darlingtonsubstitution:

221bloodnun:

darlingtonsubstitution:

221bloodnun:

Hello, Arwel…Based on this post.  @monikakrasnorada @mrskolesouniverse @ebaeschnbliah @gosherlocked @devoursjohnlock @sarahthecoat @loveismyrevolution @kateis-cakeis @holmesianscholar @sherlockshadow @tendergingergirl @sherlockians-get-bored @posh-boy-clever-boy @princesse-des-lucioles @fellshish @iris-wallpaper @antisocial-otaku @love-in-mind-palace @darlingtonsubstitution @smoljohnlock @johnlockiseternal

YEP exactly @221bloodnun – just a few little things to add: 

• The person that applies wallpaper, i.e. Arwel, is called paperhanger, which in slang: one who passes worthless checks, i.e. The Blind Banker. I’ve addressed (partially) the possible connections between TBB, spaceships and the timey wimey in the stoppage time post.
• The reason we’re given multiple pov’s and countless intertext: the stories of Holmes and Watson have always been bigger than their lives (not by choice perhaps, but “heroes” nonetheless), “your life is not your own” can be taken… literally. The artistic and cinematic techniques used to express a specific genre or a movement (-ism) are simply… semantics; all the theories seem right but only in parts is because they are. ACD did it with the form of his art, which is writing; Mofftiss is doing it with their form of art, which is cinema. Why brought Brecht’s theatre into the mix? Well, who was the dramatist of ACD’s contemporary with a connection to Holmes/Watson and 1895? Oscar Wilde’s consistent presence in Sherlock is not for shits and giggles, reading the subtext is only the beginning.

I know I kept shouting into the void about this, but when the 4th wall falls, it is no longer just about these characters lives, but the reality of their time. Sherlock Holmes and John Watson cannot exist in the 21st century without them addressing the trappings of Victorian fin de siècle, what ACD was really doing with Holmes/Watson stories, and everything that came after; i.e., Sherlock and John’s “back story.” I tend to believe Mofftiss when they said Johnlock wasn’t what they were doing – because it’s never the question of if, but why it remained hidden. Series 4 in many ways provided a road map to seek the evidence – all we need to do is dig deeper, and look harder.

And now I am sitting here thinking about the concept that Hitler was a paperhanger, because of the Cardinal Mundelein speech of 1937. @darlingtonsubstitution From the meta mentioned: “German Expressionism was the result of WWI, and several
Rathbone/Bruce Holmes films entailed them fighting the Nazis, which is
where Moffat and Gatiss have been hinting we’re headed next. “And we
have joked about doing one in black-and-white where they fight the
Nazis. So maybe that’s what we’ll do.” – Radio Times “ As for the life is not your own speech, it’s also related to another film for which I updated the old spheres and loops meta you knew from back in March, Stay.

YES in that Gatiss podcast interview, he said something along the line that “eras are falling all around us” – we talked about the whole political aspects of Sherlock that weren’t really noticeable, but suddenly visible after series 4? But instead of the 40s, I’m guessing we’re heading closer to the present in the timeline, perhaps the events that led to 1989, Project Hound, and Carl Powers. BTW did you watch Against the Law? I think it’s very relevant……