Super interesting theory! Where are all the mind palace moments in S4? Were there any?? Was it all? I love this stuff so much
this meta is actually rly cool and is organized so well its like ur actually following a story !!!! reminds me of the theory of morality: mary v. moriarty !!!!
Thank you so much, @selinaphile. That is a lovely compliment and I’m thrilled you took the time to check it out.
I think this is a
very important question that often gets ignored when discussing the
starting point for EMP.
Sherlock cannot have memories of
people, places, and things that he’s never seen.
So if HLV is where EMP begins, it must
pass the POV test. It doesn’t.
CAM’s MP is introduced at the end of
TEH. How does Sherlock know that CAM has a MP? How does Sherlock
recreate that same MP in his own mind in HLV?
The bomb fire video is not a video when
it’s shown in TEH. It’s inside CAM’s MP so it’s a thought or a
memory. How does Sherlock take CAM’s memory and turn it into an
actual video or a thought of his own in HLV?
Why does the line “Put that on a t-shirt” repeat?
When Mary points the gun at Sherlock,
he does a quick deduction.
How can Sherlock have a memory of this
scene from TEH? He wasn’t there…
If HLV is EMP, then TEH is EMP as well.
POV matters. It can’t be ignored.
Take TAB out of the equation. Fucky
HLV leads directly into fucky TST. And with it goes the POV weirdness. Balloon John and the changes to John’s flat further prove that
TEH/MHR is EMP. Sherlock can’t know what he doesn’t know.
S4 is telling us that this entire show is EMP. HLV is not where EMP begins, it’s the
beginning of the end.
One of the ways that Sherlock deduces that David still has romantic feelings for Mary is that in all his Facebook pictures of John and Mary, John is, ‘always partly or entirely excluded’. This shows that he wants John, ‘out of the picture’, so to speak.
Then we see director Colm McCarthy’s approach to framing his shots during the best man speech. During Sherlock’s speech, Mary is, ‘always partly or entirely excluded’, in any shot that also includes Sherlock. Janine, a character we’ve only just met, and of much less importance to the proceedings, seems to have plenty of room to fit in shots that exclude Mary.
If excluding half of a couple is a sign that someone wants them to not be a couple, then, here, the show is explicitly telling us that John and Mary are not the right couple. The compositions escalate from merely cutting Mary out to having Sherlock actually physically block her from the audience’s view. We are meant to not see John in relation to Mary but Sherlock. It’s always Sherlock.
If you weren’t to know it’s Sherlock, and you were to see this particular scene on TV one night, you would be sitting on the edge of your seat, expecting the climax of this random film, as it appears that the protagonist has caught his lover cheating on him red-handed.
This is the face of a forsaken lover. I have nothing more to add but:
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