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.

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?

afishlearningpoetry:

The Unfinished Act of Sherlock Series 4, The History of Adaptations It’s Working to Fix, the Larger Narrative of What’s Been Driving the Show, and the Real Final Problem.

Including the BBC’s 2009/2010 LGBT study, Gatiss’s “softly, softly”, Ben Stephenson commissioning the series, Moffat and Gatiss’s goals and plans with the show they lie about, their mutual love of The Private Life of Sherlock HolmesThe Abominable Bride taking place in 1895, ACD and Oscar Wilde In the Victorian Era of LiteratureThe Adventure of the Three Garridebs and its adaptations in relation to the show, The Lost Specialthe horror homages and spoofs of series 4, these transitions shots, the TD-12 drug effect transition used in The Six Thatchers, the Five-Act Structure and how they’re using it, Mary and Moriarty being Emelia Ricoletti and the same person, Mary’s Post-T6T message and Moriarty’s Post-TFP message, John being shot, and how the real final problem is staying alive.

See also: Within the Narrative and the Hoax of Series 4, How Our Understanding of TJLC Has Evolved, Thoughts On this Transition ShotHow The Abominable Bride Foreshadowed Series 4, 2 Months Post-TFP Moodboard and Everybody Else.

Sherlock Meta

88thparallel:

sarahthecoat:

artfulkindoforder:

oneredbuttonhole:

artfulkindoforder:

artfulkindoforder:

LSiT’S metas

Now that LSiT gave official permission to archive her metas, I’ll be keeping it up indefinitely

@inevitably-johnlocked

I’m in tears. Thank her for us all. It means so much.

Since this is a more permanent arrangement, and there are a few people who are having problems, I’m updating this:

Link to the entire drive:

https://drive.google.com/open?id=0B-R0-ikRKha4Si1rUnF6WHBmRG8

Link to LSiT Meta Documents folder:

https://drive.google.com/open?id=0B-R0-ikRKha4YzVNc2hscnJRbjg

Link to LSiT from AO3 Folder (best way to read M-theory):

https://drive.google.com/open?id=0B-R0-ikRKha4Rk9DbGJZN2Q5dlU

Link to Scrapbook X Data Files

https://drive.google.com/open?id=0B-R0-ikRKha4UmxkdWEwMzFuWVk

A Few Notes about the Meta Uploads:

 ·     
It includes (only) the posts on LSiT’s “Meta
Masterlist”

·     
The only hyperlinks that should work are external
ones. So even if a meta *IS* saved and *IS* on the drive, if she links in a
post “I wrote more about this here”, that link won’t work, because it is to her
original (deleted) location

·     
If it’s a reply, I titled it “Reply
sometimestheaskersname quick couple of word summary”. I don’t know how accurate
these titles are.

·     
For the most part, gifs don’t work

·     
Links to videos don’t work

I used a Firefox extension called “Scrapbook X”

o  I went to
the Meta Masterlist page, and hit “capture all”

o  I will
upload the raw data from all this

o  If you can
get the data to work on your version of Scrapbook X, it should look like the
original post (pictures included)

@gwyndall was kind enough to mention to me that much of LSiT’s stuff is archived at the wayback machine. Go to https://archive.org/web/ and paste the URL of the original content. The URL for the “Meta Masterlist” was:

http://loudest-subtext-in-television.tumblr.com/metas

rb since it looks like i may not have yet since making a tumblr, and cos there are new folks here whe might not have seen it.

I have been pining for this for so long, thank you so much!!! I feel like a kid in a candy store now! I wish she was still here to talk meta with us!

Sherlock Meta

ravenmorganleigh:

foxestacado:

obotligtnyfiken:

simpleanddestructivechemistry:

foxestacado:

Not excusing Sherlock’s drug use, but if his mind is always like this – filled with demeaning, belittling, jealous, mocking, and disappointed voices (that, worse, take on the form of his friends and family) – would it be any wonder why he wouldn’t mind throwing away the “beautiful gifts” he was born with? 

did I ask?! 😭💔😫

I did a little thing on name-calling a while back, in case you are interested @simpleanddestructivechemistry @foxestacado

Sherlock really is flooded with negativity. What hurts me most is that so many people, including people involved with the show, seem to think he deserves everything he gets.

Holy cow I love this! Thank you @obotligtnyfiken! Also, your Sherlock series timeline was amazing to see in the @threepatchpodcast Bolthole at @221bcon

YEP. 

tjlcisthenewsexy:

raggedyblue:

possiblyimbiassed:

tjlcisthenewsexy:

“[Season 4] is going to be… I suppose you’d say… consequences. It’s consequences.” – Steven Moffat x

Remember this quote? These are from Doctor Who’s The Zygon Inversion, episode co-written by Steven Moffat:

image
image
image

Somebody is playing word games. It turns out, actually, (after I thought to check), that Moffs was quoted saying this just 3 months before The Zygon Inversion was filmed, which is – I mean I don’t know much about how these things happen – but like…..possibly around the general time that Moffat was likely to be writing the episode??? The interview linked above where Moffs was quoted was published in March 2015. The Zygon Inversion was filmed in May 2015. Connection much? So according to their own little riddle, if S4 was consequences, then it wasn’t the truth.

Great find @tjlcisthenewsexy! I haven’t watched that particular DW episode, but in general I strongly suspect Moffat of playing word games, and other games too, with us. 

But to me this expression is really funny. Because in my country, this game – ‘Truth or Dare’ – has been popular among the kids for as long as I can remember. But we call it ‘Truth or Consequence’. The idea is that you have to choose; either you tell the truth, or suffer the consequences. The other player asks you some embarrassing or ‘matter-of-the-heart’ question, like ‘Who are you in love with?’, and you have to answer truthfully. If you refuse to tell the truth, you have to pay by doing something embarrassing or painful or otherwise inconvenient of your opponent’s choice. And the game goes on until the players get tired of it and want to quit. 

So, if we try to apply this on Sherlock (and my belief is that the whole of this show is from Sherlock’s perspective), what possible truth is there that Sherlock refuses to tell us (or anyone, for that matter, including himself)? That he’s in love with John Watson! Well, he actually sort of says it in his best man speech in TSoT, but only in a way that could be taken for an expression of close friendship. He’s not really truthful, is he? So then he must suffer the consequences, and that’s S4! 🙂 He must go through all the pain and suffering that is HLV and TAB and S4; he must see John leave him for someone who breaks his heart shoots him and build a family with this person, reject him and even beat him up. But not even at that point does Sherlock admit to being in love. And then he is converted into an emotional lab rat in TFP. That’s some dire consequences, isn’t it? 

So yes, Steven Moffat, I agree; S4 is about consequences, and the game is on! 😉

@ebaeschnbliah @gosherlocked @sarahthecoat @raggedyblue @sagestreet @someovermind

Truth and Consequences is also the name of a radio program, then television, which also derives the name of the town, real, which appears in the episodes of Doctor Who. The concept is the same of the game that children do, they have to choose between an embarrassing dare or an embarrassing truth. In the radio game the players had to choose between answering too difficult questions or undergoing ridiculous challenges. Often in the midst of these ridiculous trials there was a tearful moment, perhaps with the reunification of a long lost family member. Definitely, I agree with @possiblyimbiassed, it sounds very similar to Sherlock who chooses not to tell the whole truth, at the wedding, at stag night , on the tarmac, and finds himself having to suffer ridiculous consequences …. with family reunification included

@ebaeschnbliah @gosherlocked @sarahthecoat @possiblyimbiassed@sagestreet @someovermind

It’s not a game anymore!! 🙂

I did a lot of looking for anything else about the original radio program and TV show, and I found this too…

That’s Basil Rathbone on the 6th anniversary show of Truth or Consequences on March 23, 1946 x x 🙂

@raggedyblue @possiblyimbiassed

featuresofinterest:

i’m not sure if anyone has talked about this before but i just watched The Hug scene in tld and suddenly had a revelation about the placement of john and sherlock’s chairs in 221b

it occurred to me that we can maybe think about the kitchen as a symbol for sexual desires/emotions, and the window as a symbol for society/the outside world?

sherlock’s chair sits near the window, but it’s facing away from the window and toward the kitchen. sherlock is socially isolated, he’s an outcast, and he keeps distance from his emotions to the point where he describes himself as a sociopath. john’s chair stands between sherlock’s chair and the kitchen because it’s ultimately sherlock’s feelings for john that he’s keeping himself distant from.

john’s chair sits near the kitchen, but it’s facing away from the kitchen and toward the window. john has feelings for sherlock that he doesn’t want to acknowledge, and he keeps himself distant from the world in the sense that he doesn’t allow it to see who he really is. sherlock’s chair stands between john’s chair and the window because it’s through acknowledging his feelings for sherlock that the world will be able to see the real john watson.

When Mary Shot Sherlock – A Medical Analysis

adayinthelifeofsomething:

Where did the bullet land? How did Sherlock survive his heart stopping? Did Mary really try to save his life by shooting Sherlock? An analysis of what happened after Mary shot Sherlock, and a discussion about how Sherlock managed to come back…

*This is freaking brilliant*

Somehow this got posted onto my personal blog years ago??? Someone liked it the other day sooooo yeah

When Mary Shot Sherlock – A Medical Analysis

What happened to Sherlock? Part III – Drugs and weirdness

possiblyimbiassed:

At this stage, I think no-one would deny that drugs is a recurring theme in BBC Sherlock. And it seems to me that the more the show progresses in time, the more focus we get on this drug theme. The last time I heard of it from fandom was right before Christmas, when @someovermind posted this video made by nerdwriter1 about the very creative filming in TLD, where we’re seeing things from Sherlock’s perspective when he is high on drugs, and also displaying some symptoms of abstinence. It’s a great video, I can really recommend it.

image

@someovermind  ended their comment of the video with these words:
So maybe we should be on the lookout for camera angles that are impossible because they obviously point to Sherlock’s drug induced state ??**;¿¿ And if they are anywhere else it obviously directs us to EMP??¿¿

I think that’s a very good idea, and it fits nicely with the kind of exercise I’ve been planning to do in this meta.

As I’ve said before, I believe there is a ‘game’ proposed in BBC Sherlock which we, as an audience, are challenged to play, by trying to solve the enigma of what has actually happened to Sherlock and why has the show become weirder and weirder over time.

This is the third part of a meta series where I try to look at BBC Sherlock with a ‘scientific’ approach.  I’m trying to use Sherlock Holmes’ methods of data collection, deductions, hypotheses and predictions, test them and thereby try to solve the puzzles presented to us, as explained in my introduction. As you can see in the introduction, Sherlock’s methods are very similar to the scientific method, which is used by researchers in general and scientists in particular. Which means that we’ll ask some questions that enable us to put up hypotheses. Based on the hypotheses we’ll make some predictions that can be tested with observations from the show. (If you want to read my first two metas of the series, just follow the links of the hypotheses #1 and #2).

Hypothesis #1 was: John’s blog is the most truthful account of the actual events. 

And Hypothesis #2 (originally @raggedyblue’s idea ) was:  The show up until John’s wedding is Sherlock reliving their story together in his MP, after reading John’s blog.

These two hypotheses can definitely be wrong, no doubt about that. But at least I’ve tried to test them, finding out a certain amount of evidence that I think speaks for them being at least plausible.

In this meta, though, I’m going to assume that both these hypotheses are indeed true. In other words: In the show ‘Sherlock’ (as the name actually suggests) we’re inside Sherlock’s head all along. And based on this assumption, I’ll try to explore which role Sherlock’s drug use may have in the story we’ve been shown from ASiP to TSoT. As usual, the meta is lengthy (this time even longer than usual), so you’ll find most of it under the cut.

Czytaj dalej