wine be a winner at dinner?
and Look, for what it’s worth, The one who asked the advice was William Nicolson. I assume that this article have Johnlock connotation. but I’m not quite sure what exactly it means to imply. I need your help on analysis.
I hope it’s okay if I attach the pics with a close up crop, since it was hard to read your condensed pics, hee hee 😀
I have honestly never ever seen this! Honestly HOW DID YOU CATCH THAT? Jeepers.
Okay, I WANT to say that it’s just something thrown into the set as a prop, but let’s be real, the set designers are METICULOUS in their details. I’m not sure about the “william” part – I can’t see Sherlock as a cheap wine person – but maybe the wine part? I’m a bit iffy on saying MAYBE it’s alluding to John and his wine bottle in ASiB, since at this time Mofftiss had no idea if the series was continuing past Season One.
Hmm. I’ve honestly got nothing. Maybe it is just a prop they had. Any ideas, anyone?
Yep, I may have one. 🍷 Or a few. Or maybe I’ve had one too many… 🍷
🍺
🍻 *hic*
At first thought it might have been John’s “research” for dating. But he’s been an active dater all his adult life, he knows how to pick the good catches, never has a shortage of arm-candy, and even had a past with his same-sex superior in the army. An institution where same-sex relationships, especially with a superior, can have horrible repercussions. Clearly, John is very good at the dating game. John doesn’t need research for how to make a dinner date on a shoestring budget work. He probably scoffed at the article when he read it. “Noobs,” he thought.
So it was Sherlock’s “research”. Now that I think about it, John would not read up on dating; he’d dive right in (pun intended). Sherlock is all about research. If he has to “swot up” on the obliquity of the ecliptic, he can do so for wine.
Sherlock wants to wine and dine John. In Angelo’s restaurant, John is seen with a goblet of sparklies. That wine was on the house because of Angelo’s debt of gratitude. But they can’t keep mooching off Angelo’s, can they? Now Sherlock knows John is not a rich man. Sherlock doesn’t want to intimidate and/or alienate John by treating him to fancy wine.
John may not be loaded but he may be quite proud, especially as he refuses to move to cheaper neighbourhoods instead of tightening his belt in Central London. Add to that his physical and psychological injuries, and you get a man whose hackles rise if anyone tries to buy his affection. Mycroft had tried to buy his loyalty and it backfired.
Then there’s the silent social gap being bridged. Sherlock wears inside-out t-shirts and goes around barefoot at home. The suit porn is for people not within his inner circle to take him seriously. But Sherlock can be his adorable ratty self with John. Sherlock does not want him to feel that John has to constantly keep up with his fancy expensive lifestyle. Cheap wine is saying, “Look, I know how to drink Tesco-procured wine too. I’m totally fine with it and I’d like to share it with you over dinner.” Keeping up with the Joneses gets John’s hackles raised, but Sherlock loves John’s adorable trash self.
At this point in the story, John is still unemployed. The bills have arrived while John was at Tesco. Sherlock knew John would come home and see the bills, since they were on the sidetable beside John’s chair by the fireplace, not on Sherlock’s sidetable.
When John arrives from Tesco the first time around, his inquiry is about the Jaria Diamond. Not about Scotland Yard, where Sally had told him in ASiP: Sherlock DOES NOT GET PAID. John has financial concern in the cases Sherlock takes.
In relation to the episode following TBB (TGG), Sherlock’s blog shows that the guy from Minsk, Belarus (Barry Berwick) told Sherlock that his family is willing to pay any amount Sherlock names. “I need ur help. Been arrested for murder in Belarus. People reckon u get people off. Family got money. They’ll pay anything.”
Sherlock says, “You think money interests me?”
John replies, “YES!” on Sherlock’s blog.
Sherlock replies to Berwick, “I’ve never been to Belarus. I’ll contact the British ambassador and get your details.” With no explanation or mention on the show about the reason Sherlock was there.
Sherlock immediately accepts this boring open-and-shut case because John needed the money. No questions asked.
Here’s my screencap:
Later on in ASiB, John says that he is now helping bring in the money when Sherlock pretend-rants about the blog. “Where do you think our clients come from?” and “This is your living, Sherlock; not two hundred and forty different types of tobacco ash.”
Guess what, John? Sherlock has had clients years before you came into the picture.
Note that John uses “our” for clients and “your” for living. “Our clients,” meaning, “We are a team, they are my clients too.”
“Your living,” meaning, “I have a living of my own as a GP, and I am helping you with your living, I help bring you money, I help in your job. Which you do not do for me.”
And of course the competitive guy syndrome: “Not two hundred and forty different types of tobacco ash.” Meaning, “My contribution to your marketing/social/PR is bigger than your contribution.”
Back to TBB, after the fight scene with the guy in a turban, John comes home from Tesco and borrows Sherlock’s card. He takes out his frustration about his money woes on the fact that Sherlock doesn’t seem to have moved at all. He says “You could always go yourself, you know.” And I bet the pissiness is not about laziness but a cover up for his embarrassment over being rejected by the chip-and-PIN machine and having to use his flatmate’s money.
John comes home a second time around, finally with groceries, and instead of wining and dining John with cheap wine that would have advanced his relationship with John but not make John think that Sherlock was “out of his league”, “public school”, “landed gentry”, and not-an-option-at-all, Sherlock addresses John’s money woes AND adrenaline addiction AND his own boredom AND his craved bonding time with John by accepting Jerkface Sebastian Wilkes’s case, getting his poor soft heart trampled by Wilkes the Wanker.
Cheap wine may be a winner at dinner, but cases are better.
Of course John begins dating Sarah in TBB, so Sherlock’s chance to wine and dine John is now out, but that’s for another discourse.
stillgosherlocked: @isitandwonder. @inevitably-johnlocked: Not really Johnlock but you know what my first spontaneous association was? William Nicolson = Nicol Williamson (who played SH in “The 7 Percent Solution”.
isitandwonder: OMG! Great catch @stillgosherlocked!Although, it’s from the Financial Times, isn’t it? Shouldn’t the paper be pink? Did Sherlock make a copy of this newspaper? Why? Or does the paper just seem white because of the lighting?
marchinaugusta: And the package on left is a packet of gauze dressing /wound dressing.
tabbye: “Can a cheap wine be a winner at dinner?” Doesn’t it kind of sounds like an article of a women’s magazine?
Thank you so much @consultingeastwind for all of this stuff! Wow! I like the idea of Sherlock purposely wanting to look for a cheaper wine because of John.
@stillgosherlocked INTERESTING. However this is an actual article as pointed out by the submitter, so it’s a really uncanny coincidence….
Why I think TFP happens in John’s head: abridged version.
The main reason why I favor the idea that at least TFP is a product of John’s imagination, is because I feel we’ve been waiting for John’s big moment as ‘conductor of light’. And finally, at the end of TLD, he very prophetically said “I’m gonna make a deduction”. I take that as foreshadowing of TFP, which I think is about John attempting to explain why Sherlock is the way he is.
Ever since the beggining, and all through the show, John has been trying to figure Sherlock out. “Has he ever had any kind of girlfriend, boyfriend, a relationship, ever?!”,
he asked Mrs. Hudson. It was his job in the canon; we understood Holmes
through Watson’s adoring eyes. John’s blog is his diary about Sherlock. He knows Sherlock. He knows he’s an emotional being who loves intensely, is affectionate, kisses people on the cheek, has even more friends than himself, is
clingy
and jealous of him, and must feel things That Way.
So why would he ever want to put on that ‘conceal don’t feel’ façade? Obvious: past trauma. Remember how invested John was in Henry Knight’s case back in THoB. He told Dr. Mortimer “I think my friend might be having the same problem”. So
in this hallucinatory dream, ‘clever boy’
John tries to apply the solution of that case to Sherlock, thus coming up with this plot about a crazy sister, clever “beyond Newton” (seriously, that doesn’t sound to me like something Mycroft would ever say, but more like John’s way of thinking), to account for it, and in the process he basically works out M-theory too.
“Sherlock, there’s something you need to know; Mycroft’s been lying to you, to both of us”.
Just like John remembers Frankland fed lies to Henry since he was a child who couldn’t cope with that trauma. (“Twenty years of my life making no sense!”).
John finally joins the dots and realizes Mycroft must’ve been under Moriarty’s thumb somehow, so he makes that the key point of his dream. He comes to understand that Mycroft’s always been trying to ‘protect’ Sherlock in a wrong way instead of treating him like a capable adult, and figures he’s the one to blame for Sherlock’s cold persona, as well as causing John and Sherlock to continuously drift apart. John reckons Mycroft basically ruined Sherlock’s life, so his anger-ridden sense of justice condemns Mycroft by adding the whole ‘he should die’ scene, placing an avenging gun in Sherlock’s hand to point at him (but of course, John knows Sherlock would never kill his own brother). So instead, he humiliates Mycroft by making his parents reprimand him “how could you?! You should’ve done better”
Again, obviously this doesn’t mean what we saw is what really happened to Sherlock, that’s John imagining a preposterous trauma, but it was something like that. This way John would’ve foreshadowed the reveal that is yet to come
–along with other plot points, such as the fact that John suspects Moriarty has a brother (Eurus said so in passing), or Mycroft’s demise being long-overdue,
or that his (late?) wife who he didn’t trust was a mind controller psycopath, probably working with Moriarty. Really, him and Sherlock seem to be on the same page on many things, since TAB show us Sherlock dismissing John’s “twins” theory, hints at Mycroft’s “consumption” and is also ridden with subtext that
codes Mary as a villain
and connects her to Moriarty.
Of course, many other things also make TFP look as John’s dream to me (i.e. John feeling quite literally chained by manipulator-Mary, the level of weirdness of TFP isolating it from the other two episodes,
the bond-esque look of it, that it centers around doing an “emotional vivisection” to Sherlock –and why would Sherlock want to do that to himself again when he already did it in TAB, the fact that at the beggining John
confessed to Mycroft he was the one who came up with “this pantomine”, or that consistent subtext seems to suggest that John’s been shot in the head and is severly injured in hospital after losing a lot of blood having a typical near-death hallucination. If there’s one thing I’m sure about, is that whoever shot him didn’t do it a tranquilizer, it’s ridiculous).
On a final note, I believe this interpretation is valid
regardless of the way in which the whole episode is being presented to us for the sake of storytelling (and to make it more difficult for us to figure it out!), because it doesn’t necessarily need to be John’s dream from start to finish. By this I mean those flashbacks
from other episodes
(including Sherlock’s dream)
that we see
at the end of TFP, don’t have to be part of it. It’s interesting to consider that Shutter Island (one of the films from which they took both plot and cinematography as inspiration) gives us a perfect example of a story that starts inside the main character’s hallucination of psychosis (yes, it literally is the character’s wish fulfillment, because he can’t cope with what really happened, so he’d rather dream ‘a better story’), but as the movie progresses, we can’t tell for sure if what we’re seeing is still in his mind or if it stopped being his unreliable narration. Even in TAB they wanted to make it ambiguous whether those modern scenes were part of Sherlock’s dream or not.
Honestly, seeing TAB’s waterfall there is the same to me as hearing
Sherlock and Eurus playing the very theme of the show on their violins!
It’s impossible that the characters would be aware of it, yet it serves as a tool to wrap up the episode more neatly for the audience; but it doesn’t mean those details are still part of John’s dream.
In fact, I do believe those edits sucessfully manage to misdirect the viewer’s eye and attention
away from considering this reading. This is not new tho, they
resort to
this method all the time in the show to confuse and mislead the audience. ‘Fresh paint to disguise another smell.’
TL;DR: This is the fundamental reason why I think the plot of TFP happens from John’s perspective; it just makes sense to me that in the end it would all boil down to John ‘he’s always right’ Watson sort of ‘solving’ Sherlock (it’s even part of his character’s
arc),
and by doing so, figuring out things that make the very core of the
show. Plus, I consider it appropriate that John would try to do this at the same
time he’s unconsciously aknowledging his own issues, coming to terms with them, and
letting himself be embraced by Sherlock’s grounding love.
YEP. THIS EXACTLY. Thank you Marce.
It would also explain Sherlock playing Irene’s theme on the violin (during their first meeting) and Eurus asking if he had sex… like, that question has basically been eating away at John since ASIB
I don’t think there’s anything wrong with arguing from the obvious: it is a plot point in TLD that John was shot, we have the setup to a journey to his inner world / hallucination as the last thing we see in TLD. TFP is TAB-esque in its transitions and the way the story gets more surreal over the course of the episode, but distinctly non-TAB-like in its atmosphere, settings, and conclusions. It doesn’t take someone with a mind palace to hallucinate like a mofo. Also, a mind prison is a wonderful metaphor for the awful place John seems to have always lived in.
I agree that reading the waterfall as a simple red herring / misdirect is entirely possible, and that may be all it is. Here’s how I am tentatively framing it for myself.
In TAB, we’re given a clear indication that it’s possible for one person to “take over” the dream of another via a narrative insertion (eyebrow waggle). TAB appears to be John’s pov when we first hit the Victorian era. We are later told that Sherlock is reading John’s blog on the plane as he drifts off–this is the fact that justifies the opening “John” portion of TAB.
Any apparently anomalous scene in TFP could be run through a filter asking, could this be content inserted into the dream from a source outside the dreamer? I believe this to be the case with a few scenes, including the Mycroft / Moriarty background scene, the Holmes family discussion at the end, and, well–let’s imagine whether the waterfall moment could be coming from outside:
(Flashback to a long view of the gently rippling water in the swimming pool where Sherlock and Jim had their stand-off at the end of the “The Great Game.”) EURUS (softly, offscreen): Deep waters, Sherlock, all your life. (Sherlock’s distraught face is briefly overlaid with dark blue rippling water.) EURUS (softly, offscreen): In all your dreams. (Flashback to Victorian Holmes lying on the rocky ledge while the Reichenbach Falls thunder downwards behind him.) EURUS (softly, offscreen): Deep waters. (In the hall, Sherlock stares ahead of himself, his face covered with tears.) SHERLOCK (devastated): You killed him. (Dark rippling water overlays his face and for a moment a merged image of adult and young Sherlock stares sadly across the hall with tears on his face. Adult Sherlock lifts his head, looking towards the screen.) SHERLOCK: You killed my best friend. EURUS (quietly but with a hint of anger in her voice): I never had a best friend. I had no-one.
John was at the pool, and he’s heard Sherlock talk about wells, about sinking and being lost, so we don’t really need to source the pool or “deep waters” imagery. (We don’t need to source the water imagery at all, really–water is a widely accepted symbol in western mythology and literature for the emotional aspect of life, the primordial sea from which all things spring, for changeability. But let’s keep playing this game.)
Picture John in a hospital bed, Sherlock sitting beside him, leaning over him, staring into his face, searching for any hint of awareness. Mycroft paces the room behind him. Over the past hours, while they’ve waited to see if John will wake up, Mycroft has told Sherlock details about the real deal he made with Moriarty. The conversation has filtered through into John’s nightmare, mixed up with talk about Christmas and John’s memories of babies in mangers, the whole sequence of events steeped in a jumble of threats and misgivings about Sherlock, about whether he ever loved John at all, about whether he could, about who he is and why he never seemed to–
Now, John is starting to wake up.
Sherlock whispers to him, leaning closer so Mycroft can’t hear. “Maybe you’re dreaming, John. You’re just dreaming. Do you know, I dreamed about us, on the plane, when I thought I would never see you again. I dreamed about falling–no, flying. There was a waterfall. A great rushing waterfall, over a cliff. I was alone on that cliff, and you came and you saved me. In all your dreams, John, let me save you. I know you’re in deep waters, John. But please. Please.”
Mycroft speaks from behind him. “Sherlock.”
“Shut up,” Sherlock hisses. “This is your fault. You killed him. You killed my best friend.”
In John’s dream, he slips, he floats, haunted by the memory of telling Sherlock to go away, of his isolation, of the long nights spent in his flat alone. I never had a best friend, his demonic self whispers, confessing to Sherlock in a ruin of a room, like John himself is dying to do. I had no-one.
@may-shepard Oh my God, that was beautiful and if the next episode starts like that I could cartwheel into the sun!
I love that fact that you wrote “picture John in a hospital bed, Sherlock sitting beside him, leaning
over him, staring into his face, searching for any hint of awareness.
Mycroft paces the room behind him”, and I didn’t even have to picture it, because they even gave us the visual of Sherlock and Mycroft like visitors keeping an eye on John, who’s lying in bed in a very hospital-like room, only that Sherlock is the one pacing restlessly.
And I agree so much with the things you stated above. “A mind prison is a wonderful metaphor for the awful place John seems to have always lived in"; exactly! They couldn’t have coded John more repressed over the course of the show if they tried. I mean, they even made John literally
lock himself up in a cage, while begging Sherlock in a broken whisper to get him out.
And then TFP is about John’s foil/mirror Eurus being her whole life locked up in that prision. We see Moriarty (a symbol of sex both in TAB and in John’s dream) making a big entrance to Queen’s “I want to break free”. And then we see Sherlock breaking John free out of that well, in which he was chained up. Because, Sherlock is even capable of bringing down the walls of a room with his bare gay hands (just like the other ‘Drama Queen’, Freddy Mercury, does in that song’s music video). That’s how John sees Sherlock; as his saviour. I think the subtext is clear in that aspect.
And regarding what you mentioned about “content inserted into the dream from a source outside the dreamer", absolutely! In fact, I postedthis little videoa while ago, in which I proposed that John might be slipping in and out of consciousness, catching out-of-context words or phrases, and that at some point he may have heard the word ‘Sherrinford’. To me, it’s the reason why John has so many of those intercom speakers and earpieces everywhere (with preposterous capacity for reception). My favourite example of this, is the one I added to this video, where John suddenly hears “Moriarty’s” voice through the speakers, going“Don’t be alarmed, I’m here now!“, and stops in his tracks so confused, poor thing. Watch it and look at his face, frowning up at the speaker. That is NOT Moriarty, but Sherlock! It’s a desperate Sherlock having just found John lying there bleeding out, and calming him down while he calls the ambulance. Gets me everytime, it’s just heartbreaking, and it makes SO much sense to me. I want to think the “I love you” filtered into his dream as well… and that John couldn’t say it back only because he was still alseep in that hospital bed.
Ever since Sherlock series 4 came out, collectively we were like “what the HELL is this?!?! This doesn’t make any sense!” BUT after many months of tossing ideas around the fandom, we have made theories that could explain the weirdness, but nothing we can all agree on. Now, this meta here may be absolute garbage to you, but I believe, in my heart of hearts, I’ve solved it. Please read it in its entirety with an open mind before you reblog it just to tell me I suck.
Thanks in advance, you da best
Paige
Here’s the short version: Sherlock actually jumped at the end of The Reichenbach Fall, just as Doyle intended him to die. Gatiss and Moffat said they are correcting something in this adaptation that no one else has gotten right before. Many of us assumed the homosexual romance was the one thing they were changing, but we were punched in the face right after The Final Problem came out. Gatiss and Moffat are changing the sacrifice. Holmes was intended to die for his friends but Doyle needed more money and rewrote the series after “The Final Problem”. That turned Holmes’ sacrifice into a cruel joke against Watson. This is what BBC Sherlock is fixing, and we’re about to see it come to fruition.
I know many theorists despise the homosexual reading of Holmes and Watson, while many people in general despise theorists on this site. That’s fine, I don’t care how people feel about gay theories and/or TJLC and its followers. But I’m here to tell you TJLC, at its core as a concept, was right. You may hate Moffat and Gatiss, you may think Sherlock is a piece of shit show, and that’s fine, you do you. But hear this one meta out, please. I think even the hardest skeptic can at least apprectiate the thought and logic behind this.
an old woman who has no money, has a drinking problem, not spouse and no friends
a middle-aged man, rich and necessary, who has to hide his secret dark impulses about bodies he likes to watch ‘die’ and who desperately wants to confess his acts
a woman trapped in a bunker, who makes no difference between genders, locked behind the glass, desiring to be forgiven and saved by sherlock, even though her actions ‘killed’ sherlock’s best friend
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