Hiding in Plain Sight- part six

sectoralheterochromiairidum:

monikakrasnorada:

Evolution- Deductions vs Mind Palace: A Comprehensive Look

“Sometimes a deception is so audacious, so outrageous that you can’t see it even when it’s staring you in the face.”

Disclaimer #1: This is where you get off if you are not on the EMP train. Sorry, but the entire reason for all of these posts boils down to EMP theory and what it means for the show as we’ve seen it.

Disclaimer #2: I know. There are loads of amazing meta out there, pointing to different origins for Sherlock’s continued mind palace wanderings. The pool. The fall. There’s amazing proof that could back it up all the way to the gay pilot. There is difference of opinion on when it began even within the diehard group of us that have been crying EMP since TAB. And, I’m not trying to disprove any of those theories or ideas. Like I said, there’s loads of proof for all of them. This is my interpretation and what I believe is happening and why. If it turns out that the beginning point ends up somewhere else in the timeline, I will not be hurt at all. Because, for me, if EMP ends up being what is truly happening within the show, I will take any starting point they want to give us. It’s all about Sherlock in the end. His journey and what he reveals and understands of himself.

Disclaimer #3: EMP, as a theory,  was never meant to ‘excuse’ what we didn’t like about the show, and especially S4. It was never meant to be a bandaid over plotholes or an eyepatch to hide what we didn’t like seeing. It’s not to excuse Mofftiss’ heinous comments or to prop them up as infallible and almighty. It was truly only ever an idea we saw clear evidence in support of. We didn’t go looking for a way to shape this theory, as some other theories in the past have done. We aren’t- and will never- claim that anyone that doesn’t believe or support this theory are wrong. Or that this is the only theory for what could possibly be happening within the show. 

I have no illusions that I am in any way, trying to reveal something new about this episode. It’s been talked to death, examined, meta’d to within an inch of its life. None of these mind palace posts are meant to highlight new information. I am merely trying to illustrate the continued expansion and use of the mind palace device in a linear fashion. There is a method to my madness, I promise. 😉

So, all of that being said, this meta series (X)(X)(X)(X)(X)  is based on EMP starting with Mary shooting Sherlock.

image

tl;dr- In case you don’t want to read K’s of words of no new info- HLV is mind palace heaven. The amount of mind palace in this ep is astronomical, and thus, this theory (that I’m trying to prove) remains in place: With each consecutive episode of the show, the mind palace moments we see, increase in length and intensity.

Under the cut.

Czytaj dalej

THIS POST GAVE ME LIFE

~Napoleon, Nietzsche & TFP~

artfulkindoforder:

tendergingergirl:

A Study In Holmesian Iconoclasm: Masks & Images P.2

This is the final part of a series that looked into the canon story The Six Napoleons, resulting in mary-resurrects-lucretia & sherlock-on-the-ocean-when-neitzsche-wept. In the story, someone is running around, smashing Napoleon busts. Strange enough, but even more so when you find out that this has all happened before. Arthur Conan Doyle was masterful, it seems, at embedding real-life people and true tales of History in the Holmes stories. Iconoclasm is the social belief in the importance of the destruction of usually religious icons and other images or monuments, most frequently for religious or political reasons…In Political and revolutionary iconoclasm, revolutions, and changes of regime, whether through uprising of the local population, foreign invasion, or a combination of both, are often accompanied by the public destruction of statues and monuments identified with the previous regime.

image

Keep reading

omg @tendergingergirl this is EPIC

notagarroter:

bonadompna:

Visualizing Camera Movement in
Scene I of Sherlock’s “The Six Thatchers”

Camera movement is one of the most basic aspects of cinematic storytelling and when you notice it, it’s usually because you’re meant to. The kind of camera movement I’m mapping in my Sherlock video above is extremely subtle. It’s not the kind of camera work that will win awards or accolades because it’s as fundamental to cinematic (and now television) grammar as as my first person writing style is to this meta. You’ll see a restless camera everywhere now that I’ve brought it to your attention. 

In the case of Sherlock the first of six similar shots in T6T’s introduction is the only completely static shot where the camera doesn’t move at all, and it’s the shot that establishes Sherlock’s boredom. His total disengagement from Mycroft’s proceedings has gone unnoticed for a spell until Mycroft realizes his little brother has been too still, too quiet for too long-  while silently and flippantly tweeting.

Here are some examples of more obvious camera work. It’s a short video and worth a gander.

Interesting! It’s striking that the director would make this choice, given that I assume a static camera would be the easiest, most intuitive choice. Why bother with a moving camera for such a subtle effect? But it’s true that it does make the scene just a bit more visually interesting, even when we’re not consciously aware of it.

Who’s The Dragon Slayer?

possiblyimbiassed:

Several times in this show, Sherlock Holmes is referred to as a ‘dragon slayer’. Moriarty taunts him about it in TRF, through a mock fairy tale in a taxi. Mary repeats it in TST, when he offers to help her (again). Even Sherlock’s own brother gives him this title in HLV, although a bit condescending as usual:

Mycroft thinks this is how Sherlock views himself:

I’m not so sure he’s right, though, since I believe Sherlock’s self esteem isn’t really as high as it may seem. Both Mycroft and the villain Magnusen have also mentioned Sherlock’s ‘damsels in distress’ –  people he has to save at any cost. John is supposed to be one of them, and that may be very true.

But who is it – to be honest – that usually does the actual ‘slaying’ in our story? Who is the brave knight that goes into battle to take down the enemy?

In ASiP, when Sherlock risks his life just to prove he’s clever, it’s John who ends up shooting the serial killer:

In TBB John is supposed to be on a date with Sarah, but Sherlock lures him into adventures again. When the criminals kidnap John and Sarah, Sherlock comes to their rescue. But he fails to actually save them, and it’s ultimately John who manages – lying on the ground with his own hands tied – to kick the crossbow pointing at Sarah, so that the arrow hits the murderer instead:

In TGG John is kidnapped – again. Sherlock has a gun but can do nothing with it since Moriarty has John covered in explosives. But somehow John always manages to turn the tables around. Who’s the ‘knight’ here?

In ASiB the villain who works for Moriarty is Irene. She drugs Sherlock and plays a dangerous game on him and his brother, and John is lured away for the umpteenth time this show. This ends, however, with John confronting Irene (verbally) in the Battersea Power Station, ordering her to stop playing and tell Sherlock she’s alive.

In THoB Sherlock did – as usual – solve the puzzle, but – also as usual – it was John Watson who ultimately ‘slew the monster’:

An on and on it goes, following the same pattern, although the enemy may shift. I think Sherlock is very aware of this, judging by his best man speech in TSoT: “I will solve your murder, but it takes John Watson to save your life”.

John’s brave loyalty seems to have no limits. In TRF, when Scotland Yard turns upon Sherlock, listening to slander about him, it’s John Watson who punches them in the face.

As we know, John has been an army doctor – which means warrior and at the same time caretaker – from the Fifth Northumberland Fusiliers. I take it that this regiment no longer exists in the British Army under its old name, but its equivalent today is the The Royal Regiment of Fusiliers (source: http://johnwatsonswar.livejournal.com/2158.html ). Interestingly, their cap badge depicts – guess what…

A Dragon Slayer!! I find it hard to believe that the universe would be so lazy…

As an in-joke, maybe the following could also be some sort of clue:

(Bilbo and Smaug the dragon from The Hobbit, interpreted by Martin Freeman and Benedict Cumberbatch, who also play John and Sherlock)

In Series 3, though, something serious must have happened. After two years of bereavement, John seems to have changed considerably. He’s brave as usual, but the targets of his attacks have altered, and they really don’t seem to deserve his level of violence. In TEH he hits Sherlock three times hard in the face. In TSoT he somehow manages (unknowingly) to marry an assassin, but he stays with her even later when he knows that she has shot his best friend. In HLV John resorts to beating up a junkie basically to get an adrenaline kick. Not a dragon slayer any more, just a slayer.

And John does seem to have hit rock bottom in TLD when he assaults his beloved friend in a most brutal way, even hospitalizing him, unfairly blaming him for the death of the person who almost killed Sherlock before. This is really not the John Watson we used to know.  The ‘bravery of the soldier’, the ‘strong moral principle’ has turned into abuse. Let’s hope that what we see is some kind of nightmare rather than the real John…

Now I actually don’t believe that Series 4 is real – I think the last episodes are part of some sort of mind game where most scenes take place inside Sherlock’s head and perhaps even inside John’s, corrupting their perception of reality. Possibly even most of HLV might be fake. And to me, one of the strongest indications of it is this unsolved business with John Watson’s personality change. Sherlock may have claimed that love is a vicious motivator already in the first episode, but if his actor was honest when he told us that in the end “Love conquers all”, then there really must be more to come – and soon, please!

Sherlock’s note

possiblyimbiassed:

I was reading Sherlock’s post on John’s blog – which also is the very last post on that blog – when I realized something in the comments section that I probably should have noticed ages ago:

image
image

Does this ring any bell? ANYONE!?

Talking about elephants in the room, but this has been there since Series 3, hiding in plain sight. Three things stand out to me:

1. Sherlock is hinting heavily about John’s wedding as a crime scene and what happened there. He seems very lonely and desperate for some attention; he has been leaving comments for two days, but no-one cares. John and ‘Mary’ have apparently read his post, but they both merely tell him to shut up.

2. Finally, when John no longer responds at all, Sherlock allows himself to be distracted by Mrs Hudson, and they’re about to play CLUEDO. As in “clue”.

3. The very strong emphasis on the word “anyone”.

And then we get Series 4 and TLD with this:

image
image
image
image
image

Czytaj dalej

What happened to Sherlock? The game is on!

possiblyimbiassed:

Here’s a thrilling, really dramatic scene from TSoT:

image
image
image

John seems desperate here; a person very important to him 😉 is about to die – either from suicide or from a mystic criminal we haven’t identified yet. John’s wedding has become a crime scene! So he orders Sherlock to solve it… But wait a minute – does he now? Why then is John saying that Sherlock is not a puzzle solver?

I mean, we do know that he’s been a drama queen ever since S1, don’t we? Shooting the wall, sulking when John criticizes him, faking his own death in front of John, disguising himself to surprise John after two years, making John forgive him while pretending that a bomb is going to explode…  And in HLV and TAB, Sherlock himself even says that he can’t resist a ‘touch of the dramatic’.

But he has also been a puzzle solver – that’s Sherlock Holmes’ MO. That’s what the Holmes stories always have been about in every adaptation, right? And yet John tells him now that he’s not a puzzle solver!? And then, in spite of this, he still says “the game is on – solve it!

I always found this conversation a bit weird, seeing as it’s Major Sholto who is the drama queen in this case; it’s he who threatens to kill himself behind a locked door, not Sherlock. But now, in hindsight after Series 4, I finally think I ‘get it’. In fact, I believe they said it already in Series 1, TGG:

image
image
image

Why should we wait for Sherlock to solve the puzzle, when it can take years before S5 airs? This is something new! And John says Sherlock is not the puzzle solver. I believe John’s message from TSoT is directed at us, the audience. Look at John in the last TSoT picture above – for a moment he’s looking away from Sherlock. This is our case – our game, and I believe we’re meant to figure out what has happened to Sherlock!

Because after TSoT, Sherlock is no longer solving puzzles; he fails his cases and has completely turned into Drama instead. We’re supposed to figure out what happens here – not with Major Sholto, but with Sherlock. Look at this girl from TGG. She’s hungry, but Sherlock has given her food for thought money for food, if she helps him to solve a puzzle; I think she’s us

image

And in TLD, Shakespeare Sherlock couldn’t have said it clearer:

image
image

I think we have a crime case to solve – in fact I believe the whole show is a case for us, the audience, to try to solve. We’re not meant to just consume BBC Sherlock for entertainment, as passive viewers; It’s a crime case carefully laid out before us, complete with victim, suspects, murder weapon, venue and everything. And I think we’re supposed to use Sherlock’s methods – the science of deduction – to solve it. So, why not have a go? After all, we have plenty of time on our hands until S5 airs. 😉

This is Part I of a series of metas I plan to write, trying to see if it’s possible to deduce what has happened to Sherlock. In this exercise I’ll also try to provide links to a series of truly brilliant metas from different people in this fandom, which are all a great inspiration. And please bear with me if this introduction is getting a bit long (you can find most of it under the cut).

Czytaj dalej

darlingtonsubstitution:

tendergingergirl:

materialofonebeing:

thenorwoodbuilder:

Arthur Conan Doyle, The Adventure of the Resident PatientThe Adventure of the Cardboard Box 

A bit of information about 221b decor (and more)

So, one of Holmes and Watson’s clients entering their living room about 1886 would have found its walls decorated, most likely, by the reproduction of one of the above famous portraits of General Charles George Gordon, as well as by the reproduction of one of the above famous portraits of Henry Ward Beecher.

We can infer from the canonical quote above, that both were Watson’s contribution to the lodgings’ furnishing: Holmes says “YOUR newly framed picture of General Gordon”, and Beecher’s portrait stands upon WATSON’S books.
The fact that one of them was “newly framed”, while the other was still lacking a frame, indicates probably a recent acquisition on Watson’s part, even if, I think, not a simultaneous one, otherwise Watson would have had the portrait of Beecher framed, too, when he brought Gordon’s one to the framer’s. Besides, while Watson had already found a suitable place and hung Gordon’s portrait, from Holmes’ comment it’s apparent that he was pondering in that precise moment where Beecher’s one could better fit.

My personal educated guess (read: headcanon) is that Watson bought Gordon’s portrait not long after the news of Gordon’s tragic death, which occurred on 26 January 1885, and on the surge of public emotion caused by it. Some time later, maybe on the occasion of the following Christmas, maybe following the death of Beecher in March 1887 and knowing that Watson would have liked a memento like the one he had bought of Gordon, Holmes, remembering passionate conversations with Watson about his ‘heroes’ Gordon AND Beecher (also hinted at in the above quote), decided to present his friend with a portrait of the latter, which could be an appreciated pendant to Gordon’s picture. (After all who, if not Sherlock Holmes, should be able to deduce the perfect gift for anybody?!? And even more so for his best friend and co-lodger!)

That Watson was a huge fan of these two people tells us quite something about our good Doctor.

[WARNING: Biographical digression begins!]

Charles George Gordon, aka ‘Chinese Gordon’, aka ‘Gordon Pasha’, aka ‘Gordon of Karthoum’ was probably the most famous British general of his age and, at the time of his death, was regarded by the majority of British public opinion as an heroic, almost Christologic figure (even if many of more recent historians provide – quite rightly, according to me – a by far more critical appraisal of the man), probably reinforced by his well known strong and a bit mystical religious beliefs. Contemporary biographies had almost invariably a quite hagiographic undertone, and therefore that was his image about the British population in those years (and probably still is, to many, also thanks to Ardrey’s famous 1966 film).
Gordon firstly made his military reputation in China, where he was placed in command of a force of Chinese soldiers led by European officers. In the early 1860s, this army was instrumental in putting down the Taiping Rebellion (probably the first ‘total war’ of modern history, with estimated casualties amounting to 20 millions or more, and for the first time a prevailing civilian component amongst them), regularly defeating much larger forces. For these accomplishments, he was given the nickname “Chinese” Gordon and honours from both the Emperor of China and the British.
Back in England, following the death of his father he undertook extensive social work and donated the gardens of his official residence to the public, thus gaining a philantropic reputation.
But his properly ‘heroic’ image was built after he, in 1873, entered the service of the Khedive (with the British government’s approval) and then became Governor-General of Sudan, where he did much to suppress revolts and the slave trade.
Exhausted, he resigned and returned to Europe in 1880, where he spent a couple of weeks in the Hotel du Faucon in Lausanne, probably because there had lodges also Giusppe Garibaldi, one of HIS heroes (ok, forgive this moment of national pride…).
When a serious revolt exploded in Sudan, led by a Muslim reformer and self-proclaimed Mahdi, Muhammad Ahmad, Gordon was sent again to Khartoum by the British Government (January 1884), with instructions to secure the evacuation and then depart. After evacuating about 2,500 British civilians, however, with the rebels advancing against Karthoum, Gordon retained a smaller group of soldiers and non-military men. Besieged by the Mahdi’s forces, Gordon organized a city-wide defence, which lasted almost a year and gained him the admiration of the British public, AND embarassed and annoyed the government, which had not wished to be so entangled in the rebellion. Only when public pressure to act had become too great did the government reluctantly send a relief force, which, however,arrived only two days after the city had fallen and Gordon had been killed, at age 51. The public outcry and indignation was immense, and Gordon was regarded almost as a martyr. His death led to an “unprecedented wave of public grief across Britain” and, in the following years, portraits of him and romanticized pictures of his death became quite popular amongst the British public; several memorials were built thanks to public subscriptions.

Henry Ward Beecher was American, the son of a Calvinist minister and a clergyman himself, albeit, possibly as a reaction to his father’s stern religious views, he developed a theology emphasizing God’s love above all else, and a novel (and very successful: he basically supported himself and his causes by the high fees he charged for his lectures, being a very popular lecturer) oratorical style, in which he employed humor, dialect, and slang. Himself a famous social reformer, Beecher had several siblings, many of whom became well-known educators and activists, most notably Harriet Beecher Stowe, who achieved worldwide fame with her abolitionist novel Uncle Tom’s Cabin.
Beecher became involved in many social issues of his day, most notably abolition. In his essay Shall We Compromise, he attacked the Compromise of 1850, an agreement between anti-slavery and pro-slavery forces which banned slavery from California and Washington, D.C. at the cost of a more severe Fugitive Slave Act: Beecher argued that it was a Christian’s duty to feed and shelter escaped slaves, and that slavery and liberty were fundamentally incompatible, making compromise impossible (“One or the other must die”). When a conflict between anti-slavery and pro-slavery forces broke out in Kansas, in 1854, Beecher raised funds to send rifles to abolitionist forces, stating that the weapons would do more good than “a hundred Bibles”. The press subsequently nicknamed the weapons “Beecher’s Bibles”.
In 1863, during the Civil War, President Abraham Lincoln sent Beecher on a speaking tour in Europe to gain support for the Union cause – and this is evidently the occasion referred to by Holmes in the above quote. Beecher’s speeches helped to turn European public opinion against the pro-slavery Confederate States and to prevent its recognition by foreign powers. Watson was only a child at the time, and it’s therefore unlikely – albeit not impossible – that he heard any of Beecher’s lectures in person, but he probably read about them following his keen interest in Beecher’s life and ideals.
After the war, Beecher also strongly supported the temperance movement (he was a committed teetotaller himself) and became a leader in the movement for women’s suffrage. On the other hand, he supported social darwinist ideas and preached strongly against strikes and strikers, believing that businessmen and captains of industry should be the leaders of society. He also was a quite renown womanizer, and ended up involved in an adultery trial which raised a scandal of national (and international: George Sand planned to write a novel about it, but never managed to begin it before dying) proportions, the so-called “Beecher-Tilton Scandal”, which alienated him from many fellow women’s rights leaders – included his sister Isabella Beecher Hooker.
He died in his sleep on 8 March 1887 (aged 73), having suffered a stroke some days before.

[END of biographical digression]

Now, of course, we cannot know exactly how much, and what, Watson shared with these two men with respect to their ideas – of course, he could as well have agreed upon some of them, and disagreed on others.

Nonetheless, it’s interesting to notice what they have in common:

  • Both of them – albeit in different ways and different continents – actively fought against slavery and played an important role in taking it down.
  • They had both strong, charismatic characters, were natural leaders, had very strong – albeit occasionally eccentric – personalities, and were basically born fighters, even if they fought in different ways.
  • They had both, each one in his own way, a strong commitment to social work and social development (even if occasionally driven by questionable ideas…) and were, to some extent and with all their limits and all the due differences, ‘revolutionaries’.
  • They had both a strong religious, spiritual drive and some messianic trait, in a way – they were certainly persuaded that God backed up their causes, and their faith inspired their choices and commitments.

So, what do all these things tell us about Watson?

Well, I’d guess they basically confirm some things we already knew about the good Doctor, and maybe suggest something more.
That Watson was a man who admired strong, leading personalities we know from his admiration and devotion to Sherlock Holmes. That he was, himself, a “man of action”, and thus couldn’t but admire other men of action, Holmes tells us more than once, and is also apparent from what Watson tells us about his role in Holmes’ adventures. That he was – just like his literary agent, Dr. Arthur Conan Doyle – a peculiar mixture of solid British conservativism and rebellious free spirit, all topped by a dominating chivalrous spirit which led him to run to the defense of the innocent, the weak, the defenseless, we can infer from the whole Canon. Whenever Holmes breaks the law to pursue what he deems a fairer output, a more just solution, Watson is with him; whenever there is a lady in distress, an innocent unjustly accused, someone who has suffered a wrongdoing, Watson’s heart (and arm…) go to them.
Can we also infer an interest, on Watson’s part, for religious, or at least spiritual, issues? Well, in the Canon there are not direct references to such an interest; and yet, we know that Watson read Carlyle (STUD) and Jean Paul Richter (SIGN) and had enough interest in philosophy to mark Holmes’ lack of interest in it as one of his top limits at the beginning of their acquaintance (STUD). More than this, I guess, we cannot tell – maybe he had a more active interest in religion than Sherlock Holmes, maybe, instead, he was just interested in the philosophical aspects of it, but I’d dare say that he, like his best friend, kept to some kind of spiritual (not spiritistic!) belief.

In any case, Watson keeping posters of his idols on the walls of his lodgings and fangirling over them is so terribly endearing!

😉

Gordon also was a never-married lover of boys.  Beecher, a known adulterer.  Might also tell us Watson was willing to overlook some things about men he admired.

Good Lord of Heavens!! @darlingtonsubstitution I was actually going to theorize that perhaps what Watson saw in these men, additionally, was what he found not only in himself, but in Holmes also. I had remembered a canon quote about Holmes enjoying religious plays and studying Buddhism, so in trying to find it, I came across a very insightful article:

“In dozens of dialogues with Watson, Holmes attempts to awaken in his friend the skills and willingness to see things as they are, not as one wishes, believes, projects, or fantasizes they are. As the philosopher Wittgenstein said, in a Zen-like fashion much like Holmes’, “Don’t think. Look!” Indeed, many a case turns on Holmes’ ability to gaze at a crime scene and see it without prior theories or prejudice, to see what is present. Keeping perception clear is the opening to insight.

According to Doyle’s text, Holmes has only one clear religious interest: He’s an eclectic religious searcher, especially concerning the religions of the East. This interfaith curiosity is signaled early, in The Sign of Four, when Holmes is described by Watson as chatting away with casual brilliance on many subjects, “on miracle plays, on mediaeval pottery, on Stradivarius violins, on the Buddhism of Ceylon, and on the warships of the future.” Watson adds that Holmes spoke “as though he had made a special study of it.” That Holmes would study Hinayana Buddhism seems surprising, until one actually looks at the ancient sources of this rigorous minority branch of Buddhism. Then the attraction becomes quite clear. Hinayana Buddhism, which claims to be the oldest, most accurate account of Buddha’s teachings, presents the Buddha as cool, rational, and emotionally distant, a strict and intellectually rigorous instructor. (The Compassionate Buddha of Mahayana Buddhism had yet to be developed.)

In “The Veiled Lodger,” Watson describes his friend as sitting “upon the floor like some strange Buddha, with crossed legs.” What’s more, consider how Holmes spent his three-year “hiatus” when everyone thought him a dead man, at the bottom of Reichenbach Falls with Moriarty. Free to do as he pleased, Holmes spent two of those years traveling in Tibet, where, he says, he “amused myself by visiting Lhasa, and spending some days with the head lama.” Some Sherlockians have speculated that Holmes completed his Buddhist initiation during those years and became a Buddhist master, a guru of awareness and observation. Perhaps that explains why Holmes is never again seen using drugs to calm his teeming brain.” (!!)

image

So, this not only cements Sherlock as Charlie Welsborough, coming back from Tibet, and possibly intending to come out to his dad, (a John look-a-like, AND a British Conservative, just as you described Watson), only to be ‘burnt to a crisp’ before he can reveal himself, but there is a possibility that Holmes is a Buddhist! I am floored. That is an awesome theory, if true. An additional point, supposedly, he STOPPED using drugs, when he returned, so why did we get Shezza back, although, I could never regret the Henry IV speech.

Zen in the Art of Sherlock Holmes: Five ways in which the great detective teaches us to unravel life’s great mysteries (from UTNE, no less!)

@may-shepard @tjlcisthenewsexy @loveismyrevolution @monikakrasnorada @devoursjohnlock @loveinthemindpalace @possiblyimbiassed @artfulkindoforder @raggedyblue @fellshish

@tendergingergirl thanks for all the information! Although I’m guessing you meant to tag @thenorwoodbuilder about the awesome content of the original post and the description of Watson……?

Love your addition regardless 🙏

isitandwonder:

gosherlocked:

monikakrasnorada:

sockenpuppe:

(just ignore the “click” sounds, they’re coming from the keys of my electronic keyboard and my phone was too close to it while recording)

TFP is so fakefakefake lalalaa~ ♪


I have no idea if someone’s already pointed this out but let’s just begin:


Funny coincidence. I was looking for a song to play on the electronic keyboard. It’s been a very long time since I last played (and I never really managed to use both hands at the same time *laugh*) so it had to be an easy one.
I stumbled upon one that was called “Rousseau’s Dream”, listened to the first few notes and was like: Wait! You know that tune!

Turns out it was the tune of Eurus’ song.

And here we go:

The original tune is part of the French opera “Le devin du village” (The Village Soothsayer) by Jean-Jacques Rousseau.

This is what it sounded like originally:

And this is what the opera is about:

image

(taken from here)

Okay, I won’t go into detail about how the infidelity plot of the opera and Sherlock series 4 may be connected. What I find the most interesting is the soothsayer the protagonists seek advice from.

Remember what Mycroft said about Eurus?

There is, in this facility, a prisoner whose intellectual abilities are of occasional use to the British government.
She predicted the exact dates of the last three terrorist attacks on the British mainland after an hour on Twitter.

This can’t be a mere coincidence. It just can’t. The universe is rarely so lazy.

But it gets better! Because this was just the original tune.

In 1819, Johann Baptist Cramer published a version of the tune – and this one’s much more similar to Eurus’ version – under the title “Rousseau’s Dream”.
Rousseau’s. DREAM! (I burst out laughing when I read the title since I’m still convinced that not everything we saw in series 4 is real and that TFP, at least, takes place in Sherlock’s mind palace or is John’s TAB.)

But there’s still more!

It is also the tune of “Go Tell Aunt Rhody”, an American folk song. It’s about the death of Aunt Rhodey’s goose. A goose that died in a mill pond.

(And can we please talk about how similar “Aunt Rhodey” sounds to “Uncle Rudy/Rudi”?!)

And this still isn’t all!

Because THIS.DAMN.SONG plays heavily in “Resident Evil VII”, a survival horror video game!

And what is it about?

The game proper takes place after the events of Beginning Hour [A/N: the teaser demo], which ended with the murder of a three-man TV crew by the possibly-infected Baker family members Jack and Mia. It features a new protagonist named Ethan Winters, a civilian who offers fewer combat skills than most previous Resident Evil protagonists. Ethan is searching for his missing wife, Mia, which leads him to a derelict plantation mansion, home of the Baker family.” (source: http://residentevil.wikia.com/wiki/Resident_Evil_7:_Biohazard/plot )

Now, listen to the song:

I was raised in a deep, dark hole,
A prisoner with no parole,
They locked me up and took my soul,
Shamed of what they’d made.

asdfsgdsjashfkghjkljdsfkl

I can’t … I …

They could have easily composed a new tune for Eurus’ song. But they didn’t. They used this one! And all this can’t be a coincidence! (Because that would be one helluva one!)

This … TFP has to be fake/Sherlock’s mind palace/John’s TAB/etc.! It has to!

Tagging some people under the cut, I hope you don’t mind.

Keep reading

Love this! Being from the rural south in the US, I grew up hearing / singing “Go Tell Aunt Rhody” so Eurus’ theme has always been familiar to me. What I didn’t know was all the rest of this and the horror game tie in. Just. Wow. I need NO CONVINCING that all of Series 4 remains in Sherlock’s mp (and if we get a secret 4th ep or series 5) that that reveal will be the rug pull they’ve been talking about. But it continues to be gravy to keep finding all these things that back up my thoughts on this theory. EMP lives on.

What an amazing find, @sockenpuppe! This cannot be a coincidence, especially since the song appears in so many versions. And you know what this reminds me of? The Appledore theme from HLV which is very similar to the “Cold Song” from Henry Purcell’s opera “King Arthur”. I have written a little meta about it: X.

So there is a precedent of Arnold and Price using a piece of Baroque music as a template for a key theme in Sherlock. 

@ebaeschnbliah, @loveismyrevolution, @isitandwonder

And remember the convo we had about Bach! Btw, when I read your cold song post, I was reminded of eldritchhorrors fic with the same name, never finished but left in 2013, before shooting for s3 even began. That story describes Sherlock playing the Chaconne… I wonder when this piece will feature in the soundtrack…

Can I Be of Assistance? BBC Sherlock and The Secret of Sherlock Holmes

devoursjohnlock:

image

The
Secret of Sherlock Holmes was a play written by Jeremy Paul, who also wrote several episodes of the Granada series.
Paul and Jeremy Brett, who had been friends for two decades before this play
was produced, would often talk about Sherlock Holmes and his origins.
During one of these discussions, Brett commissioned this play from Paul; it contains many of Brett’s
own theories about the character so many people identified with him. The play
was meant to be a one-off, starring Jeremy Brett and Edward Hardwicke in their
famous roles, in celebration of the 100th anniversary of A Study in Scarlet.
However, it was met with such enthusiasm that it ended up running for a full
year (1988/1989), rather to the detriment of Brett’s health.

As a
refresher, the Granada series ran from 1984 to 1995. The first season ended
with The Final Problem, and the second ended with The Bruce–Partington Plans (episodes did not follow the order of Watson’s writings or any chronological order of occurrence).
The play ran between the second and third seasons.

There
will be lots of spoilers below the cut, so if you’d like to experience the play
before reading, please click here for an
audio recording of the original performance
in two parts. Unfortunately, the play was never
filmed. Also unfortunately, the audio becomes very poor around 19:20 in the
second audio link. I promise it never gets loud again after that (except an exclamation or two by Jeremy Brett, of course!), so feel free to turn up your volume.

image

Before I
read The Secret of Sherlock Holmes, I expected it to be entirely in keeping
with the Granada series. It’s not. The series and the play differ in tone and
content. There are no cases, and Holmes and Watson are the only characters. Stories that had already been adapted in Granada turn up in the
play in different forms, but only to serve their relationship. The play adapts
the subtext of the stories, rather than the text, which is something Granada rarely did, and mainly in the later episodes, like The Eligible Bachelor.

In the context of Sherlock, this means that The Secret of Sherlock
Holmes is a greater source than the Granada series was, because
the play was
original in ways that the series wasn’t (perils of being faithful to the surface narratives of the stories).

I’m going to talk about how the play adapted
the Doyle stories, and how those choices are reflected in Sherlock,
because as we know, “Everything is canon”.

The play develops the Holmes and Watson relationship from the time they
meet and
move in together, until some time after Holmes returns to Watson after
faking his death in the Reichenbach. Along the way, they each address
the audience to tell us secrets they keep from each other; the
action (so to speak) culminates in a discussion of Moriarty’s role in
their lives. 

Love, loss, lies, and John Watson being pretty damned smart, under the cut.

Keep reading

hotshoeagain:

marcespot:

may-shepard:

inevitably-johnlocked:

marcespot:

@juldooz​ added:
Do I not understand mirror conspiracy? How does Sherlock saying “your
not being John, you’re being yourself” evidence that [Molly]’s a stand in
for John?


Hey there! You don’t even need to take into account how the authors have used Molly as a literary device all through the show to see this one. It’s the sheer fact that they made her utter the line above in the first place.

Think about it.
In that scene, she knows (as well as the audience does) that Sherlock
would rather be working on that case with John, like he always used to. Him thinking of John all the time and straight out
telling her “Why indeed, John!” is the cherry on top. So when she goes “I’m being John”, she’s merely voicing her role as a stand-in for John within the narrative.

She’s the one who told Sherlock: “you look sad when you think [John] can’t see you”. That’s what she always does (whether consciously or not); reveal stuff about our two main characters –same purpose every other secondary character in this story serves.

Now, of course Sherlock’s going to deny that statement. First because she’s literally not John, that’s a fact. She’s one of Sherlock’s few friends and therefore important to him; but John is his ‘special friend’ and she could never be him (even if the creators dressed her up as a man and made her stand right next to John for a rather hilarious visual comparison and then made them have a petty fight over Sherlock like they did in TAB, just to give us a “she’ll never be the real thing” vibe and drive home their romantic rivalry).

And it makes me both chuckle and sigh that refusing to see/accept the obvious truth is an ongoing theme in this show; “not gay!”, “not my division!”, “not your house keeper!”, “not involved!”, “not a plot device!”, “not being John!”. Denial, denial, denial. How ironic for a 130-year-old subtextual gay love story.

Oh, and regarding Molly as a mirror character in the “I love you” scene,

Yep, the whole ‘I love you’ scene, while a garbage scene, was all about John’s insecurities about his place with Sherlock.

Molly’s only purpose in this series is to mirror John’s feelings for Sherlock and essentially say “if John was a woman…”

Great meta.

Mirroring in literature is a device for conveying meaning, not a conspiracy. You could, I suppose, read the Molly scene literally (BORING!), or you could read it figuratively. To wit, the coffin deduction (text via Ariane de Vere):

SHERLOCK: Well, allowing for the entirely pointless courtesy of headroom, I’d say this coffin is intended for someone of about five foot four. Makes it more likely to be a woman.

More likely; not confirmed. John is short. He wouldn’t care about the courtesy of headroom.

JOHN: Not a child?
SHERLOCK: A child’s coffin would be more expensive. This is in the lower price range, although still best available in that bracket.
JOHN (softly): A lonely night on Google(!)

Honestly. Sidebar: this line makes it super clear to me that this is John’s pov–he’s the one who’s spent time researching tiny coffins, Jesus. JESUS.

SHERLOCK: This is a practical and informed choice. Balance of probability suggests that this is for an unmarried woman distant from her close relatives. That much is suggested by the economy of choice.

John is distant from his close relatives. We’re told this in asip. We’ve never had any reason to believe this of Molly. We’ve never had any reason to care. 

(While he’s speaking, Mycroft has looked across the room, frowned in the direction of the coffin lid propped up against the wall and now walks across to pick it up and turn it to look at the top side.)
SHERLOCK (still concentrating on the coffin itself): Acquainted with the process of death but unsentimental about the necessity of disposal. Also, the lining of the coffin …

Yes, unsentimental about the necessity of disposal could apply to Molly. As a postmortem expert though, isn’t she a little less acquainted with the “process of death” than John is? Hm.

MYCROFT (interrupting): Yes, very good, Sherlock, or we could just look at the name on the lid.
(He turns it towards the others. They walk closer to look at it. When he sees what it says, Sherlock sighs and closes his eyes. His face appears reflected in the brass plate which is attached to the lid.)
MYCROFT: Only it isn’t a name.
(Sherlock turns away. The brass plate comes into focus and it reads

I LOVE YOU

JOHN: So, it’s for somebody who loves somebody.
MYCROFT: It’s for somebody who loves Sherlock. (Looking towards his brother) This is all about you. Everything here.

Look, it’s all about Sherlock because JOHN is all about Sherlock. Sherlock is all that John cares about. I mean? Okay this is a particular reading but come on. 

(Sherlock walks slowly back to the coffin and puts his hands on top of it at the head end.)
MYCROFT: So who loves you? I’m assuming it’s not a long list.

We’ve been told from the beginning that somebody is John. The previous episode’s emotional climax involved John in Sherlock’s arms, breaking down as Sherlock comforted him. I don’t know man, John and Sherlock are the heart of this show. Even if you think s4 was garbage nonsense–and I wouldn’t blame you if you did–this throughline is still here. 

But hey, take the whole thing literally if you need to. Drink plenty of water though: I hear clowns and umbrella guns have a tendency to be hard to swallow.

Great additions, guys! Since @may-shepard​ delved into the “I love you” scene here, I’m going to add three more connections between parts of that dialogue and what we’ve seen before, that I find further prove this is all about John.

“JOHN (softly): A lonely night on Google(!).

I’ll tell you what else confirms to me that John’s the one who’s spent time researching coffins; A.J. Some might think A.J. from TST only mirrors Sherlock (enduring torture, forcibly away from his family, being betrayed by Mary), but he also mirrors John. He was betrayed by Mary, we saw him drinking, suicidal, spending a lonely night literally googling pictures of ‘Sherlock Holmes’… I bet John did exactly that as well (again, like he did in ASiP) right before googling coffins for himself. Ouch.

image

And what really does it for me is the character’s name. He’s just ‘A.J.’ You know, like ‘a John’. Remember names are important in this show, mostly in S4.

“MYCROFT: It’s for somebody who loves Sherlock. (Looking towards his brother) This is all about you. Everything here.

By all means go ahead and say “John is all about Sherlock” because it’s not a particular reading at all, May. It’s a fact that John himself stated in TLD, while talking to himslef, remember? 😉

image

“MYCROFT: So who loves you? I’m assuming it’s not a long list.”

In addition to Irene outright revealing that John loves Sherlock, we had John’s lovely proposal scene back in TSoT, where his confession of affection –to a certain extent, of course, and with Mary as a buffer– left Sherlock speechless.

image

So, when Mycroft asked “who loves Sherlock?”, everyone should’ve been able to answer “John!”, because since this story started, by that time John was the only one who ever told Sherlock he loves him.

Holy mother of truth. 

@may-shepard – you’re a gift to the fandom. @marcespot – I don’t know why tumblr won’t let me tag you; and thanks for the additions. 

I still don’t think I can rewatch this episode, but if I do, I’ll keep these reflections in mind.