Mofftiss sold their stories & their integrity for $$$ due to “data” Explains S4 a LOT actually.
Just like ACD sold his stories and integrity for £££ (for literal decades) ~ give the public what they want! That’s all! Interesting parallel @devoursjohnlock
Love how this fulfills so many of the same parts of the myth of the uncaring creator (ACD), which Moftiss have worked so hard to recreate:
Author who only wants the £££
Author led by public appetite
Author who therefore doesn’t care about consistency of tone/character
Unwilling author drawn back in to the project by powers (publisher/BBC/Big Data + £££) beyond their control
I think the big difference here is that, YES ACD decided to continue writing the stories due to demand and because the money was good. I don’t think anyone is arguing that he continued writing due to his love of the material.
The difference here is that he did not butcher his characters and completely change the direction of stories to do so. Sure he kept writing, but he didn’t go “oh some people like horror, I’m going to add a secret xman sister and a murder maze.” He didn’t turn John into a rage monster or suddenly make Mary the narrator of the story.
I don’t believe for one second that this is all faked so they can pull some real life Reichenbach of the series. And from ratings and reviews, S4 was a long ways away from “what the people want.”
I do believe they wanted to make BBC Sherlock a brand, and have done so. You too can go solve a mystery with Sherlock Holmes in their escape room if you pay enough money.
Tumblrs! Sherlock’s very own Mark Gatiss and Steven Moffat, happening on right here at 11am EST on Monday, July 9th. We’re launching the #SummerofSherlock before the opening of The Game Is Now later this year.
A year ago, part of the Sherlock fandom suffered a collective trauma.
Now, I’ve heard and read many renditions of “It’s a bloody TV show, get over it” in the past, especially in the last twelve months.
However, presentation matters.
Media shapes our reality.
How children’s movies portray gender roles influences a child’s view and understanding of the world, and their place in it. If you only ever see white guys playing the superheroes, then being exposed to Black Panther will be a Big Thing.
If that’s all too theoretical, take the (alleged) CSI effect, or the fact that more and more universities have been offering degrees in forensic science in the wake of the success of such crime shows.
What I’m trying to say is: Television and movies are part of the system we’re raised in and live in. They form part of the environment that socialises us.
Media has power.
I never realised how much until January 15, 2017.
That day showed me in a very visceral way how much power the creators of media have nowadays. If successful, their writing can reach millions, if not billions, and how they present the world becomes part of a communal base of knowledge and reference.
I’m not saying that a single work of fiction or a documentary can change the world on its own, but no fragment of media or storytelling exists in a vacuum.
Everything has a past, and shapes the future.
And Sherlock definitely has a past – the detective has been around since 1887 and become a cultural icon with many, many faces and interpretations. Sherlock Holmes has shaped genres and science and the BBC’s adaption with Benedict Cumberbatch and Martin Freeman struck a chord with millions.
Yes, BBC’s Sherlock is powerful. As a TV show of international success, it had millions of fans across the globe, I amongst them. Some fans flocked to certain online spaces to communicate and share our love for the show.
Within fandom, everyone is united by a shared passion and while there are bullies everywhere, to me fandom has been a nurturing, welcoming environment. I have met many wonderful people within the realms of cyberspace, whom I still cherish and have met (and will meet) outside of the internet. Sherlock is shaping our lives in a very real way.
Since Sherlock is a detective show and the first two series, incredibly clever written and executed, culminate in a puzzle to solve, fandom answered the call. I’m not entirely certain the analyses or ‘meta’ as we call them started with “How did Sherlock survive?” at the end of The Reichenbach Fall (2×03), but it kicked off a subculture unlike any other.
You see, we became detectives ourselves. We dissected the show, we invested so much time and had a blast doing it, discussion this show with other fans from around the world. Series three and the special escalated this, and I still marvel at how big a part fandom played in all our lives then, how much LOVE there was for the source material.
As a writer, I participated, but at the same time I also dreamed of one day creating something that also stuck a deep chord with my audience. I dreamed of my stories inspiring such love and excitement, and took the creators of Sherlock as role models.
Then came series 4.
It was teased to be epic, it would make “television history” and have a “rug pull”.
You can imagine the excitement in fandom. After ten mostly brilliant episodes, we wanted more impeccable storytelling from the “show about a detective”.
What we got instead… was lacklustre.
The first episode of series 4 features inconsistencies with previous seasons, holes in the plot and set design, a disregard for physics as well as logical flaws. Also, a redemption arc for a female character who could have been a stellar villain.
I personally, as a filmmaker, loved the second episode for it’s technical aspects – it remains one of the best edited episodes of television I’ve ever seen and gave us sequences I could only describe as cinematography porn.
However, there were additional inconsistencies, set design decisions that confused a lot of us, and flaws in logic that made me and my niche in fandom wonder: Do the creators even CARE? Where is the attention to detail, or wait… is this on purpose? Are these inconsistencies and plot holes.. clues?
You see, we thought the creators respected their audience. For all their talk about not wanting to spoon-feed their viewers, we assumed they were giving us a puzzle to solve that extended beyond the beginning and end of the individual episodes.
We were wrong, unfortunately.
The Final Problem aired on January 15, 2017.
Prior to that, someone at Channel One in Russia had leaked the entire episode and several of us watched it to report back. They said it made no sense, that it was badly written.
Was it a fake episode? Was this the rug pull? Was this, and the second leak from Turkey on the same weekend, was this television history? Would we get a “real” episode at the official release?
No.
The same boys who had built up a fictional world whose characters inspired millions took these characters and abused them for… well, their own wish fulfilment fantasies that only seem clever on the surface.
As soon as you probe and ask, the plot of The Final Problem falls apart. The holes were so big that even people who didn’t make a habit of dissecting every second of a Sherlock episode (like our part of fandom is prone to) noticed and were disappointed. [x] [x] [x] [x] [x]
What grated me most was, for one, how out-of-character everyone was (John not reacting as Sherlock, for whom he has KILLED, puts a gun to his own head, or Sherlock ignoring their code word ‘Vatican Cameos’ to name but two instances).
The other was the treatment of Molly, whose entire character development was retroactively annihilated by this episode and who was robbed of any agency she ever possessed, in the service of throwing another obstacle at the male protagonist. But, well, she’ll get over it, won’t she, Mr. Moffat?
Also, Moriarty. The amazing villain of series 2. The Final Problem re-wrote his entire character, giving him information five years ago that he never, ever used back in series 2… which, if you accept that as canon, makes Moriarty seem a lot less clever than he was portrayed as by the show at the time.
This is merely catching the surface of why many long-term fans felt wronged by series 4 in terms of storytelling.
(Not to mention the queerbaiting. Yet while turning queer identity into a joke spanning three-seasons is horrifyingly hurtful to myself as a queer-identified person, this is a can of worms that requires an entire post of its own to do it justice – as does the representation of persons of colour on Sherlock, for that matter.)
You don’t need an introduction to Sherlock meta, or to see why many fans believed “television history” to be referring to the show featuring an explicitly queer happy ending to understand that series 4 had fundamental flaws on a storytelling level that have nothing to do with political ‘agendas’.
The inconsistencies, plot holes and out-of-character depictions, plus revisionist plot points that redefine characters retroactively… they felt like a slap in the face to those whose passion and love for the show had helped it become so popular and powerful in the first place.
As a writer… I simply don’t understand.
Did no one see the plot holes? Did no one read the script except the executive producers before shooting? Did no one dare to speak up?
Did they think this was television history? They best story they could tell?
“It’s their story,” I’ve heard people say. “You have no claim to it.”
No, I don’t. But I am entitled to respect.
Viewers have a claim to be respected by creators of the content they engage with, because without the audience… why create?
And for me, respecting the audience means making sure you’re telling the best story you possibly can within your means and fictional universe. It means being aware that your content doesn’t exist in a vacuum. For fuck’s sake, I don’t mean you need to cater to anyone, or allow fans to ‘dictate’ what you do, since they would never ever be able to agree.
I mean asking yourself questions along the way, such as:
Are all my villains persons of colour, but the ‘good guys’ white?
Are the antagonists coded as queer when the protagonists and their sidekicks are straight as arrows?
Do my female characters have agency, or a life of their own outside their engaging with a male character?
Does every character have motivations for their actions, and/or do my characters change in the course of the story?
Am I just reproducing what people have seen hundreds of times before, or am I adding something new, something creative, something fresh or unique to my chosen genres and tropes?
It’s 2018, folks.
Viewers like me, we’re tired of the same old stories being told over and over again, featuring the same stock characters. I love action movies, too, but I love them more if they surprise me. I also love clever stories, and I’m tired of being spoon-fed. What made me fall in love with Sherlock was how brilliant it was, that watching it is a challenge that requires me to think.
I expected the same cleverness from the show runners that they imbued their title character with.
So here comes the manifesto part of this long post.
Series 4 and The Final Problem in particular left a deep mark on me, not just as a viewer (I can’t trust a TV show anymore, I don’t dare get in too deep with anything new since I’ve been burned so hard a year ago) but on me as a writer.
“It’s not a game anymore”, the slogan used in promotional materials for series 4, used to make me choke on pained laughter.
A year later, it’s become a battle cry.
Because it’s truly not a game anymore.
Writers, content creators – we have power. Our stories affect the lives of others.
We owe it to them and to us to hold ourselves to a higher standard.
To ensure we’re telling a great story, in our own, innovative way. To ensure we don’t perpetuate racist tropes and stereotypes. To ensure we consider diversity and embed it within our work. To ask for feedback from points of view different to our own.
For me, Sherlock was a watershed moment. I’m never going to forget that my writing, if published in any form or translated into other media, affects people, and I will hold myself to a higher standard.
It’s not that difficult.
It’s not even much work.
Yet in times like this, we need it more than ever.
*
PS: A personal anecdote
In October 2017, I screened my second short film at a secondary school and held a Q&A with the students afterwards. The film is a thriller and the title character happens to be gay.
One of the students asked, “Why did you make the protagonist gay?”
I was wondering, if, IF they did a complete 180 in S5 and made Johnlock canon either by erasing all of S4 or actually have them work through their issues, would any of you who have rejected S4 and the show go back to it? Would you ship it again?
I guess the last part is me asking myself because as it stands now, I can’t ship Johnlock anymore in this adapation. And I don’t have an answer to this at the moment. I’m really not sure I want to invest my heart into this show again.
@twocandles I never stopped shipping it, because I’ve just sort of taken the characters and done what I want with them Post-S4, and all my fannish engagement has been with fan-created works along the same vein. Sometimes that means a fix-it. Sometimes that means ignoring all or some of S4. I’m pretty flexible, other than the fact that I personally can’t interact with content that accepts TFP in any way.
But then, I also shipped it before BBC Sherlock, because I had loved the Granada series and the ACD canon first, before I ever saw BBC Sherlock. I’ve always shipped it. I always will. Plus, I liked what Martin and Ben did with their versions of John and Sherlock, I liked the idea of plopping them down in modern day London, and meeting them early on, giving them a chance to grow into the men they would later become (which disappointingly the show dropped the ball on, imo). So I still like to play with the BBC characterisations in a limited and adapted way.
As for the show itself, there is nothing that could bring me back. I feel like the writers have made it clear that they always saw the idea of John and Sherlock being an actual couple as nothing more than a tease or a joke they would play to until they couldn’t play to it anymore (which they later admitted they possibly took too far). In fact, Mark Gatiss had been outright stating they had no intention of going there since Mumbai ComiCon in Dec. 2015, and reiterated that point here during a Tumblr Q&A just before S4 aired.
In the end, I think it was clear that they decided to go the TPLoSH route, of pining gay man, hopelessly in love with an indifferent, and straight ‘friend’, which doesn’t interest me, and which I feel runs in direct contradiction to the way the story had been presented all the way up to TAB, as well as the way the actors had been interpreting the characters’ relationship in earlier seasons.
Finally, there was the way Moffat and Gatiss treated their young queer and/or female fans, and the way the BBC chose to market the show, knowing it was never going there, as well as the way they treated people who complained about the queerbaiting, or general loss of writing/production quality post-S4.
In short, I don’t trust the writers or producers at all anymore, and don’t want them to ever get another cent of my money. So no, I would not go back to watching or loving any new seasons of the show, no matter what they do with it. At this point it would just feel like they were back-peddling in response to fan outrage in an attempt to make a few more bucks. But, really the whole thing is sort of a moot point anyway, as I don’t think that the writers have any interest in or the intention to write any more seasons (they’re moving on to Dracula), not to mention that I think it would be a very hard sell to their very busy and successful leads, after the mediocre critical reception of S4.
So, if you can find a way to make John and Sherlock your own and keep shipping them that way, then I wish you all the joy in that, and if you can’t, if you just want to wash your hands of the pairing forever because it’s too painful, I can understand that too.
I continue to ship them, because I’ve always shipped them, and I’ve made my peace with how I want to engage with the content in the BBC adaptation. It works for me, and I imagine I will continue to engage with fan-created content set in that universe for as long as fans are creating it. But I’m leaving those involved with the creation of the show itself behind me.
I can’t imagine a season 5 that would make me want to watch again (and I don’t think there’ll be one.) There was very little in season 4 I liked and nothing at all I loved. The characterisation of both Sherlock and John strayedtoo far from what I fell in love with in the first seasons. So I’m here for fan content – be it ignoring season 4 or fixing it, as some fantastic fic writers have been able to do.
Thank you so much to everyone who has commented here! I’m probably forgetting people: @very-grumpy-bisexual @lediona25 @readingfanficsblog@elskudani @inthenameofunrequitedfeels (ah yes, thanks tumblr for being useless)
I hadn’t even thought about it much when I yelled this question into the void but @sussexbound you bring up so many important points. One of the biggest is that I also can’t support Mofftiss anymore. These two arrogant bastards are so full of themselves but then show a complete lack of respect for parts of their fanbase, I never want to see their poison again. I’m still pondering whether I want to yell about them constantly to warn others or just ignore them entirely but that constant level of negativity might not exactly be good for me.
I did realise though that whenever I’ve abandoned a show in the past, no matter what the reason, I usually didn’t go back to it. And in this case I’m actually thinking of selling my merch, which I haven’t even done with the other things I’ve lost interest in, so it’s definitely a very bad case. And I am looking forward to the third Ritchie Holmes movie, if that is still happening but I also need to force myself not to get my hopes up too high. Some of the old adaptations/shows have a special place in my heart but I also feel like I need a very big break away from Sherlock Holmes adaptations in general, Mofftiss have put a complete damper on my enjoyment of the entire franchise that I haven’t been able to shake off yet.
I don’t think I’ll ever enjoy Johnlock again in this version, even if S5 happens and isn’t a complete mess. The damage has been too severe. I do assume that no Johnlock will ever happen in this show and while I’m sure it’s vaguely possible to still ship them in a future series for myself I think that’s not happening. It sucks that I can’t even enjoy fanworks anymore but it’s probably better that way, I wouldn’t have been able to move on otherwise.
So I have a lot of opinions about this, shocking right?
First of all, I never stopped shipping Johnlock, even in this version. I honestly just ignore S4 exists at all. And the fandom has ALWAYS written this show better than Mofftiss have. The fandom wrote better resolutions to the pool showdown. The fandom wrote better resolutions to the fall. The fandom wrote better resolutions to Mary shooting Sherlock and the end of S3. And the fandom has been doing their best to make something out of the trash heap that was S4. I really personally just can’t enjoy post S4 fics. I don’t like Rosie, I don’t like the resolution of what they did with Mary, I don’t like anything that happened in TLD. I don’t like Churros.
Now onto the real question. Would I watch S5? Will I be happy if Johnlock happens then? Here’s some possible ideas of how S5 could go down and how I feel about them.
1. They continue as they are. Everything we saw happened just like we saw it. John and Sherlock continue on as friends. John is raising his daughter. John doesn’t live in 221B. They solve crimes. John still has his ring on and mourns his awful dead wife. Maybe they’ll even still have AA narrate and send her dumb fucking videos? God that sounds awful. I’m not interested, thanks. Even if they decided to go the johnlock route after all that, it would be so hallow, it would feel so cheap.
2. The whole E/M/P thing, it’s all a coma or a dream. It starts from ASiP or after the fall or after the shooting, whatever. I can see why people cling to this idea so strongly, Wouldn’t that be nice if we could go back and erase everything and have a fresh start and all the bullshit in S3 and 4 weren’t what they seemed. I just don’t believe it’s possible. What are they going to do? Cake Ben and Martin in makeup to hide their age? CGI their faces to make them look years younger? Other than the fact that I hate the whole “it was all a dream” plot line, it’s just bad and lazy writing to make a whole season fake. And for what? Just so you could have your moments of shock or surprise just to erase it all later? Again, no thanks.
3. Then there’s the unreliable narrator theory. That things are not what they seems in S4 and didn’t actually happen or not the way we think they did. Now, while I actually LIKE this theory….in well, theory, I again sadly just don’t see this actually happening. I don’t think it’s doable either. And honestly, how awful S4 was to sit through would not make this worth it for me. I think it makes for great fic though.
And then my own personal dream situation #4. Mofftiss are both fired and shamed for their awful writing. The show is given to people who actually care about the characters and a coherent plot and we forget S4 ever happened and someone new makes everything right. I just love Ben and Martin as these characters so much, it’s hard to let them go.
NOW to be 100% honest I don’t think there is any way to redeem this show. John Watson is my favorite character. I will NEVER forgive Mofftiss for what they did. TLD was an utter pile of crap and they should be ashamed of themselves for not only what they did with John but how they treated Sherlock as well. I don’t think there is any coming back from their mess. I’m not interested in anymore of Mofftiss crap. I will not be watching anything else they write or are show runners of. They can go fuck themselves.
And to agree with @sussexbound I can also never forgive Mofftiss for how they treated fans. They are two arrogant douchebags who don’t deserve the fans they have. BBC can also go straight to hell for how they baited the fans with their adds and their bbc three tumblr (I don’t give two fucks if it was just a fan of the show having fun, it was irresponsible the BBC should have NEVER let that go on). BBC Sherlock will hopefully be a lesson to others of how NOT to do things in the future.
BUT I’m such a huge supporter and fan of the fic writers and the artist who are doing things right. Thank jebus for you all. I still ship Johnlock. I still love these characters. Honestly the show has been an utter mess since S3 and the fandom has always had to clean up Mofftiss messes with their dumb plots and poor writing. I think I’ll always love John and Sherlock and I’m not going to let Mofftiss ruin something I love. They can kiss my ass.
You know what. I’m mad at ‘the british tv channel that shall not be named’ (but will be named here anyway).
I am. I am absolutely infuriated.
They went through Sir Arthur Conan Doyle’s stories and saw the gay of the books… they knew how much it kept popping up in different adaptations of the stories (that is NOT a coincidence). They saw the homosexual subtext that existed in Canon enough to put it in the show— then proceeded to make a JOKE out of it! A JOKE. They saw the gay that existed in CANON Sherlock Holmes books, added it to the show, and then proceeded to LAUGH IT OFF (beyond livid over this one).
They also systematically went through each and every character from the canon stories and proceeded to dismantle them into the abuse normalizing problematic characters they are by season 4 (and insanely misogynistic where some are concerned). And they put in -just enough- from canon to go “See these are them! These are the characters from the books” when they AREN’T. They simply ARE NOT.
BBC Sherlock IS NOT reflective of ACD’s Sherlock Holmes Canon Characters.
AT ALL
Any Sherlockian who has read the books can hold them up to the show and show how basically all that televised fanfic version is— is a fanfic. It is NOTHING AT ALL like Canon and that isn’t just because they put it in the modern era. They did NOT ‘modernize” the stories. They made a DIFFERENT AU Modern Fanfic and then used names and references from the books. BBC Sherlock itself has COMPLETELY DIFFERENT story and characters.
COMPLETELY DIFFERENT
You notice that the first two seasons were pretty good. That is because in those seasons there was more in the show that was reflective of what was in the stories— but they kept going further and further into the woods with adding in more of their own original content and writing until season 4 which was basically 99% all their own stories and based around original characters. It is NOT reflective of the past Sherlock Holmes stories AT ALL.
Molly – Original character
Eurus – Original character
Mary Morstan – Original Character
“What’s that?” you say, “No that can’t be true! Mary married John from the books”.
Yes. A character by the name of Mary Morstan married John from the books but you better believe it is not the ‘Assassin who works for the CIA’ that Steven Moffat and Mark Gatiss wrote. And even the aspects of Mary that WAS from the books -was not featured or used in the ‘Sherlock’ show-. In fact she was separated that much further from the true Mary Morstan from the books considering that wasn’t even the character’s original name as they took it from someone else.
Everything about the Mary Morstan that Moffat and Gatiss wrote is original content. Thus, -despite- the fact that she has the same name, it is still an original character even if they took a name from the book and slapped it on that original character.
I would argue that taking book names and slapping them on origional characters is a common theme with Mofftiss too. Write a character with a different personality, background and storyline, find a name from the books to use for that character and then slap it on. Nevermind the personality and characterisation of that character is a bare shadow of what the character by the same name in the books has and is like.
They rely on the fact that most people have never seen or read the books. That way they can lie and allude that ‘oh yeah sure these are the characters from the books, this is basically the story” when, No. NO THEY ARE NOT.
And most people have not read the books and do not realize how MUCH Sherlock and John (especially from season 4) are IN NO WAY AT ALL like Holmes and Watson from the books. Not at ALL. There are HUGE glaring differences. One of them being that Watson is -very- devoted to Holmes, even AFTER the fall, and would kick S4 John’s arse up one way and down the next if he saw him lay even a finger on Sherlock Holmes.
Oh and then there is Sherlock Holmes himself! Sherlock is
deconstructed to be in a victimized role and that is -never pointed out-. It is never said “hay, maybe this is not all entirely his fault and people should be apologizing for their own roles in issue too.” No. He is abused and harangued constantly and yet it is all still painted as his fault and he -accepts- that! He is verbally cast as a selfish unfeeling character, while at the same time we know he is not because in the show Sherlock shows a LOT of feeling for those around him. He is constantly beaten down and everything is blamed on him with absolutely no recognition to the huge amount of effort he puts in for others or how others are also at fault for the issues that happen in the show.
In the the end we are left with a abusive John Watson and a Sherlock Holmes that I half wonder has some version of stockholm syndrome with how he constantly accepts the blame for everything despite some things obviously being the fault of unapologetic and abusive people surrounding him. That is not them. That is NOT the protective healer/guardian Dr. Watson or the thoughtful and curious Sherlock Holmes from the books.
-BBC Sherlock isn’t the books. It just isn’t. It isn’t the stories or the characters. It is NOT ACD’s Sherlock Holmes and Dr. Watson… and BBC is NOT, in any way shape or form, a ‘modernization’ of the stories. It is just another fanfic in a sea of fanfics, with a new world and characters. It simply happened to be a very popular one for a while.
Moving on…
Beyond all that anger and fury— I love the fanfic and the fandom.
Because reading fanfic that people write, just off of BBC and without the author’s having read the true canon stories… that’s it… that’s them. Somehow despite Mofftiss attempt at systematic gutting of the characters through the seasons, the fandom had clung and kept the original idea that was shown. They took the original understanding of the characters from the books that was reflected in the first few episodes, and kept it. Kept it despite what was done to those characters and how they were twisted in later seasons and I love that.
I could totally see the canon Holmes/Watson characters doing many things that are done through fanfic. I could. Because ignoring S4 Sherlock and John…. the ones from prior seasons that sherlock fans envision are closer. The dynamic reflected in some of the best fanfic out there, that’s them. Thats them from the true canon. That dynamic of caring so much about each other and the sweetness they have towards each other. That is totally Holmes and Watson from the books and it is fantastic.
The fans really are better writers than the two guys who made a televised show and tried to ruin it with the last season (Intentionally or unintentionally).
No matter what those two men do to their one televised fanfic of a show, the fandom has a great grasp of what the characters are like. So many fanfics reflect the dynamic that Holmes and Watson have from the books far better than Mofftiss ever did… I love that even with different characters, and through a different lense, the true dynamic of Holmes and Watson is alive and nothing… NOTHING that BBC ever does to try to backtrack and erase it will ever change that.
Oh and because Sherlock Holmes is a work created by SOMEBODY ELSE that was made years before BBC ever even existed, they have absolutely no legal right or claim on the Sherlock Holmes character -at all- (and they HATE that). Theirs is just a fanfic same as everyone else’s and ANYONE’S writing of Sherlock Holmes is just as legitimate as BBC’s (they know that and can’t stand it. They -wish- they owned Sherlock but they DON’T). As popular as it may have been, theirs is only one adaptation in a sea of HUNDREDS of other adaptations. More came before them and more adaptations other than ‘sherlock’ will be made afterwards too.
Johnlock is ACD Canon.
There is meta and analysis showing where the original Canon characters of Sherlock Holmes and Dr. John watson was written as gay by Sir. Arthur Conan Doyle. The meta is out there. Johnlock is Real.
Sherlock Holmes and John Watson are over 130 years old.
The Sherlockian fandom has been around for almost as long.
Johnlocked Sherlockians have existed long before BBC ever did (though it did not used to go by that name). Johnlock is real, the story lives on and one adaptation isn’t going to change that or stop the fandom.
SHERLOCKIANS RULE. Especially Johnlocked Sherlockians.
I love everyone in this room.
Thank you.
Standing here clapping. Thank you! Partly that’s why I began writing ACD – because I was so fed up with BBC.
This. All of this.
At this point I feel like this adaption is one of the worst that exists.
They could have put any name on this but no, they had to claim this was a Sherlock Holmes adaptation. It pisses me off that they did it such a disservice and they can f*ck right off when they claim they’re Holmes fanboys.
Sherlock Fandom Archive 