Tag: little things

notagarroter:

“You think it was the cat.  It wasn’t the cat.”

I just love this whole scene for the fact that Sherlock somehow acquires a bunch of professional photography equipment and shows up at this poor dude’s house playing the bumbling photog to John’s journo, and it’s all for no purpose whatsoever other than humoring John.  Since Sherlock already knows at this point that it was Raoul with the Botox, and he has known for at least a few hours.  (Hours in which a blind hostage is helplessly waiting for Sherlock to save her.)

But John thinks it’s the cat, so Sherlock’s more than happy to play along because John is too adorable when he thinks he has figured something out. 

bbcatemysoul:

N O

fuckening

the fuckening bomb

bond is trying to stop the bomb before it blows and he doesn’t know how so he’s about to pull the wires the bomb specialist shows up and just hits the fucking off switch

and stops it on 0:07 lol

i’m laughing

i’m also upset tho because as we know john and sherlock had a bond night and when they’re in the damned train car in TEH he’s all “there’s always an off switch”

BITCH YOU LEARNED THAT BECAUSE JOHN MADE YOU FUCKING WATCH GOLDFINGER I CAN’T BELIEVE THIS

and also like

you can’t tell me the number sherlock stopped the bomb on wasn’t supposed to have significance

honestly let me Die

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

Martin is not involved in the game/play/etc because John’s “”not important”” in this part of the story?

garkgatiss:


No, it’s actually way cleverer than that. @devoursjohnlock​ touched on “John erasure” over a year ago in this meta (x), but basically, in the Case-Book era of stories, or rather, everything written from The Valley of Fear and after, Watson starts to downplay his own role in the cases:

Now for a moment I will ask leave to remove my own insignificant
personality and to describe events which occurred before we arrived
upon the scene by the light of knowledge which came to us afterwards.

– The Valley of Fear (1914)

There remain a considerable residue of cases… […] In some I was myself concerned and can speak as an
eye-witness, while in others I was either not present or played so small
a part that they could only be told as by a third person.

– The Problem of Thor Bridge (1922)

His Last Bow (1917) is written in third person. The Adventure of the Mazarin Stone (1921) is written in third person. Holmes narrates two – The Adventure of the Blanched Soldier (1926) and The Adventure of the Lion’s Mane (1926) – and Watson isn’t even in them. People are really indignant about John’s diminished role in S4 but the fact is, it fits with canon perfectly.

But when you look at the other Case-book stories, you realize that while Watson leaves himself out of the surface narrative, he’s actually using the cases to vague about his own life’s drama in far more graphic detail than would ever be otherwise appropriate. He’s using his personal turmoil as inspiration; he’s using characters as mirrors to blab about his own private affairs. And then, in case you couldn’t figure out that was what Watson was doing, Watson writes up a case where a guy literally does this:

Could I have believed that a gentleman would do such an act? He wrote a
book in which he described his own story. I, of course, was the wolf, he
was the lamb. It was all there, under different names, of course, but
who in all London would have failed to recognize it?

– The Adventure of the Three Gables (1926)

So while in some ways John is erasing himself from the narrative, in other ways the narrative is more about John than ever. Just like S4.


Apart from these unfathomed cases, there are some which involve the
secrets of private families to an extent which would mean consternation
in many exalted quarters if it were thought possible that they might
find their way into print. I need not say that such a breach of
confidence is unthinkable, and that these records will be separated and
destroyed now that my friend has time to turn his energies to the
matter. There remain a considerable residue of cases of greater or less interest
which I might have edited before had I not feared to give the public a
surfeit which might react upon the reputation of the man whom above all
others I revere.

In some I was myself concerned and can speak as an eye-witness, while in
others I was either not present or played so small a part that they
could only be told as by a third person. The following narrative is
drawn from my own experience.

– The Problem of Thor Bridge (1922)

He’s telling you: “The following narrative is
drawn from my own experience.”

sarahthecoat:

victorianfantasywatson:

221bloodnun:

victorianfantasywatson:

I wish I had a screenshot for this post but anyway…

at the end of TAB, just before John shows up with his gun and Sherlock realizes John will always be there to save him, he is battling Moriarty (his inner demons) at a Waterfall

at the end of TLD, just before the Hug when John realizes Sherlock will be there for him emotionally, he is talking to Mary (himself) and we actually see him crying, that’s the Falling Water

And it starts in TRF with the rainfall outside. (Because everything after TRF is the scenarios and consequences.)

ugh, YES, the rain… if the waterfall in TAB is Sherlock re-doing the Fall correctly by letting John save him, the hug is John re-doing this, dealing with the emotional fall-out correctly this time, by opening up about how upset he is, crying, and letting himself be comforted. I have hopes that they have both completed their emotional arc now….

yes, time to blast the doors off the closets, cupboards, coffins, elevators, etc.

the-7-percent-solution:

the-7-percent-solution:

That moment when you’re rewatching The Empty Hearse and hear that the Jubilee line lost the entire seventh car between Westminster and St James Park that nobody but the guy who binge-watches footage noticed, and then realize that there are six episodes after that moment and all these fans who relentlessly binge-watch think something is wrong because the 7th could be missing….

The huge subtextual significance of The Empty Hearse and everything that happens in it is either the most brilliant piece of television or the craziest, most-bizarre coincidence in modern storytelling.

For a little more explanation, realize that the story is about an insider who planted a “bomb” in a missing “carriage” in order to set chaos to the political status quo; a bomb hidden in a cavity, a bomb with four chambers with red and blue veins, a bomb beneath Sumatra Rd, a tube station that was almost completed but couldn’t be open to the public because of the **laws of the time**, a bomb that wasn’t deactivated but simply paused, a threat that no one realized was possible except for that loser who binge watches the footage….

Ouch, Gatiss, that last one stings a little, but we’ll survive

barachiki:

iamtbseuss:

Someone needs to tell the writers of BBC Sherlock that chemists don’t just leave colourful chemicals in Erlenmeyer flasks and beakers lying all over the lab unattended.

None of these chemicals are volatile?

Nobody cleaned and packed away the glassware before leaving?

Or is Sherlock the one making Kool-Aid everywhere?

lol

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