Saturday, 21 January 2017


Mycroft's attempted sacrifice
  (Sherlock meta by almecria and thecutteralicia)

almecria:

I’ve been reading lots of reviews for TFP these past few days, some with very valid points, and others that make me think we didn’t see the same episode.

One of them is a theory claiming that Mycroft decided to sacrifice himself because he knew Sherlock would always choose John over him. I have to respectfully disagree with that statement (sorry).

In my opinion (which I share with myself), the situation at that point of the episode is more complex than that.

- Mycroft knows his brother, whatever people can think. Maybe not his little habits (that knowlege, one can only acquire by living in close quarters with another person), but he knows how Sherlock functions, and how he typically reacts.

He knows that, despite the barbs, the insults and the threats, Sherlock loves him almost as much as he loves his baby brother. Let’s not be mistaken, Mycroft is a deeply flawed character, the epitome of emotional constipation, but there is no doubt he did the best he could to keep his brother safe (and let’s be honest here, with Sherlock Trouble-Magnet Holmes, it must not have been an easy feat).

So he knows that Sherlock loves him. He also knows that Sherlock loves John. He knows Sherlock is at his most vulnerable, Euros has been relentless in her mental torture game, and the conversation with Molly was the final straw. His brother is barely hanging there, and he is once again presented with an impossible choice: to kill his blood, or to kill his adopted family. I don’t think he feels like his brother will betray him for John, I think he knows it will be impossible for him to choose (Mycroft is his brother, but John is his friend. Mycroft saved his life countless times, but so did John. Mycroft looked after him for years, but if John dies what will happen to Rosie? etc., etc.).

- In addition to that, every new torture designed for Sherlock must feel like a brutal punch in the gut for Mycroft, because this is all his fault. The whole Moriarty debacle, the two years away, all the deaths Euros caused in the facility, every bit of Sherlock’s suffering… All. His. Fault. 

He was the one who couldn’t stay away from Euros in the first place (I’ll even theorise that these puzzles he brought her were his misguided attempts to steer her back into the Light, like he did with Sherlock), the one who agreed to bring her treats. And now, he who is never wrong, the great strategiser, is faced again and again with the consequences of his utter failure. In normal circomstances, it must be extremely difficult to get a Holmes brother to admit that he is wrong. But in these desperate circomstances, it must kill him.

- We know Mycroft never goes in the field (except this one time in TEH), and there’s a great difference between ordering assassinations from afar or sending men to war “for the greater good”, and actually seeing men get killed right in front of his eyes. Sherlock may be at his most vulnerable during the episode, but so is Mycroft.

So, as a way to atone for his many sins, as a way to save his brother from further heartbreak (and probably as well, because John has a child to come back to, and that John would be able to help Sherlock cope with his grief better than him, his own brother, if the situation were reversed), he decides, as usual, to take matters into his own hands, and to make the choice for Sherlock. It’s incredibly selfless, it’s the ultimate proof of love, and I refuse to see it reduced to simply “he knew Sherlock would always choose John over him”. It’s an insult to the character of Mycroft, and he deserves better.

Sorry for the rant, I had to get it off my chest.

thecutteralicia:

Wonderfully said. I think Mycroft also saw how John emotionally held up Sherlock through the ordeal. If Sherlock had shot John, there is no way Sherlock could continue, either there or in life. I don’t think Mycroft believed he could ever help Sherlock through that, but was confident that John could help Sherlock overcome Mycroft’s death.

I will quibble with one thing: I don’t think - at least until this episode - that Mycroft knew how much Sherlock loved him. The brief scene where their mother chews Mycroft out and Sherlock defended him was introducing a new facet to their relationship.

I think Mycroft believed Sherlock needed him and was dependent on him, but not loved him truly. I think we caught a glimpse of the Holmes family dynamics and why Mycroft probably grew up believing that no one truly loved him, but needed him for his function. Therefore he became the most efficient thinking machine he could.


The "I love You" Scene Is Beautiful 
 (Sherlock meta by i-want-to-bethlieve)

So I’ve been thinking about THAT SCENE (I haven’t done much else for the past few days) and I was thinking that Louise Brealey was right. That scene is beautiful. Not because of the declaration of love that was forced upon Sherlock and Molly, but because that one scene shows us how much Sherlock has learned about love, respect, and cruelty over the course of the show. When Sherlock realizes he has to get Molly to say ‘I love you’ to him, he is visibly upset. He already knows it will hurt her. He knows it is one of the cruelest things he can do to her because he knows she is in love with him. The man who couldn’t be bothered to notice he was being asked out on a date. The man who had no problem using Molly’s attraction to him to get what he wanted. The man who could see everything except that Molly went to the Christmas party for him (something everyone else could see clearly). That man was upset he had to make Molly say three words. Season 1 Sherlock would have brushed it of. It’s only words??? What’s the big deal if it saves a person’s life? But season 4 Sherlock knows exactly what a big deal words can be. He now understands how his words can hurt a person, and he cares if his words hurt Molly.

Perhaps what Moffat was trying, and failing, to say about the scene is that it is more painful for Sherlock because now, for the first time, he knowingly has to hurt someone he cares about. We’ve seen him hurt people before, but it was always because of his lack of understanding human emotion/feelings. During the phone call Sherlock is forced to revert back to his cold, ignorant (of feelings) self in an attempt to keep things unemotional. He says, “I just want you to do something very easy for me” and then, “if it’s true just say it anyway.” He thinks without involving emotion it will be less painful when she says it, but it doesn’t work. The old Sherlock cannot get her to say ‘I love you’. It doesn’t work because Sherlock isn’t the only one who has changed after all this time. Molly has changed as well. She will no longer bend to his old tricks of flattery and ignorance. She will not open up her heart simply because he asks for her help, or explains that “it’s for a case”. If she must say ‘I love you’ then he must say it first, and not just say it, but ‘say it like he means it’. So the same man who famously said “sentiment is a chemical defect found on the losing side” must now show sentiment to save his friend’s life. If that’s not coming full circle then I don’t know what is.

I do think it is plainly obvious that Sherlock loves Molly. Essentially, Eurus was emotionally torturing Molly to get to Sherlock, which I think speaks volumes as to how he feels about Molly. If he didn’t care, Eurus’ experiment would not work. If you want to argue that he doesn’t feel romantic love for Molly, you can. I personally think the scene works better if you do interpret it as romantic love, simply because we have never seen Sherlock quite like this before. Which I think is the point of the episode. Each stage brings a different emotion out of Sherlock, and I would say he was out of control with emotion when he was breaking Molly’s coffin. But of course the scene works whether you think their romantic love is mutual or not because either way, Sherlock is shook. There is no “winning” in his situation, as Eurus points out: “You didn’t win. You lost. Look what you did to her. Look what you did to yourself. All those complicated little emotions, I lost count. Emotional context, Sherlock. It destroys you every time.” I think it’s beautiful that we got to see Sherlock become an emotional wreck. It is heartbreaking too, but feeling emotions means opening yourself up to pain as well as happiness. It just proves the one thing that Sherlock has been denying all along; he is human.

There is so much more to be said about this scene. It left so much open to interpretation that we can essentially talk about it forever (which I think we just might). I had a lot of problems with The Final Problem, but I am glad Molly was in probably the most thought provoking scene in the episode.


Why Sherlock goes crazy after the "I love you" scene with Molly 
 (Sherlock meta by pafdoot)

Q: Sherlolly is destroying me, I can't stop thinking about them ;__; I'm curious, why do you think sherlock goes crazy after the "i love you" scene with Molly? I believe it is because it is destroying him knowing how much he has hurt Molly. Just wondering what your analysis of it is :)

 A: Ugh Nonny you and me both. I have done NOTHING productive all week. I JUST mustered up the attention span to clean my kitchen and as soon as I finished I’m back here lol.

I honestly think Sherlock destroying that coffin the way he did was a release of a lot of different emotions, the biggest one being obviously that he’s hurt Molly. However he’s hurt Molly a dozen times in the past in a similar way (think ASiB) and we’d never seen such an explosive reaction from him. At worst he’s been oblivious to hurting her, and at best he’s been ashamed because he understands that what he’s done is wrong.

Ugh I love Sherlock as a character so much because there’s just so freaking much to him and his psychology so allow me to get super nerdy for a minute here and explain my thoughts on what I just said:

The times we’ve seen Sherlock hurt Molly, specifically over her unrequited feelings towards him he’s reacted two ways. At first he was oblivious to having hurt her. When she introduces Jim to them Sherlock unknowingly humiliates Molly by deducing that he’s gay and before that he’d already slightly insulted her telling her she’d gained 3 pounds. When Molly runs away upset, Sherlock genuinely doesn’t know what he did wrong; in fact he thinks he did Molly a service by saving her the trouble of finding out for herself that Jim was gay. John has to explain it to him.

Then during ASiB, when their relationship is more established, this is where Sherlock is fascinating to me. He knows he’s hurt Molly. He understands that he’s embarrassed her and belittled her attempts at attracting him and he’s made himself look like a complete ass in the process. The thing is though, this early Sherlock is a sociopath. Sociopaths know how they should behave but it doesn’t come from instinct. At this point, though Sherlock is regretful for treating Molly the way he did and he sincerely apologizes, I think these are cues he’s taken from the relationships he’s developed with the people around him (mainly John). He hurts Molly and he knows he should be sorry, but chalk it up to the fact that he thinks Molly’s dating life/rituals (and by extension John’s -since we also saw him treat his date horribly RIP) are silly, or his being distracted by Irene and the case, or simply because he just didn’t have any feelings for Molly at this time, Sherlock understands that what he did was wrong, but he doesn’t truly feel the repercussions of it and how deeply he’s hurt Molly because he hasn’t ever allowed himself to be vulnerable enough to experience them.

It makes my soul shrivel up when people condemn Molly for being in love with someone who for years refused to love her back. Or call her weak for it. The moral of this show is that opening your heart up to others, making yourself vulnerable to loving others, is a door you can never close once you open it and it takes a lot of courage to do so because you get to take in the good parts, yes, and also the ones that tear you apart. We see it every single time Sherlock breaks Molly’s heart. We see it when Mary dies.

So after all of that long rambling essay…to answer your question Nonny:

I see Sherlock’s reaction as finally, actually understanding how much he hurt Molly. He finally understands the pain and the agony and the helplessness that comes with being in love that Molly has felt all of the years she’s been in love with him. He explodes because he feels it now. Sherlock has used Molly’s feelings before and he’s hurt her before and the only factor that’s different now is his reaction to it and the fact that the entire point of season 4 was to give Sherlock the most humanizing emotion he cannot run away from: romantic love.


OOC in s4?
 (A Sherlock Meta conversation between doris-the-elephant, cumberbatch-hiddleston, all-hail-queen-mycroft, and thecutteralicia)


doris-the-elephant:

All I fucking want is for someone to explain in what universe, after everything they’ve been through together, does Sherlock point a gun to himself

image

and John is like

image

instead of stopping him?!

And in what universe is John fucking drowning

image

And Sherlock’s like

image

And people are wondering why are so many fans upset, why they were rooting for this to be a fake episode? Yeah, among other shitload of things, you just basically killed these two characters and everything they used to stand for, for the sake of a soap opera/horror movie plot, no big deal. Why, why do this? If you love these characters you wouldn’t do this. I’m just so sad, this is not “Sherlock” anymore. I have the right to be upset, my favorite show has been mutilated beyond recognition. damn right I’m gonna rant about it.

thecutteralicia:

Sure, what they should have done was completely panic! That certainly aligns with the characters we’ve seen so far - you know, John and Sherlock in their many life-threatening situations before this have always just crumpled into puddles of hysterical goo and not, like, urgently yet as calmly as they can assess the situation and find a way out.

John, an experienced soldier and doctor who is intimately familiar with firearms, should definitely have shouted, screamed, and wrestled a loaded gun from a man holding it with both hands under his chin with his finger on the trigger. There is absolutely no way that would have gone wrong. In fact, not only would everything have been fine but then Eurus would have let them leave because she was just so impressed!

And Sherlock should totally have just stood in front of the screen and ranted and cried at John rather than rushing to find him and get him out. Sure, John would have definitely died but at least Sherlock would have had the emotionally visceral reaction of shouting at a screen while he witnessed it.

Seriously, you claim to “love” these characters? Then why do you seem to know nothing about their personalities and how they’ve been shown for seven years?

all-hail-queen-mycroft: 

SCREAM IT LOUDER FOR THE TINFOIL HAT BRIGADE

cumberbatch-hiddleston:

For a clever show, some of these fans are incredibly dim witted.

doris-the-elephant:

Yes, that totally explains how Johh who is a soldier can’t tell what a fucking grenade is. And how they all just stood there and waited for the fucker to land and activate itself, that was the best thing to do.

I didn’t say John had to panic, let’s not be overly dramatic, but have you not seen how they both reacted when the Governor was about to shoot himself? At least there WAS a reaction.

Sherlock jumped into the fire to save John before, so excuse me for being pissed off at him for not giving a flying fuck about him now. Someone said he had to find Eurus to know where to find John, it was a fucking well and he’s Sherlock, he didn’t need Eurus to tell him. So yeah, he wasted precious time on a dumb puzzle and almost left John to drown. Cause none of that is OOC, at all.

thecutteralicia:

1. Why in the world would John recognize a grenade that in show was explained as a brand new weapon? Do you realize how many different types of grenade exist to inflict various levels of force (including fragmentation, stun, chemical, concussion grenades etc.) and that very few of them look like the “pineapple” type we’re used to seeing? The one in show obviously doesn’t exist in real life so it hardly matters that in reality it’s not the right size to be any grenade John would have encountered ten years ago in the military, since the show already established it’s a new weapon. Even if John were an explosives expert, unless he kept up on the latest trends after leaving the military he wouldn’t know it. And aside from all that there’s a huge leap between “not being familiar with the latest cutting edge military weapons a decade out” and “being experienced in firearms and knowing basic protocol and safety, like not trying to grab a loaded weapon from someone.”

2. Gee, it’s almost like characters have different reactions in different circumstances. The governor’s death was shocking and their first incident seeing what Eurus was capable of, and reacting strongly to it played clearly into her hands. By the time they got to the last room, they’d witnessed four other people get killed plus Sherlock have a violent breakdown. They’d discussed how they all needed to act like soldiers to get through it. Now John and Mycroft were clearly horrified when Sherlock turned the gun on himself - you can see it in their faces and the way both immediately step forward - but at that point they were beyond the immediate shock of shouting to a stranger as they had in the first room. I found their reaction all the more meaningful because this time, it wasn’t with someone they hardly knew (or only knew professionally), it was Sherlock. Both Mycroft and John love Sherlock so deeply, they were seeing in that moment their hearts about to be ripped out. Holy shit, imagine if Sherlock had gone through with it! Imagine what it would have done for John to not only see Sherlock die again, but this time in undeniable violence. Imagine Mycroft seeing his baby brother’s brains plastered against the wall. Imagine both of them realizing that Sherlock did it only out of love for both of them. It would have wrecked them, both Mycroft and John. What would you have had them say as they caught a glimpse of their hearts about to be ripped apart? The looks Mark Gatiss and Martin Freeman gave showed that, because they are excellent actors.

3. How in the world could Sherlock find the well and get the water turned off without Eurus? The entire point is that no one found the well when Victor was down there, even with his shouting, so the well was old and isolated. It looked like the house was on a sizable piece of land, surrounded by woods, and even then we don’t even know if the well was on their land or neighboring land. England has been inhabited for 800,000 years, are you aware of how many fucking old wells are scattered randomly through the countryside and woods? You are seriously suggesting that Sherlock - rather than go to the one person who knew exactly where the well was and controlled the water intake - for the answer, he should have run and randomly transversed however many squares meters of land until he found it? How exactly is that an efficient use of time? I honestly can’t believe your solution is, “Sherlock should just have known where this thing was magically.” And you’re criticizing others for plot holes?


The Natural Conclusion of Things 
  (Sherlock meta by Ivy Blossom)

Now, I wasn’t exactly looking for a blatant confirmation of a romantic relationship between Sherlock and John, but it seemed logical for it to appear, particularly after The Lying Detective.

If you put a rifle on the wall in scene 1, it has to get fired before the end of the story. Announcing that John and Sherlock both need a romantic connection in The Lying Detective is one such rifle.

I wasn’t expecting it to be obvious, and it’s not, not entirely, but yeah, it’s there.

This episode isn’t about Sherlock and John and a change in their relationship, to be clear. It’s about why Sherlock is what he is. But slid in there is the assumption that Sherlock and John are back together, the way they haven’t been since The Reichenbach Fall, but this time with eyes wide open. They’re together and talking this time, that’s where we left them with The Lying Detective. They are finally, finally talking to each other about their feelings in a way they never did before. This story doesn’t address those steps directly, it certainly addresses them obliquely.

First: Mycroft wants to talk about their sister alone because “It’s family.” John stays in the conversation because Sherlock wants him there for the same reason. Sherlock considers John family. John considers himself family as well; they are in agreement about it, and John doesn’t offer to go, or move to step away. On its own, that’s a lovely sentiment shared between them, but what it suggests is that John is not only his friend. That’s nice, but only the first part of why I think they’ve moved their relationship to a new place.

Second: Eurus hears Sherlock play one note on his violin and knows that he’s had sex. That’s news! Who’s Sherlock having sex with? Eurus assumes it’s a woman. That’s the same kind of mistake Sherlock made in A Study in Pink. But who else would it be? It’s John.

Third: when John finds another DVD left by Mary, he doesn’t watch it alone. Sherlock needs come over to watch it with him. Sherlock is fully engaged in John’s emotional life at this point, just as John is fully engaged in Sherlock’s, family and all.

Most of this story is game face time, so other than a shot of them co-parenting, and them physically putting their lives back together at the end, there isn’t time for them to show much more. Except that’s sort of the point: they are working as a unit through this whole story, a truly complete unit. They are at peace with each other, they trust each other, they know each other. There is not a flicker of doubt left about each other.

Nothing will ever come between them again.

Sunday, 15 January 2017


Thoughts before the final episode of s 4
 (By Ivy Blossom)

I’m feeling a little weird about the whole thing, what is that? Anxiety? Anticipation? Doubt? I don’t know. All the spoiler stuff and the theories and conspiracies, it’s making my head spin! Talk about a roller coaster!

I’m not holding out for any particular thing to happen. Except for this: I expect The Final Problem to be a consistent step beyond with what’s come before, because this show has always been internally consistent. For all the jiggery pokery that happens around it, both by the people involved in it and by us, its fans, the story itself, the stuff that makes it to the screen, the text, that’s always been a coherent through-line. We’ve always been going somewhere. No false starts, this is a consistent journey.

For a series full of episodes, this story has never been episodic. It’s been a series of chapters in a larger tale, each building on the last, bringing us to a place different from where we left. My only hope, and my only expectation, is that this last episode will be a further piece in that same journey. The characters will grow and change, they will make new, different, even surprising decisions, but everything will have its roots in what came before, just as it always has.

There is so much room for creativity and surprise within those boundaries; we can still be very much surprised. The Abominable Bride make it work against all odds. In spite of a Victorian detour, this story has still been one foot in front of the other.

I don’t want to be shown just what I can imagine, or what I think I want to see. I was to be surprised, shocked, frightened, dismayed, delighted. I’m here for an adventure, not just to be patted on the head. But I want to feel that click as the narrative fall into a place; no matter how surprising, I want to recognize it. When a character does something, says something, decides something, I need to feel its roots in what’s come before. I want it to feel right.

Twelve episodes in, everything in this narrative has always felt right to me. That’s an exceptionally good track record, and it seems disingenuous and unfair to disregard all that evidence now and assume, suddenly, that I know better than the people who have always given me the right story at the right time. So I will trust that this last piece will feel right as well., and the story is as it should be.

With my house metaphorically burning down around me, I can say: Mark Gatiss, Steven Moffat, I trust you.


Why Moffat and Gatiss are so adamant about keeping John and Sherlock not gay

reader1895:

Hello. I liked your analysis on BBC Sherlock. I was wondering do you know why Moffat and Gatiss are so adamant about keeping John and Sherlock not gay? I mean Gatiss is gay himself, so I don't think either of them they have deep seated homphobia. Is it the money and concern over international distribution? This always puzzled me. They said they would respect Conan Doyle but they've added plot that clearly deviate from canon (like making Mary assassin, adding Eurus.) Love to hear ur thoughts!

violethuntress:

Hi! Thanks for you question. I’m going to try to answer, though I think it’s mostly just speculation on my part, and also based I’ve seen other very smart fans write throughout the years.

I’m of the same generation of Moffat and Gatiss (they’re a little older than I am), and here’s what I know about straight and gay men of my generation (Gen X). These are going to be huge generalizations, and they totally completely and utterly do not apply to everyone:

* mostly they don’t believe bisexuality exists, except maybe for some women, because women are like that (!)
* being gay is fine (”not that there’s anything wrong with that!”), they just like to know upfront whether a dude is gay or straight
* straight men are still threatened by gay (male) things or things that might seem gay (probably because it might indicate that their sexuality is more fluid than they’d like to believe, but shhh I didn’t say that)
* they made or were subject to horrible homophobic jokes when they were kids in the 70s and 80s and that’s become a real part of their internalized selves

My sense is that if Moffat and Gatiss were really going to just go for a m/m interpretation of ACD (”not that there’s anything wrong with that!”) it would have been signalled upfront in Series 1 as a kind of warning label for straight men of a certain age who would want to nope out right from the start. They would see this as just being fair ( = internalized homophobia). Once S1 ended with John dating women and no overt mention of Sherlock liking men I knew that they weren’t going to go the full m/m route.

Since then, I’ve been surprised by some of the homoerotic and homoromantic moments they’ve actually included in the show, from so much in TRF to the knee grope. I would imagine they see this as “just good fun,” the way innuendo is played in a lot of British media (see: Carry On films)–but that never bears fruit. (Is this queerbaiting? You be the judge.) I also think it dawned on them some time around S3 that lots of (predominantly female) fans were taking their playful innuendo (too?) seriously, and that they’d better cut it out. Which they mostly did.

I think media is changing rapidly. While women have been surprise-revealed to be gay or bi in tv shows for a while now (often for male-gaze reasons, sometimes for representation / inclusivity), I watch (and loooove) “Crazy Ex-Girlfriend” and they did a similar surprise-reveal (Gay / Bi) for men–the first time I’d ever seen it done, tbh. The “warning: gay men ahead” idea is quickly going out of fashion (thank god). But this is a new thing. Maybe Mofftiss will catch up; maybe if there’s a Sherlock Christmas Special in 2024, things will have changed enough for them to go, fuck it, let’s have them get married. I kind of hope so. But being Not Gay unless Clearly Stated Otherwise is where I think things were when Sherlock started, and now, unfortunately, they’re sticking with it.


John's blog 
 Sherlock meta by inevitably-johnlocked)

thefellowshipofthedragonmark:

Hello! I was wondering, could you explain what was going on with the blog, and everybody thinking it was Sherlock's and not John's? I was rather confused about that part. Thank you! :)

inevitably-johnlocked:

Hi Lovely! Yeah, I have NO IDEA what’s going on. I think we’re MEANT to be confused about what exactly is happening. Here’s my speculation: TLD is from John’s POV, and it deals with a lot of his insecurities and low self esteem. People like his blog because it’s about Sherlock, but they don’t really know that it’s John doing it… John doesn’t think people think John is important, so from his perception, if Sherlock does it people love it, but if he does it, no one cares (hence the lame response to his presence at the hospital). John doesn’t think he compares to Sherlock (we see this with self-loathing he does all episode), so from his perspective, no one actually really knows who he is – he’s realizing that he DOES gush about Sherlock on his blog a lot.

I don’t think he hates that though, but I think it’s just more he doesn’t believe he’s useful to Sherlock.

Saturday, 14 January 2017

Amo
 (Sherlock Meta by sussexbound)

Question: Hello! I don't understand anything about the codeword ammo/amo. It was first ammo then amo? When they (Sherlock?) said it means "I love you" I immediately thought about the trailer and Sherlocks "I love you". I'm very confused and afraid he talked about the codeword in the trailer... Can you maybe explain? Thank you!

Answer: The code word was ‘amo’, which is Latin for ‘I love’. When Sherlock mentions it to Mary, she tells him that it was ‘ammo’. She only heard it over the phone during a job. She jumped to the conclusion that the word ‘amo’ (I love) was really ‘ammo’ like ammunition, because that was her frame of reference, and first association as an assassin and contract killer. This contrasts Sherlock and Mary. Sherlock’s first association is love related. Mary’s first association is death related.

Of course in the plot it also helped lead them to assume that Lady Smallwood was the person who ordered the disastrous action, and was the traitor, because her code name (as we learned at the beginning of the episode) was ‘Love’. This was proven incorrect. I don’t remember if they ever explained why Norbury decided to use the code word ‘amo’. Sorry, I’ve only watched it twice so far, and the first time my livestream kept cutting out. So, if anyone wants to add to that, then please do.

I thought about the trailer and Sherlock’s I love you, too. It was an interesting tie between ‘amo’ - I love, and the ‘IOU’ of TRF and Emelia/Moriarty’s ‘YOU’ in TAB. You put ‘amo’ - I love, together with Emelia/Moriarty’s ‘YOU’ in TAB and you get “I love you”. I don’t think that’s a coincidence.

In TRF Moriarty’s IOU seems like a death threat. But we also know that in TGG Moriarty promised to burn Sherlock’s heart out, which suggests using Sherlock’s love of others to hurt him the most. Sherlock has always seen love as a weakness. And Moriarty is playing to that.

It’s really hard to know how this will all play out at this point, but I feel like there is a long game linking love and death here, and that it is linked to Sherlock’s past as well as his present, and that that is all going to come to a head in some pretty cataclysmic ways in Episode 3, because in this adaptation Love has always been The Final Problem.

 What happened to Sherlock's revelations about himself in TAB?
 (Sherlock Meta by 57-circlesofhell and sussexbound)

57-circlesofhell:

I keep thinking… We saw sherlock go through tab. We saw “it’s always two of us.” We saw Sherlock leaping off the waterfall and accepting his emotions. So why doesnt that seem reflected in his character in TST? Instead of taking “it’s always two of us” to heart, Sherlock often ignores or fails to appreciate John, puts too much trust in Mary, and runs off on his own without John’s input. I think that’s part of what feels off to me. Sherlock doesn’t seem much developed by the “events” of TAB, and i wonder why that is.

sussexbound: 

I know I’ve done a couple posts about this. One right after TAB I think. And my point then was that it was amazing that Sherlock had so many revelations about himself and his feelings in TAB, but going out into the real world and now actually putting those revelations into action–well, that’s the real work.

And I saw hints in this episode that Sherlock is mad in love with John and knows it, and accepts it, but my god sometimes he looks at John like a shy middle schooler with his first crush. It’s so new, and fresh, and John is not free, so how does Sherlock assimilate all these feelings when they can only be expressed in such small and limited ways?

Sherlock seems to choose to fixate on the work and on his vow. We have never seen him pour himself into his work in such a manic way. And everything he did re: Mary was about keeping that damn vow, because to Sherlock, keeping that vow is the greatest expression of love he can give to john. It was a vow born of pure love, and was a lifetime commitment, and keeping that promise was the only way I think Sherlock felt he was allowed to show john how much he loves him. He would do everything in his power to protect John’s family. In many ways Sherlock was more invested in the Watson marriage than the Watson’s were.

Also worth noting is that I think that a lot of the stuff with Emelia, the band of women, the Carmichael case, the missing body, etc., was being processed at such a deep level of Sherlock’s subconscious (and aided by substance) that when Sherlock woke up again he lost it, or at least his brain tossed out the details but he never managed to interpret them correctly. Like when you wake from a dream, remember a lot of disjointed details, but can’t interpret them. I think this is why he kept getting premonitions in TST. It was his brain still trying to process the stuff from TAB.

I think this also explains weirdness like the increasingly bright skull picture in 221b as Death draws ever closer in the form of the Abominable Bride. In the next episode I think this is going to start to get worse and worse, triggered by stress and grief, and also probably by whatever sick games Culverton is playing.

TAB is the dream that his brain and heart is going to spend this entire season interpreting and putting into practice. The TAB waterfall scene where Sherlock makes all those beautiful realizations about His love for john, John’s commitment to him, and the fact that they can only truly defeat Moriarty together, is the famous waterfall scene from the ACD canon story, “The Final Problem”. The last episode of this season is called “The Final Problem”. They have never used a direct canon title before. So that is significant. By the end of this season Sherlock will have found his way back to that waterfall moment, but in real life. And in that moment, when he makes dream a reality, when he puts all those inner lessons into practice, love really will conquer all!


Does John really love Mary?
 (Sherlock Meta by Ivy Blossom and sussexbound)

Question: hello, sorry for showing up on your doorstep all out the sudden, i don't know if you take asks or not, if not then i apologize. but if you do, there's something I'd like to ask because I always value your insight on Sherlock. See, many people insist that John doesn't love Mary at all and even claim he never did which is driving me nuts, because taking into consideration human emotional complexity and the bbc canon, I disagree. And you know John so well, I'd love to see your perspective on this.

Ivy Blossom: 

Well hello there, stranger, standing here on my doorstep! Please, come on in!

First off: I love the idea that I know John well. He drops by the library from time to time, we go for a pint, I help him with his blog. I’m his sister’s ex, but he and I got along better than either of us did with her, so.

I can’t imagine a version of this story where John doesn’t love Mary. We’re at a point, here after we’ve seen The Six Thatchers but nothing more, where there is a clear suggestion that John is cheating on Mary, and many are shocked and appalled by this. How could ethical, moral-compass John do such a thing? Well: how could ethical, moral-compass John marry someone he never felt any love for? I don’t think he would, and I don’t think he did. John definitely loves Mary.

I think it’s safe to say, in the context of this story, that John and Sherlock are soulmates. They were built with a piece missing in the shape of the other, and each of them become their best and most whole selves when they’re together. This is true no matter who else enters either of their lives, no matter how much either of them loves anyone else. This core construction is permanent and unconditional. It’s practically biological. They don’t even have to like it or want it; it just is. John (or Sherlock!) loving anyone else cannot lessen the reality of this connection, and the foundational bond between Sherlock and John doesn’t lessen the love they feel for other people. Complicate it? Certainly. It may even make it impossible for either of them to properly commit to anyone else. But love isn’t a zero sum game even at the worst of times.

There is no question in my mind that John loves Mary. He loves the version of her that she wants to be. John gets restless in his marriage before Mary shoots Sherlock and her secrets start to spill out, but that’s not a statement on how much John loves her. No one but Sherlock can fill the gap in John that Sherlock fills. He certainly loves her while she can’t.

If John knew Mary’s whole past, if he had known her before she became Mary Morstan, would he have loved her? Mary tells us he wouldn’t, and it seems she’s right. John is having a hard time accepting the lies Mary tells. He doesn’t like her behaviour or her choices when her past self creeps back. Would he have found his way through his anger and feelings of betrayal and committed fully to his marriage again? Possibly. He isn’t ready to give up on her entirely.

image

married Mary’s fantasy version of herself rather than her reality, and sometimes reality seeps in. John no longer trusts Mary, and that’s difficult terrain for love. But I don’t think John stopped loving her by the end of The Six Thatchers. He is angry with her, and disappointed, but he still loves her.

Barring any rug-pulling details that force us to change our understanding of her death, perhaps Mary has demonstrated that she was capable of reshaping herself to be the Mary Watson she wanted to be. She might have genuinely become exactly who she pretended to be. And John would have loved her.

sussexbound:

I feel like the ‘Miss Me’ video, with the “Go to Hell, Sherlock” message was meant to be a rug pull indicating that her sacrifice was probably not as selfless as it appeared.

But that being said, I agree with the rest of this. Of course John loved her once, or at least the woman he thought she was. He would never have married someone he didn’t love. And I do think his apology in HLV was sincere, and I do think that he wanted to try to make it work, because he thought it was what he should do (they were about to have a child together, for one), he thought he could do, and Sherlock was feeding him the surgery story and acting like all was forgiven.

I felt like John was feeling horribly torn all the way through TST, and part of his anger at Sherlock at the end, is really more guilt and anger at himself. He was straying with bus lady, his heart was still tied so much to Sherlock, and that love is always there, always in the background of everything. He was feeling unappreciated and shut out by both Sherlock and Mary who seemed to have their own little friendship which mostly excluded him.

When he was out with Sherlock, he shut his phone off, tried to ignore Mary, because he valued the Sherlock time, and clearly felt like she was butting-in, in some ways. But she was his wife, and he should want to spend time with her, shouldn’t he? And he had a new baby he loved, and should be there for. And Sherlock and Mary got along, which was–good.

And then Mary just ran off, and he and Sherlock had a plan, they put a tracer on her AGRA drive, and then they just let her run, for weeks at least, before they went and got her. Why? Maybe they just cherished the time together, and dragged it out? And by the time they got there John wasn’t even sure if he liked Mary any more, which is sad. And yet, when they got home, he was still trying to make it work (even though he was drinking again).

John was just being torn in so many different directions. I get exhausted just thinking about it. I feel for him in TST, I really do. It’s a very difficult place to be in, and now, with everything that’s happened, he has a tough road ahead, and some very difficult decisions to make.

Friday, 13 January 2017


John in series 4
 (Sherlock Meta by sussexbound)

Anonymous asked: I'm afraid for John in the new series. Especially since it seems like what happens in TST will be his fault and Martin said his moral compass will "go off pole a bit" and that he's going to be dealing with temptation and guilt, whatever that means-I'm afraid they'll ruin John Watson and he doesn't deserve that. I want them to do him justice-he's been done wrong in so many adaptations. This is vague for a prompt, it's more of just a message, but yeah, I'm afraid they'll ruin John.

sussexbound answered: Yeah, I totally get this fear. I think it depends on how you see John as a character, and people seem really divided on their interpretations there, and everyone seems equally emotionally invested. There are a lot of people out there still who hate Season 3 John because they see him as wildly out of character. I don’t. But I know a lot of people do. So I think that if people are married to the idea of a John who it primarily (or only) a kind-hearted, loyal carer, they are going to be in for a big shock and/or disappointment.

I see John as very human, and very flawed. A man with a warm heart, and a desperate need to love and be loved, but who also battles with anger, with fear, with co-dependence. He has all the characteristics of someone who grew up being abused, and who hasn’t dealt with the fallout of that much, except to try and run from it or stick his head in the sand.

He’s a good man who tries to do what he thinks he is expected to do, but you know what? That isn’t sustainable. Sherlock knows this. He’s told John that John is not, at his core, the man he is trying to desperately to be. And no matter how much he fights his true self, it will always push through.

So I think that we are going to see the ramifications of that this season. Sherlock isn’t the only one for whom ghosts come home to roost. John has been running from his true self for a very long time, too, and he is going to have to face the natural consequences of his choices in Season 3.

For me there is very little they could do that would ruin John for me. It would have to be something wildly out of character. If they made him a bumbling idiot, for instance. That would bug me, because they have often stated that they are trying to make a point of not having their John be that old stereotype. This is sort of why I don’t like the theory that John will suspect that Sherlock is the father of his baby. I just don’t see John as being that stupid. Not after TSoT, HLV and TAB, at any rate. Or if they made him evil on the level of Moriarty (which I guarantee you they won’t do).

John cheating on his wife, or being involved in secrets behind Sherlock’s back, or even having dark secrets from back in his war days are all things that would seem in-character to me. He’s human. He’s morally flawed, mostly because he’s not dealing with his own shit, but there is definitely a struggle there. So, I’m not going to panic. I’m going to give this season a chance.

We know from promo and setlock that whatever happens between Sherlock and John gets resolved in some way, because they are talking to one another right away in the next episode, even if things may be strained. So, I don’t think it’s irrevocable damage done, though the changes it causes to their relationship may be irrevocable. But, at this point, that might be a good thing. They weren’t at the best place at the end of Season 3.


"Out of the picture"
 (Sherlock Meta by just-sort-of-happened)











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.


The John Watson problem: It’s not just John, it’s the imbalance in the relationship, and it’s the writers fault 
 (Sherlock Meta by sussexbound)

So, I’ve slept on the TLD John issue. I’m still heartbroken. But I want to clear a few things up, firstly about my view of John as a character (because I’ve been accused repeatedly of idealising John Watson, and have been told that the reason I’m upset now is because I was ignoring his flaws, his darkness up until now), and also about my views on the writing, and the imbalance it’s starting to cause in the johnlock dynamic.

Let’s start with my understanding of John…

I came to this fandom after Season 3. I had no real attachment or understanding of the fandom John characterisation as some sweet-hearted, slightly grumpy, but generally level-headed and selfless carer. I started reading fic, and engaging on tumblr after the days of ‘hedgehog john’, ‘jawwwn’, and ‘jumpers, jam and rage’. So, for starters that has never been the John I saw in the show. That’s never been the John I embraced in fandom. And that’s never been the John I fleshed out and explored through fan fic. Mine has always been a John deeply coloured by the events of Season 3, and the fandom focus that arose after it.

The John I know: 

The John I know and love has always been deeply flawed. He’s always had anger issues. I headcanon him coming from a profoundly broken and emotionally and physically abusive home life. He has always had an attraction to violence and adrenaline-fuelled activities, while also somewhere, deep down, being slightly unsettled by that part of himself. He has always been passive-aggressive, always struggled with a drinking problem that could, at any moment, snowball into something serious. I think he knows that. Look at Harry. He knows. I’ve always seen him as someone who projects his issues with himself onto others (again look at his relationship with Harry and her drinking). I’ve always seen him as someone who turns to casual sex for comfort and to distract himself from uncomfortable feelings and attractions he doesn’t want to think about (hence the string of girlfriends in ASiB after the pool thing happened). I wasn’t surprised in the least about the affair with the woman on the bus. I also wasn’t surprised in the least about his guilt over it, while still battling with wanting it to continue. I’ve never been surprised by how deeply John keeps himself rammed in the closet, how much he keeps inside, how little he is willing to open up and make himself vulnerable. None of these things has ever been a deal breaker for me. I understand them, and they are a part of what makes John flawed, and horribly, beautifully human.

John Watson is a loyal, loving man, but he is also deeply flawed. He is also a bad man. And there are aspects of that that Sherlock loves and craves, yes. Sherlock isn’t an easy man himself. There aren’t many people who would be able to live with him. He knows that. Part of what makes him and John sort of ‘fit’ is John’s complexity, his flaws, his brokenness, his difference from the rest of society.

Sherlock sort of flaunts and celebrates his own difference and exceptionalities, while deep down still feeling like a freak, unlovable, something to be put up with and tolerated. While John does everything within his power to hide his difference, to celebrate his ‘normalcy’ while deep down feeling terrified that the real him will someday fight it’s way to the fore, and that he will be revealed to be the monster he secretly worries he is. But because they both know they are different, they fit, and they have, perhaps, more tolerance and empathy for the difference in the other.

So, I don’t think I’ve idealised John Watson, or his relationship to Sherlock. I think I’ve always had a pretty realistic, balanced view of John, one that accepted both his darkness and his light, and of his relationship with Sherlock.

The imbalance in the relationship: 

But here’s what the writers have been doing the last couple seasons, and what they continue to do, and why I think the beating in TLD was the last straw for me.

There is a serious imbalance in John and Sherlock’s relationship, and if you know anything about abuse, you will realise that this imbalance is a ‘perfect storm’ set up for future, chronic, domestic abuse.

I’m going to leave The Fall totally out of this argument, because I think that is a huge psychological wound between them, that requires it’s own separate treatment, it’s an issue that has been repeatedly addressed on screen, is about to get revisited in TFP (I think), and because John actually brought it up, to Sherlock’s face in his therapist’s office in TLD, and Sherlock actually acknowledged that he now realises why that actually upset John (our lives are not our own).

What I want to do, though, is compare what I think are the two worst, most inexcusable things that Sherlock and John have done to one another physically (though each of these also have a strong psychological element, as physical abuses always do):

*John beating Sherlock to a bloody pulp, in a fit of misplaced rage, in TLD.
*Sherlock non-consensually attempting to drug John, a traumatised war veteran, with a fear-inducing drug in tHoB, and triggering a severe fear response in him.

So let’s look at how the show handled these two issues.

We’ll start with the tHoB drugging: 

At the beginning of this episode both of John are sort of settling into their relationship. It’s kind of a high point for them. John’s given up the girlfriends. Sherlock’s trying to quit smoking with John’s help, though he’s clearly bored and restless (probably due to the fact that he’s experiencing emotions and attractions he doesn’t know how to process or what to do with).

They go off on the Baskerville case. Sherlock thinks he’s giving John a deliriant drug via sugar in his coffee. He then sets up a situation in the lab, which triggers an anxiety/fear response, through a combination of sensory overload, and suggestion. Now, it turns out that he actually didn’t drug John, because the drug wasn’t in the sugar (I guess the jury is still out on whether John actually was drugged at the lab somehow, or whether he just got that triggered from the fear stimulus, which is highly likely given his previous war-related trauma), but the intention was there, and Sherlock did trigger John’s trauma response through the other means I mentioned, which is really horrible.

So we see John in the cage in the lab, terrified. Once Sherlock hears the sheer terror in John’s voice I guess he decides maybe the whole thing was a bit much, and had gone far enough, and he tells John to sit tight, comes and gets him, does seem to try and comfort him (hand on shoulder, asking if he’s alright, etc.), but then he sort of slips back into ‘cold machine’ mode, and off they go to keep working on the case. John is clearly feeling ill from being triggered. He’s pale, and shaky, even Dr. Stapleton mentions it, “Are you alright? You’re looking a bit peaky.” And Sherlock, is back in case mode now, pretty much ignoring John, and the level of trauma he caused him.

At the end of the episode this situation comes up again, and is discussed, so we can see how both characters feel about it. John is clearly angry, and Sherlock shushes him, and tells him that it was laboratory conditions, all very safe. John insists that he was scared to death, and Sherlock just sort of justifies his choice.

John seems strongly irked, but generally okay, and they joke about the sugar and Sherlock being wrong. John had a right to be angry, because it was a non-consensual situation that resulted in John being seriously triggered to the point it made him physically ill. But John actually enjoys teasing around the edges of that. His danger addiction lends that a certain level of appeal.

I’m not justifying any of Sherlock’s actions, and that definitely took things too far, but I’m saying the reason John seems to forgive it, is because on some deep level he really doesn’t mind all that much, and he does trust Sherlock to engage in that kind of danger play with him, and keep the conditions ‘laboratory safe’.

Sherlock also seems fairly attuned to John’s responses, and did stop the ‘experiment’ when it was clear John needed out.

They play dangerous games together, these two boys. They always have, and they probably always will. The fact that John craves and needs that, and that Sherlock is more than willing to provide that, is part of what makes them click.

So onto the TLD beating: 

This brings us to the TLD beating. John and Sherlock are both not in the best mental state to say the least. John is hallucinating his dead wife, just starting to go to therapy to work through the issues surrounding his wife’s death. He’s still projecting his own guilt and self-loathing onto Sherlock, and blaming Sherlock for Mary’s death. He’s drinking. He’s probably been pushing up against suicidal ideation at times. He’s had more than one danger night, by the sounds of it. He’s probably the lowest he’s ever been.

Sherlock is also the lowest he’s ever been. He’s lost Mary, John and Rosie in one fell swoop. The circumstances surrounding Mary’s death are at least partially related to Sherlock’s actions. John has asked for space, and so Sherlock has granted it. Sherlock’s despondent, self-destructive, back on drugs. He’s got that video from Mary charging him to be John’s keeper, to save John from himself, and his own self-destructive tendencies. He decides to pick a fight with a serial killer to hopefully present John with an opportunity to save his life (honestly what even was that plot?! But I digress…).

Now we get to the morgue. John’s been dragged along on this case sort of unwittingly, but once he’s there, he seems to fall into line. He’s still hallucinating his dead wife, but she seems to be encouraging him to go along on the case, rather that making him feel guilty or bad about it. It’s good for him, she suggests. The game is on!

In the morgue everything goes wrong with Sherlock’s plan, due to the unforeseen thing with Faith not being the Faith Sherlock met at 221b (there are serious holes in this plot, and how it relates to Sherlock’s plan to save John but I won’t go into that here).

Sherlock wigs out and pulls a scalpel on Smith. He is a real risk here, doped up, starting to slip mentally. John hits his arm once to disarm him, then slams him back against the cooler to get him out of Smith’s personal space. At this point he punches Sherlock in the face and says, “Stop. Stop it now. What are you doing? Wake up!” He hits him again, and Sherlock falls to the floor, and this is when John says, “Is this just a game? Is it just a bloody game?!” And then he punches him again, and again, and starts kicking him in the side until the smile falls from Culverton’s face, and two orderlies rush in and pull John off.

Sherlock’s response to Culverton’s request that John leave him be, is, “No it’s okay. Let him do what he wants. He’s entitled. I killed his wife.” Sherlock isn’t angry at John. Not even slightly irked. He doesn’t try to defend himself. He just lets John do it, and even says it’s okay to let John continue to do it, because he deserves it, really, he killed John’s wife (which he didn’t, though he probably does have some second-hand responsibility surrounding her death).

To which John tightly replies, “Yes you did!”. So John is again misplacing his anger, and allowing Sherlock to take the blame here.

Of course this beating on top of Sherlock’s already fragile condition lands him in the hospital, and we know the rest.

Like Sherlock in tHoB, John never apologises for this action. But unlike Sherlock he also never acknowledges the event even happened in Sherlock’s presence. It’s swept under the carpet, and never comes up in the episode again. Presumably, since Sherlock thinks John had every right to beat him in that scene, it never will be addressed unless John makes a point to bring it up, to apologise, to make sure Sherlock knows he didn’t deserve it, and that John was projecting his own feelings onto Sherlock, and giving himself permission to use Sherlock as his own personal whipping boy.

The hug scene at the end of the episode is also not in any way an apology for this event. I don’t know where people are getting that impression from. I’ve had a good handful of people tell me that, and it’s simply incorrect.

In the hug scene, John admits that he wants to be the better man that Mary saw him as, that she makes him want to live up to her high estimation of him. He confesses and apologises to his head-Mary for the text affair, and admits that he isn’t the perfect man she saw him as, that he never has been. This reduces him to tears. At that point Sherlock gets up and tenderly comforts John.

There were a lot of things discussed in that scene, and AGAIN, John was projecting a ton of his issues onto Sherlock (like with all the Irene stuff), but there was never an apology for, or even an acknowledgement of the beating.

So here’s where the imbalance lies: 

When we first meet John and Sherlock in ASiP, John is presented as a kind of decent bloke, with some mental issues related to the war, and a danger addiction seemingly related to that. We also find out that alcoholism runs in his family, and that he has a difficult relationship with his sister, and is fairly socially isolated. But he also has a strong moral compass. He is in desperate need of money, but he turns down Mycroft’s offer to spy, for instance. He’s complex, he’s got issue, but we’re supposed to read him as generally decent.

Sherlock is presented as a odd genius with a small, but fairly loyal social circle. A man who eschews emotional connection and entanglements, is a self-professed ‘high-functioning sociopath’, and doesn’t seem to understand or care about social conventions at all. He’s also got a bit of an obsession with murder, and Sally is there to plant the suggestion that someday they’ll all be standing around a body, and Sherlock will have put it there. He’s got human elements, but he’s a little bit cold, maybe a little bit dangerous?

Over the seasons, since the show is called “Sherlock” and since from the very beginning the whole point of the show is to show Sherlock moving from being not just a great man but also a good one, they have been seeking to ‘humanise’ Sherlock.

However, what that has resulted in, is a Sherlock who is getting more, and more selfless, especially after The Fall, and especially when it concerns John, and a John who started out seeming complex and flawed, but decent, who has been slowly being written more and more selfish.

It’s starting to cause a serious imbalance.

Let’s just compare the balance between good and ‘not good’ in Season 3 & 4 (I will bold the items I feel bear more moral or emotional weight in john and sherlock’s relationship).:

_______________________________________________________

Sherlock’s ‘Not Good’ (and bear in mind that some of these things can be somewhat explained or justified which lessens the blow a bit, imo): 

1. Does not prepare John for his return with a text or phone call in TEH. 
2. Interrupts John’s proposal dinner to announce his return from the dead with an ill-conceived joke in TEH. 
3. Tricks John into thinking he was about to die on the train car in TEH.
4. Walks off in TSoT when John is trying to talk to Sherlock about Mary.
5. Shuts John out and goes back on drugs in HLV.
6. Seems to be discussing John with Mary behind John’s back. John and Mary seem to be arranging John’s schedule for him. It’s almost like John is having his personal agency stolen from him at bit.
7. Tries to make John jealous with Janine (nothing will convince me that wasn’t his intention)
8. Leaves John behind, and runs headlong into danger in CAM tower, and get’s shot as a result.
9. Really botches the whole Magnussen affair (though I don’t see this as a personal attack on John, but it does have negative consequences for him).
10. Shoots Magnussen (this was for John and Mary even though it was morally wrong).
11. Overdoses on the plane in TAB.
12. A lot of being glued to his phone in TST, during times when John clearly desires him to be engaged.
13. Seeming to join in with Mary in questioning John’s value as a companion in TST. 
14. The Norbury mess, and Mary’s resulting death in TST. 
15. Self-destructive and back on the drugs in TLD.
16. Kind of manipulating John into joining in on the Smith thing, though I think a lot of the weight of that falls on Mrs. Hudson’s shoulders.

Sherlock’s ‘Good’ (and ‘good’ is probably relative here, I just mean stuff that makes Sherlock sympathetic to the audience): 

1. Recognises that he made a social misstep with the way he announced his return from the dead, and tries to apologise - TEH.
2. Allows John to wrestle, strangle, head butt him, without complaint, and without trying to defend himself, despite the fact he is still recovering from torture, presumably because he recognises his wrong, and feels John is justified (sound familiar) - TEH.
3. Let’s John have space when John expresses that he doesn’t want to see Sherlock - TEH.
4. Saves John from the bonfire - TEH.
5. Initiates a conversation when John comes over the next day, apologises again, sincerely. Tries to make things right - TEH.
6. Tells John to just go and Leave him in the train car, when he thinks they are going to die - TEH.
7. Befriends Mary - TEH.
8. Practically plans John’s entire wedding, and puts John and the wedding before ‘the work’ - TSoT.
9. Agrees to be best man and makes a beautiful speech even though it is clearly something that is hard for him (on many levels) - TSoT.
10. Saves the life of John’s ex at John’s wedding - TSoT.
11. Seems to do everything in his power to make John’s wedding day perfect, even if his own heart was breaking - TSoT
12. Stands by and watches John dance away with his wife, while John drops a last parting jab of a joke, that even Mary knows was not good - TSoT.
13. Claws his way back from the dead for John and John alone. Seriously. Comes back to life for John - HLV.
14. Doesn’t keep the truth about Mary secret from John, at great personal risk to himself (remember Mary threatened him about telling John) - HLV.
15. Encourages John to forgive his wife, to trust her and take her back, even though she shot him when he tried to help her, and then threatened him in the hospital and again in the empty house - HLV.
16. Basically moderates the Watson family domestic and keeps John in check, trying to diffuse his violent anger that is focussed on Mary, and refocus it on Sherlock himself (wtf, this is such a horrible pattern!!!) - HLV.
17. Puts himself (and his brother) at great personal risk just to clear the name of John's wife - HLV.
18. Kills a man to keep John’s wife’s secrets safe - HLV.
19. Get’s himself exiled for this act (an exile that will inevitably end in his own death) - HLV.
20. Holds back telling John he loves him on the tarmac, and makes a joke just to see John smile - HLV.
21. Continues to put himself at great personal risk to keep his vow about keeping Mary safe - TST.
22. Lets John in on the AGRA drive thing in TST, before confronting Mary about it.
23. Goes with John to Morocco to confront Mary after she takes off - TST.
24. Figures out the Norbury deal, and tries to close that case out forever, to protect Mary (I guess) - TST.
25. Acknowledges he did bad with the Norbury thing -TST.
26. Asks Mrs. Hudson to remind him when he is being arrogant or too cocky in the future so he will not repeat his mistakes - TST.
27. Gives John the space John wants. Doesn’t pressure him - TST.
28. Is so sweet and nice to E./Faith.
29. Acknowledges that his life is not his own, and by extension the audiences realises that he understands the effect his fake suicide had on John.
30. Let’s John beat him in the morgue, says he deserves it, lets John blame him for Mary’s death - TLD.
31. Is willing to die at the suggestion of John’s dead wife, by placing himself in the way of danger, just to try and keep John from killing himself (honestly, wtf kind of crazy ass, horrible plot?!!!) - TLD.
32. Initiates conversation at the end of the episode when John is going to once again walk out without talking. Starts by asking John if he’s alright - TLD.
33. Listens in silence to John talk about how he should engage in a sexual affair with Irene because she likes him and is available (never mind they’re both gay), and to John’s suggestion that without romance and sex he isn’t a complete human being - TLD.
34. Holds back from telling John that he loves him (again) - TLD.
35. Quietly sits and listens to John confess that it is his wife (the woman who once almost killed Sherlock) who inspires him to want to be a better man - TLD.
36. Listens as John confesses his affair to the hallucination of his dead wife - TLD.
37. Hugs John when he finally breaks and cries over all his guilt, and anger, and self-loathing - TLD.
38. Ensures John that he isn’t a bad man, but just human, still essentially loveable -TLD.

______________________________________________________________

John’s ‘Not Good’ (and bear in mind that some of these things can be somewhat explained or justified which lessens the blow a bit, imo): 

1. Wrestling, head-butting, attempting to strangle Sherlock the night he came back from the dead in TEH (bolding this, because though it was somewhat understandable given the depth of Sherlock’s deception, it bordered on excessive, imo, and was, once again, never brought up again, or apologised for).
2. Going ahead with a marriage that he seemed very hesitant about (this is even referenced when Mrs. Hudson tells John that she just sort of got swept along into her own abusive marriage) - TSoT.
3. Not recognising that Sherlock was stressed about John getting married, or even acknowledging that it would change things between them (even Mary could see this) - TSoT.
4. Adding shots to Sherlock’s beer to get him drunker than he wanted to be on stag night in TSoT (again this was never addressed unlike the drugging in tHoB, which they at least discussed, and John had the chance to express his anger over).
5. The ‘behind closed curtains’ joke at the reception - TSoT. 
6. Blaming Sherlock for Mary’s death (though I think that this is understandable given the circumstances) - TST.
7. Telling Sherlock he would rather have anyone’s help but Sherlock’s (again somewhat understandable immediately following Mary’s death - and there’s that ‘anyone’ again) - TST.
8. The affair (this wasn’t that big of a deal for me, but it was for a lot of people, and I think a fair argument could be made about whether it might ever become an issue in John’s future).
9. The beating -TLD 

John’s ‘Good’ (and ‘good’ is probably relative here, I just mean stuff that makes Sherlock sympathetic to the audience): 

1. Forgives Sherlock for The Fall - TEH.
2. Finally uses his words and tells Sherlock what he means to him in the train car. - TEH.
3. Tries to tell Sherlock a couple of times how much he loves him, and values their friendship - TSoT.
4. Asks Sherlock to be best man - TSoT (though this was obviously emotionally difficult for Sherlock, which John seemed clueless about, so I’m not sure how much of the audience would view this as a good thing) - TSoT.
5. Tries to initiate conversation/test the waters sexually on stag night (though they were both drunk off their ass, partially because John got them that way, so it was bordering a bit on dub-con, and thank god for Mrs Hudson and the client interrupting) - TSoT.
6. Cries at Sherlock’s beautiful speech -TSoT.
7. Doesn’t stop himself from hugging Sherlock - TSoT.
8. Seems understanding, and like he’s trying to be supportive when Sherlock is spiralling out of control in the mayfly man deduction scene - TSoT.
9. Misses Sherlock horribly even on this honeymoon - HLV.
10. Dreams about Sherlock - HLV.
11. Takes him to get drug tested, calls Mycroft who makes sure the flat gets searched for any other drugs - HLV.
12. Cares for Sherlock immediately after he is shot. - HLV
13. Stays at the hospital all night, waiting to see if he’ll pull through - HLV
14. Is genuinely furious about Mary shooting Sherlock - HLV
15. Forgives Mary (I still can’t decide if this should be a ‘good’ or ‘not good’ tbh) - HLV.
16. Goes along, trustingly, with Sherlock’s crazy, ill-conceived Magnussen plan - HLV.
17. Seems shaken by Sherlock’s attempted overdose, and to take Mycroft’s charge to look after Sherlock quite seriously (sadly this isn’t born out with acton in S4, so I’m not sure it should even be on this list) - TAB
18. Asks Sherlock to be godfather of his daughter - TST
19. Seems to be trusting and working with Sherlock again - TST
20. Actively seeking therapy - TLD
21. Saving Sherlock from Smith (which he later admits he wouldn’t have done without Mary’s urging - wtf?) - TLD
22. Admitting he isn’t the perfect man Mary thought he was (this is directed at his memory of Mary, not Sherlock though) - TLD.
23. Admitting he had an emotional affair while married to her (again, directed at head-Mary) - TLD.
24. Admitting that his wife’s opinion of him made him want to be a better man (seriously, y’all. I’m so tired…).
_______________________________________________________________

So, as you can see there is a HUGE disparity between the emotional and moral weight of Sherlock and John’s ‘good’s and ‘not good’s, especially as it applies to their relationship to one another.

This will not only skew the audience’s sympathies in a certain direction. It also seriously makes me question whether John, as he’s being currently written, has the level of self-awareness, and willingness to take responsibility for his own actions, necessary to be in a healthy or sustainable relationship with anyone.

Sherlock is being painted as someone with flaws, but who is essentially committed to growth, selfless when it comes to John, someone who is willing to die, kill, and live entirely for John Watson. And who is also willing to take any level of abuse at John’s hand if he feels it will make John feel better (which is more than a bit not good).

John on the other hand, is being painted as someone deeply flawed and deeply selfish. He constantly projects his own issues onto Sherlock, and then punishes Sherlock for them, rather than himself. He rarely talks to Sherlock about things that matter. Other than forgiving Sherlock for the fall, I can’t think of a single selfless thing John’s done specifically for Sherlock since TRF. And now that Mary has been redeemed it seems that the few leaps of growth he’s managed have been all for her and her angelic memory.

I know in ACD canon, Sherlock states that Watson’s marriage to Mary Morstan was the one truly selfish thing Holmes can recall Watson doing to him in the history of their friendship. Maybe this is part of the writers way of trying to pay homage to that? But it seems to be getting out of hand, and unless we see John starting to be more selfless, more giving, more apologetic, and taking more responsibility for the pretty profound ways his personal issues are impacting Sherlock, I just don’t know how this relationship could ever be healthy or sustainable.

So my objections to what happened with that TLD beating are not because I don’t understand mental illness or abuse, it’s not because I’ve idealised John Watson, don’t understand the character, don’t understand the John/Sherlock dynamic and relationship. My objections exist because I feel like it was sort of the final nail in the lid of the coffin on what might have been a sustainable relationship built on mutual commitment to personal growth, and mutual sacrifice for each other. That balance used to exist before The Fall, before Mary Morstan. It wasn’t perfect, because neither of these men are. It certainly wasn’t conventional, but it was working for them in a weird, limited way, that gave you hope that over time they could grow into something even stronger, even better.

Nothing is working for them anymore, and it just seems like Sherlock gives, and gives, and gives (almost to a fault), and John isn’t even meeting him halfway.

The writers are going to have to work some serious miracles in TFP to salvage this relationship, and make me feel it’s something still worth rooting for, and I wonder if they have time, since they seem more committed to weird twists, rug pulls and final hour ‘evil sibling’ plots.

baxterboy: Sadly, Mofftiss have killed off everything we loved about Sherlock and John in the early years. They’re not just damaged, they’re broken. Sherlock has no self-worth and is full of self-loathing. John is just full of rage and violence directed at the wrong person for the wrong reasons. I’m sure the magic reset button will make it all go away but, frankly, Sherlock needs therapy and a restraining order and John needs mandatory anger management classes and supervised-only visits.

Thursday, 12 January 2017


Will the Real John Watson Please Stand-Up
 (Sherlock Meta about fan fiction by sherlockcharacteranalysis)




So, when I first started reading Sherlock fanfiction, I tried to pinpoint, for every one I read, what exactly about it made it work or not work for me. For me, ultimately, it always came down to the characters. If the characters felt real and fundamentally true to their BBC originals, then I liked the work, even if the plot was a bit jumbled at times.

What I’ve noticed also, over the many fanfictions I have since read, is that John Watson is a much more difficult character to write than Sherlock Holmes. Almost any fic I consider decent as a whole seems to have a pretty good characterization of Sherlock, but I’ve read works that I would consider really well written that doesn’t seem to get John completely right.

I think this happens for two reasons: 1. Sherlock’s personality allows for more interpretations than John’s does and 2. John’s personality is deceptively simple when actually it is as complex and multi-faceted as Sherlock’s.

Sherlock’s personality is loud, and the contradictions inherent in them are out bright and clear in the open. He’s ridiculously confident of his abilities and yet at the same time strangely susceptible to others’ admiration and praise. He claims not to care for people, yet risks his life over and over in service of the greater good, whatever his reasons. He shows kindness when you wouldn’t expect him to, callousness at the most inopportune moments, and from time to time, fierce love for those around him. He’s an enigma, and any writer knows that they have to find a coherent way to reconcile these aspects of his personality in order to do his character justice.

However, with Sherlock, there’s often a great disconnect between what he shows and what’s going on in his head (it’s in fact the source of all the seemingly paradoxical aspects of his personality). What he shows only indirectly conveys what he means. The enigmatic aspect of Sherlock gives the writer a great deal of creativity to fill in that mysterious inner world with whatever they see fit. Sherlock’s character requires that we make up our own interpretations of who he is.

John, on the other hand, is a much more straightforward person than Sherlock in that his actions much more directly convey what he thinks, feels, and believes on the inside. Therefore, the writer cannot stray as far from what we are literally shown about John on the show. Sherlock is a character with many solutions, but with John I think there are at most only a few. Moreover, John is a quieter person than Sherlock, and he doesn’t have the same degree of eccentricities that are just screaming for an explanation. So it’s much easier to overlook important aspects of his personality and end up with a John Watson which, though makes sense as a whole and resembles the original in some way, is missing some crucial aspect of the character.

John Watson is both a doctor and a soldier, which says loads about his personality. He’s both a caregiver and a protector; they both have equal weight in his personality, and mischaracterization of John often happens when one of these aspects is given a disproportionate significance compared to the other. I’m thinking of too-nice John or conversely, too-violent/angry John.

The other important thing about John Watson is that he is the most important person to Sherlock.  Sherlock loves and respects John more than anyone else in his life (including, I’m almost certain, himself), and it’s crucial that any characterization of John be able to show us why. Why has John Watson, and no one else, captured Sherlock Holmes’ heart? I’ve read many John Watson’s who, while interesting characters in their own right, doesn’t seem like the kind of person that Sherlock would love and let himself be influenced by.

To me anyway, the reason John is so special to Sherlock is twofold. One, John admires and appreciates Sherlock’s intellectual abilities for their own sake, not just for the practical results they deliver. (As did Moriarty and Irene, both of who captured Sherlock’s interest.) This means, by the way, that John needs to be pretty intelligent himself, even if he’s not a creative genius. Secondly, and most importantly, John believes in Sherlock in a way that no one else does: he believes that Sherlock Holmes is a good person (or even more:”the best man and the most human, human being I have ever known”), not just potentially (as Lestrade does), but as he is already. He treats Sherlock as just another person with both virtues and flaws, emotions and desires, and the ability to decide for himself what’s best for his own existence.

John loves and accepts Sherlock as he is, and John believes that Sherlock is someone amazing and good and capable of being understood, which I don’t think anyone else does. Even the others who love Sherlock, like Mycroft, Lestrade, Mrs. Hudson, and Molly, probably would like to change some aspect of Sherlock’s personality and/or don’t consider him fully understandable.  Moreover, Sherlock Holmes also believes that John Watson is a Good Person. John retains his composure under the heaviest of pressures and always, always, always tries to do the right thing according to his beliefs. This is something that I think Sherlock actually aspires to himself; he’s just far less clear as to what those beliefs are which leads to huge errors in judgment like risking his life to play the pill game with the cabbie. So the fact that John does this all the time would definitely be extremely admirable to Sherlock, even if he rarely says so. And so, for this Very Good Person to love Sherlock completely unconditionally the way that he does is beyond priceless to Sherlock (or anyone, surely).

So, any characterization of John which goes against this fundamental relationship between Sherlock and John just screams WRONG to me. I’m thinking of any story where John tries to terminate his relationship with Sherlock, or where he won’t forgive Sherlock for Reichenbach or Baskerville or even worse, because Sherlock didn’t act in some conventionally expected way. Especially baffling are the ones where John chooses Mycroft over Sherlock, or becomes some kind of assassin/vengeful killer. The whole point of John Watson is that he is an unassailable moral anchor for Sherlock. A John Watson who would admire Mycroft’s Machiavellian personality or be driven to obviously immoral acts of violence would not have earned Sherlock’s love and would most definitely not have inspired the positive changes in Sherlock that we saw on the show. I doubt such a John Watson would even be capable of committing to and loving Sherlock the way that he so obviously does.

Anyway, with all that aside, here are a list of fanfictions that I think really highlight John Watson’s character. (There are definitely others with good characterizations out there as well—basically any fanfiction I’ve recommended does unless I mention otherwise, but these really stood out to me):

Only Intelligent by Basser

Here, John is an amazing human being who will do anything to help Sherlock, but he also doesn’t put up with Sherlock’s enormous amount of bullshit. That’s John Watson in a nutshell.

To Light Another’s Path by Beautiful Fiction

Here, John is even better than how he is on the show, displaying an emotional understanding of Sherlock that I don’t think he currently has but will easily get to after some more time with the mad detective.

Sympathy for the Devil and Mycroft Holmes by scifigrl47

I love John in this, even though I think John on show definitely does not have this level of astuteness. Like above though, I can definitely see him getting there after some more time dealing with the Holmes brothers. (John was already way more astute about Mycroft’s schemes in Reichenbach than he was in The Great Game, for example.) Yet the idealized version here makes it extremely clear all that is good and admirable about John Watson.

(And here’s hoping I won’t make the same characterization mistakes in my own writing!)


"How would you know?"
 (Sherlock Meta by ibelieveinmycroft)


sherlockcharacteranalysis asked you: I have a question about the scene in Scandal where Sherlock says “sex doesn’t alarm me” and Mycroft says “how would you know?” Every time I see that scene, my first thought is always, “but you do, Mycroft????” Mycroft seems even more devoid of actual relationships than Sherlock, so what do you think? Has Mycroft had sexual/romantic relations in his past?

ibelieveinmycroft: Hello dear! I had the exact same thought when Mycroft delivered that line. Oh Mycroft, you devil!

M: Don’t be alarmed. It’s to do with sex.
S: Sex doesn’t alarm me.
M: How would you know?

Sherlock had absolutely no comeback to Mycroft’s comment - he instead looked hurt, if not mortified. Evidentially, Sherlock knows that this is territory that his brother has explored, otherwise Mycroft’s snide remark would not have had this impact.

Some people have posited that Mycroft may use sex as a weapon or negotiating tool where the situation calls for it. While Mycroft can be a ruthless tactician, he is initially very dismissive of what Irene Adler does, which amounts to the same thing, so I’m not certain about that. Perhaps he does, perhaps he doesn’t. A more likely explanation would be that Mycroft has experimented with sex in order to fit in with his peers. Neither of the Holmes Brothers are particularly normal, but Mycroft is much better at sustaining the mask. Perhaps it was expected of him. However, the way that "How would you know?" was delivered hints at someone who is sexually experienced and is very comfortable with that side of himself.

The brothers do seem to know about each other’s sexual history - whether from deducing it about each other or whether they actually confide in each other. That this exchange comes right on the tail of the "Here to see the Queen?" jibe seems very telling. This may have been little more than an example of Sherlock’s quick, albeit cruel, wit, but the evidence seems to be mounting that Mycroft is indeed homosexual. Mycroft knows enough about Sherlock’s sexual experience (or lack thereof) to make unkind jokes about it - that Sherlock is able to do the same to Mycroft suggests to me that he has the same sort of knowledge about his brother.

Yet, as you point out, Mycroft does not seem to have any relationships to speak of, or any real ties to anyone, aside from his brother. In spite of what seems to be a long sexual history, it does not seem to have had any particular bearing on his personal life; his sexual relationships have not led to romantic ones.

And yet, Mycroft is prone to as much concealed sentiment as Sherlock. The brothers have a hard time with empathy, but that does not mean that they lack it. This is the troubling thing about Mycroft. Sometimes, especially when he is alone, he seems to be so like his brother - strange, vulnerable and very, very lonely. Though consistently even more brilliant than Sherlock, Mycroft also seems to lack his brother’s tacit ability to draw people towards him.The Christmas scene in Scandal was horribly illustrative of this - Sherlock was surrounded by people he considers his friends, in a room decorated with colourful Christmas lights, while Mycroft was alone in a dark house, staring into the fire. His genius doesn’t dazzle like Sherlock’s does, doesn’t draw people toward him. Instead, it thrums uncomfortably at the edge of a person’s consciousness, it chokes and intimidates, driving them away.

Mycroft does have relationships with a handful of people. I believe he is comparatively close to his brother, however complex that rivalry may be. He respects John. He is close enough to Anthea to muse aloud as to the dynamic of his brother’s new friendship with John. He is on first-name terms with Harry the Equerry. There is also his canonical friendship with his neighbour, Mr Melas, who may or may not show up in series. But, in spite of all that, Mycroft is still a man who is a member of (and, canonically, founder of) a club where the people not only are required to remain silent at all times, but are not permitted to take the slightest notice of one another. For a man who seems so lonely, he does elect to be alone a great deal.

In long and short, I really don’t know. It is one of the many unanswered questions about Mycroft. He knows more about people than Sherlock does - he understands their motivations and how to manipulate them - yet has far fewer people in his life. And I’m not entirely certain that this is by choice.