Tag: s4

rozzychan:

conversationswithjohnlock:

thecutteralicia:

thecutteralicia:

This is a completely underrated scene. 

For those who allege that Sherlock doesn’t care about his clients, look at that third gif. There’s real sadness and compassion there. During this scene, Henry is actively suicidal and keeps putting a gun in his mouth, but it’s Sherlock – not John, the soldier and doctor – who talks Henry down. 

“Someone needed to keep you quiet; needed to keep you as a child to reassert the dream that you’d both clung on to, because you had started to remember…You couldn’t cope. You were just a child, so you rationalized it into something very different. But then you started to remember, so you had to be stopped; driven out of your mind so that no one would believe a word that you said.”

Does Sherlock only care about the mysteries? At this point in the episode, he already had the solution. He knew the workings behind H.O.U.N.D. and the poisonous gas. He could have left. But he wanted to make Henry understand, to alleviate some of the grief he’d carried since his father’s death. Sherlock even forces Henry to look at the dead dog to drive the point home. “You couldn’t cope. You were just a child.“ 

It’s a remarkable display of empathy on Sherlock’s part. 

I had to go back and find and reblog this meta from four years ago because it’s taken on new poignancy in light of The Final Problem. Now we know that Sherlock, too, had conjured a hound of his own. 

“Now we know that Sherlock, too, had conjured a hound of his own.”

Holy. Crap.

Great catch!

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 Holmes, The Abominable Bride taking place in 1895, ACD and Oscar Wilde In the Victorian Era of Literature, “The Adventure of the Three Garridebs” and its adaptations in relation to the show, The Lost Special, the 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 Shot, How The Abominable Bride Foreshadowed Series 4, 2 Months Post-TFP Moodboard and Everybody Else.

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:

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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

sarahthecoat:

victorianfantasywatson:

221bloodnun:

victorianfantasywatson:

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

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

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

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

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

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

The one and only meta I’ll write on the ILY scene

one-thousand-splendid-stars:

I saw a post saying that if Sherlock didn’t mean the ILY, the scene loses all its significance. So here’s the thing: The tests Eurus put them through were supposed to be psychologically traumatizing.

There’s no way this applies if Sherlock really did mean the ILY. Sherlock telling the woman he loves that he loves her is as horrible as being forced to kill someone? Sherlock telling the woman loves that he loves her makes him furious enough to smash a coffin to bits? No.

The whole point of the test was that he didn’t reciprocate her feelings. And realizing that really only takes common sense:

PART 1: CONTEXT

Sherlock knows she has feelings for him. At first he was cruel to her, but around S3, he started being nicer- no longer shutting her down and instead politely ignoring her feelings because she’s useful to him and he owes her after the fall. Over time, he has grown to appreciate her as a trusted friend.

So when Sherlock forces out an ‘I love you’ to save her from being blown up, it hurts. She doesn’t know he’s trying to save her. She probably thinks that this is the only way she’ll ever be able to hear those words from him. Or maybe she thinks he means it, but he knows he’ll have to break her heart later for the umpteenth time. And the worst part is… it was all for nothing. There were no bombs. Sherlock is so furious that he smashes a coffin.

Those aren’t the actions of someone who realized in that moment that he loved Molly. That’s someone who’s had to reject her time and time again, but over the years grew to be kinder, and now just had to throw away all that progress and manipulate her in the most horrible way he ever has.  

This even shows in his facial expressions. That first pathetic attempt is not the face of someone who’s going to realize he loves her 2 seconds later. She told him to say it like he meant it. The clock was ticking down and she wasn’t responding, so he ups his game and says it normally.

PART 2: AFTERMATH

As soon as it’s over, he’s relieved he saved her.  The aftermath is the coffin smashing, because he’s furious he had to hurt her again when he’s grown from doing that… and it was all for nothing. I’d be pissed too.

Where’s the aftermath in his facial expressions or actions if he just realized he loved her? It’s not there.
But all we get with Molly in terms of resolution is a split second of her in an ending montage where everyone is back to normal doing their thing. I really don’t think there’s any significance in the fact that she’s smiling. I suppose it just means we can assume she and Sherlock made up off-screen (which I think is an injustice to her.)

All the main characters were in the montage, that includes Molly. I mean, what were they going to do? Close the show with everyone else happy, but she’s over in a corner sobbing? If her importance was bumped up to that of a love interest for Sherlock, they easily could’ve shown that by having her do more than just standing there and walking in.

PART 3: MEANING                                        

So no, if Sherlock didn’t mean the ILY, the scene does not lose all its significance. In fact, I think if meant it, the scene becomes cheap and senseless, and his actions before, during, and afterwards don’t make sense.

It’s because he didn’t mean it the scene is so emotional and heavy. It’s a cruel play on how much he’s manipulated her in the past and how he’s changed, but now had to do it again for no reason.

It’s powerful because at one point in time, Sherlock wouldn’t have cared if he hurt someone as a means to an ends. But he’s grown. He cared when he realized John was hurt by him faking his death. From that, he learned he can’t just fuck with people’s feelings, that includes Molly. And that’s why it hurts so much when he’s forced to play with her heart again.

I find this way more powerful than if he meant it.

This context and meaning is completely lost on Sherl0lly shippers who block everything else out and only focus on the fact that he said ‘I love you’ and she said it back. They believe it made their ship canon, even though if a ship is canon, it would be clear to every viewer, not just shippers on tumblr. And the creators would likely acknowledge it as well, not suggest Molly went and shagged someone.

Part 4: WAS IT WORTH IT?

While it is powerful and tragic and all, all this scene did was hurt Molly for no reason other than to show us that (as we’ve seen before) Sherlock has grown emotionally since S1.

On a totally surface level (which is how most viewers watch the show) Molly only existed in this scene to be a prop for a man’s emotional pain. On a surface level, she wasn’t treated with respect by the writers. The fact that Moftiss went in a room and whipped this out when they were told to change the scene should tell you that. I really feel like they didn’t give two second’s thought to what this would do to Molly.

The problem is that for 4 seasons, Molly’s most definable character trait has been her crush. Yes, we know she’s a pathologist, but she is still known first and foremost as the girl who likes Sherlock. They took that concept, dragged it out for way too long, and then threw it in her face by making her cry into the phone and admit something she wasn’t ready to admit.

I, for one, don’t think showing us Sherlock has grown up was worth emotionally destroying Molly.  Especially since we’ve seen his growth demonstrated before, and she didn’t even get a resolution.

Even minor characters don’t deserve to be used as props so blatantly at their expense.