mouthporn.net
#character analysis – @sarahthecoat on Tumblr
Avatar

SarahTheCoat

@sarahthecoat

mostly Sherlock. The New Semester my dreamwidth
Avatar
reblogged

Could you give this AO3 work of mine a signal boost? I'd totally understand if you don't want to because it contains your NOTPs too, along with Johnlock. I was just curious.

I actually wanted to share my observations about the show with as many people as possible.

Thank you! :)

Avatar

The Theory of Multiple Ships in BBC Sherlock. by Gregorovitch (G, 2,294 w., 1 Ch. || META || Character Analysis, Romance, Sexuality, Queer Themes, Relationship Discussions) – A different way to look at the character of Sherlock Holmes in BBC Sherlock and various ships in this show.

=====

Hi Lovely!!

Absolutely honoured to share your meta! Everyone go give this one some love!!

Avatar
Avatar
reblogged

Aziraphale and Forgiveness, Pt. 2: The Source of Salvation

(This post ended up being way longer than I intended, oopsie! And no fun GIFs to break it up this time. Hope you like reading lots of words!)

So why would Aziraphale, an angel who has not fallen despite bending/breaking the rules many times, have so much emotional baggage around the topic of forgiveness?

Some disclaimers:

Disclaimer 1: I've seen enough of tumblr already to know that "does Aziraphale really have religious trauma?/how much does it motivate his actions?" is the subject of Discourse around these parts. I don't want to have that argument here. Aziraphale's experience with Heaven has strong parallels to my personal religious history, and those specific parallels are what I'm here to talk about.

Disclaimer 2: I am not a bible scholar or religious historian, if I mention specific church doctrines or bible verses it's only to illustrate the experience of growing up in my church. My actual biblical/theological accuracy may be sloppy.

Disclaimer 3: I haven't read Good Omens the book. I know there are differences, but I'm not addressing them. All my thoughts are about show!Aziraphale and show!Heaven only.

Okay. Here goes.

Avatar
reblogged

Aziraphale and Forgiveness, Pt 1: Not Just A Word

There are a lot of aspects to Aziraphale’s character that, when I first watched the show, I vibed with immediately without really thinking too hard about why. He just made deep emotional sense to me as a character. It wasn’t until I waded into the fandom that I realized how much metaphorical ink was being spilled over the question “Why does Aziraphale do the things he does?”

I would always think, “Well, that’s obvious, isn’t it?” but then find that I didn’t really have the words to explain why I thought it was obvious. It was just this ongoing feeling of “Well sure, that’s exactly the kind of thing I did/would have done as a born-and-raised evangelical teenager.” But then I would try to articulate the actual reasons younger-me would have had for doing the thing (and by extension, what I assumed Aziraphale’s reasons were) and immediately fumble because I hadn’t thought it through that far.

Avatar
reblogged

I was thinking about Aziraphale's line, "You can't judge the Almighty, Crawley. God's plans are--" and he was going to say "ineffable" (possibly).

You can't judge the Almighty out loud, though he is clearly thinking it, judging by the pained look on his face. At first glance, it makes perfect sense: of course he would say you can't judge the almighty, he is an angel, isn't he? That's what angels do, they obey the word of God, and they don't question it, because God is Good and knows everything. Of course.

Only, Crawley was an angel once, too. So was Hastur, so was Satan, so was the rest of "their lot". Then, something happened; some angels began to ask questions, some angels began to judge the Almighty, some angels revolted and those angels fell from grace and were cast out of Heaven. Regardless of whether they actively revolted or they only perhaps challenged Her, they were all banished to Hell, all deemed unworthy and unforgivable.

You can't judge the Almighty. Judging the Almighty gets you a one way ticket to doing a million light year freestyle dive into a pool of boiling sulphur. You can't judge the Almighty, you do not judge the Almighty, you do not talk about it, you do not disobey -- everyone knows what'll happen.

Aziraphale wants so badly to do the right thing -- after all, he is an angel, and angels do the right thing. Not only that, but again, there's the looming threat of eternal damnation. Only, the right thing isn't very clear. When you don't know what "the right thing" is, that causes a lot of anxiety.

He has Heaven giving him conflicting rules: killing is bad, but we're going to kill these bad people; love everyone, but hate some of them; be kind and reverent, but if another angel disobeys you then get your buddies together and mess them up.

And yes, that's the point! The point is dolphins that Heaven & Hell aren't really Good & Evil, they're really just different sides. That's where the conflict arises: Aziraphale's sense of "the right thing" is more in line with the general idea of "good" that is fairly widely agreed upon, e.g. you do things to the benefit of others, you avoid harming others, you treat others with kindness and respect. Heaven's sense of "the right thing" is also these things, but also sometimes not, and sometimes these other things, but you had better listen to our instructions, and we're not going to clarify for you when you're supposed to know which is which.

It seems a bit like when you start a new job and the person training you says, "Well this is how you're SUPPOSED to do it, but this is how we REALLY do it, but not all the time." Only, they don't tell you when you're supposed to do things by the book, or when you're supposed to break the rules. You find out when they get mad at you (at best) for not meeting quotas or deadlines (because you followed the rules), or fired for doing things against the rules (because you were trying to keep up the way everyone else seems to be able to do). In this case, they quite literally tried to fire Aziraphale, but I digress.

That sounds very familiar -- every other angel seems to be able to intuit what "the rules" are, and when it's okay or even expected to break them (such as Michael's use of the back channels, Gabriel's verbal denial of said back channels, and the unspoken agreement that they are both fully aware of what they are doing). There are times where Aziraphale breaks the rules himself when he has an overwhelming feeling that it is the "right thing to do" (I mean, flaming sword and everything), but not without intense anxiety about it ("I do hope I didn't do the wrong thing."). There are other times where he needs Crowley's help to justify what he feels like the right thing is, but he thinks/knows it's against the rules (see: thwarting Crowley's wiles), and he can't figure out how to skirt them. I might do more about this later, because there's a lot to say about Crowley, but it's a whole nother post.

Add into this the fact that all of Aziraphale's superiors routinely pick apart his choices and put him down, they slate him for failure before he's even had a chance to prove them wrong. This repeated behavior builds up this feeling that you CANNOT trust your own instincts, that you need outside guidance to make the right decision. I would wager this is why Aziraphale is seen as one of those "book smart, common sense stupid" kinds of people -- he doesn't trust his own common sense because everyone important in his life (besides Crowley) has told him it's wrong. That sort of anxiety leads to a lot of overthinking, and a lot of overthinking produces a lot of weird results, which only further disorients you from what your instincts tell you to do.

So if you can't listen to yourself, who do you listen to?

You can't judge the Almighty, Crawley. Her plan is ineffable. It's not for us to know. That's why up looks down, and right looks wrong, and guns lend weight to a moral argument, and angels can get away with harming other angels, and God can get away with drowning all the people and children and animals and apologize with a rainbow. Everyone knows that. You can't question ineffability. You don't judge the Almighty. You just don't.

Avatar
reblogged
Avatar
deductioniis
John Watson character analysis, or what is going on in John's head in tst to make him do what he did in TLD

A few premises:

  • What i say here below might have been mentioned already by others in the past
  • It's my interpretation of facts, so I might be wrong!
  • It contains TW // suicidal thoughts, alchololism, PTSD, grief, self-loathing, gaslighting

 

Before going right into the topic, it's better if we go back to the beginning of the show, so to analyse where John comes from. The show opens with shots from Afghanistan, a nightmare that wakes up John, leaving him sweaty and panicking. Then we see him in a therapy session, Ella telling him about his trust issues. We never know what caused these issues, but I believe that it is a cause of the war PTSD or of the sexual repression going on inside of him if we think of him coming from a conservative and homophobe family. No one really understands him, he has no one to relate to and to talk about his trauma, hence he is no longer bothered to open up to others if all he gets is nothing. 

Even if we consider John as the more empathetic and extrovert compared to Sherlock, we are reminded constantly of his struggles in relating to people and showing emotions. John is as much lost and damaged as Sherlock: he was probably dealing with past traumatic experiences, he came back from a war that left him with PTSD and he is now suicidal with nothing to look forward to. 

"You are not haunted by the war, Dr Watson, you miss it." That doesn’t really make sense if we think of John’s nightmares. But if we consider the 'war' as his inner turmoil, then it makes sense. John was literally on the point of ending it, until the moment he met Sherlock. From the nothingness, to something happening, going back to life. Though life requires feelings, John's weak point. 

I think it is also important to talk about John’s strong attachment with male figures, in particular Sherlock and Sholto. Compared to them, John is the one who is looking at them as a guide, probably because of the lack of a strong bond with his own father, thus resulting in the commonly known daddy issues. Some examples can be seen in TSoT, where Sholto is presented as John’s ex (army commander). If we think of their relationship in a romantic way, reinforced by Mary’s ‘neither of us were the first’, then we get John’s strong attachment to him: he is concerned about him, advises him to go to therapy to deal with the trauma and probably John himself has been in some sort of distress when he knew about Sholto’s accident. 

John never mentions Sholto to Sherlock, the other male person he is strongly attached to, probably because he is scared to lose him, preferring then to bottle up his emotions. This bad habit of John is recurrent: when Sherlock fakes his suicide, John at first bottles up his emotions, he doesn't even talk to Mrs Hudson because, as mentioned before, he doesn't really know if she would fully understand him. We see then at how he copes with it in Many Happy Returns. His tare héreditaire makes him find peace in drinking alcohol, probably abusing it as a way of escape from feelings. He is repressing them so much at the point of blaming himself of feeling them, adding up the sense of grief and probably guilt of not having been enough for Sherlock after all they have experienced together. But when Sherlock comes back, John finds that the only way to express what goes on in his head is by actions, attacking Sherlock for having been so careless of not even thinking about him when he fell from the rooftop. Here John is one of the many considering suicide as something selfish, where the one who leaves doesn't think of the void they'll leave inside others. This, though, is discussed and later contradicted by Sherlock himself in tld 'your life is not your own, keep your hands off it'.

Time to flashforward to TST now, whose final scenes really require John all the strength to fight the feelings he has always repressed. Grief is a tough process that we all get to face in life and that might cause different emotions. For the second time in his screen-time life, John once again decides to retreat, hiding from the world and not giving his best friend a chance to help. We know that he gives Sherlock a letter, but its content is a mystery. As he struggles himself with a direct confrontation with Sherlock, he might have written down his thoughts, probably harsher than he intended, as we later see Sherlock high and John coping in an unhealthy way with trauma. 

He is self-blaming himself for letting Rosie down, he is stuck into a dimension of things that is bigger than he is and really doesn’t know how to deal with it. As he speaks with the (fake) therapist, he is passive-aggressive, once more he is getting defensive about his own point of view. He doesn’t understand his own feelings, he doesn’t want them to be normal and ordinary during a process of grieving. He is desperately craving someone to agree with him and not going against him, making him feel even more misunderstood. He is ‘holding himself to an unreasonable standard’. He wants to be someone else, not committing the same mistakes that probably most of the important figures in his life have done. In tld, we see John who is desperately clinging to his past, his only place of comfort. But clinging to it is never good, it doesn’t really solve anything. 

He is distressed, grieving, not understanding the emotions he is feeling. For once, he wants others to return the care he is constantly giving but yet again, the trust issues come in.

His session is interrupted by Sherlock, one of John’s weak points. Sherlock’s addiction is now coming over into John’s problems. Once at the hospital all the emotions he is keeping inside to holding up to his unhealthy standards are on the point of bursting. 

He is once again trying to keep up with the ‘quicker’ minds of Culverton and Sherlock and his trust for the detective is at stake. Sherlock’s high, how can he trust him? The person he trusted the most, is letting him down, and he needs to be the one in command. Cultverton is keeping playing with John’s insecurities, playing with his trust issues and weaknesses so to make him burst. Messing up with his head and manipulating him to the point so he can get what he wants: Sherlock in his hospital room. When John is questioning his role as a doctor, he feels guilty, for not having looked after Sherlock, for not being able to deal with his grief. All these emotions bottling up to a point of no-return… 

Avatar
reblogged

Mary "Femme Fatale" Mor(st)an

A while ago I saw some discussion about the idea of Sherlock having definite “film noir” elements and Mary as a “black hat,” and then again recently about Mary being a classic example of the femme fatale.  All very interesting stuff, and an area of cinema I wish I knew a bit more about, beyond the bare bones provided by Film 101 in college, BUT—if there’s one thing I can do to death when my interest is piqued, it’s research like a champ.  (Meaning: I didn’t sleep at all last night, instead I stayed up to look into this whole thing more deeply so you’re all obligated to spread this around, sorry, I don’t make the rules.)

Avatar
sarahthecoat

@thewatsonbeekeepers since femme fatale got mentioned.

Avatar

The fact that Sherlock wasn’t even inviting John on cases in TBB is amazing to me because John is so useless otherwise. John has no job. He complains when he has to go shopping. He’s not even helpful in any way to Sherlock at this point, but Sherlock enjoys having him around so much that he gives him money and discourages him from being employed while doing cases behind his back. Why was he even looking for a flatmate?

You know, I love this so much, because it’s true.  John was a complete mess when they first started living together.  He was really struggling to pull his life together, and he wasn’t functioning well, and there is no reason why Sherlock, if he was simply a roommate, should have been responding to John’s general tetchiness and lack of motivation (and complete inability to hold up his end of their shared finances) with this:

image

Sherlock was in love, whether he realised it or not.  I honestly think it was love at first sight.  You see it in the way he takes such a care for John’s wellbeing from the start.  The day John shows up to see the flat in ASiP, Sherlock waits patiently at the top of the stairs, and then holds the door open for John to enter.  He tells him to stay, to make himself comfortable, before rushing out to the case.  When he hears John snap at Mrs. Hudson about his leg, Sherlock realises John is frustrated by his injury, and so Sherlock reappears and invites John along, and then proceeds to heal John of the psychosomatic limp.

Even before John saved Sherlock from the cabbie at the end of ASiB, Sherlock was already head-over-heels.  I honestly believe that’s why he full on panicked at Angelo’s when John came on to him.  It was moving WAY too fast, and he didn’t want just sex (which let’s be honest, was probably what John was fishing about for, because even though I think John accepts his bisexuality, he doesn’t seem as accepting of his biromanticism, or having any of it visible to the general public).  It was special, and Sherlock wanted to take it slow.

So then you get to TBB.  They’ve been living together for a couple of (or a few?) months at this point.  John’s coming along a little, but he’s still struggling.  He’s grumpy, passive-aggressive, reactionary, and a bit of a lay-about.  But, that’s the depression and residual PTSD, I think.  And Sherlock knows that too.  The events of ASiP tied John to Sherlock, and they helped kick-start him out of the doldrums, but depression doesn’t just go away like that.  It takes time - a lot of time.  The effects of PTSD never fully go away (and I’m sorry, despite what Mycroft said, I do see John as exhibiting some symptoms of PTSD.  My sister has it, so I recognise it).

But for all that, for all John’s struggles, for all the challenges that come with that, especially when you are talking about a fledgling relationship, Sherlock is patient, kind in his own way, and almost seems delighted by what other people would probably perceive to be John’s failings.  

That face in that gif up there is the face Sherlock gives John, after John has just told him that he didn’t get the shopping because he got too frustrated with the chip and pin machine and had to walk away (^_^ been there John!).  When John returns with the shopping and passive-aggressively snaps about Sherlock not helping put up the groceries, the grumps about the scratch on the table, and then proceeds to mutter about his inability to pay the bills and need to get a job, Sherlock’s response is to tell John that jobs are boring - let’s go on a case!

Sure, Sherlock prefers to keep John with him, because he’s a little bit selfish for John’s attentions and presence, but I also think that he knows John isn’t really a) ready for an actual full-time job, b) actually prefers the cases to boring clinic work, and c) would be likely to slip back into a depression he is just starting to come out of if forced to engage in a boring 9-to-5 job to the exclusion of all else.  He’s telling John he doesn’t care about John’s ability to hold up his end of the financial arrangement, he doesn’t value John for that.  He would rather cover all that ridiculous money stuff, and just have John happy, and present, and tagging along.

Sherlock keeps John around, is willing to pay his way, and isn’t even all that anxious to force him into cases because he is madly in love with the man already, and just wants John happy and well.  It’s ridiculous.  

Sometimes I sit back and think about how hard and how fast Sherlock fell in love and I just smile.  He really is that soft, and that is why he throws up so many walls, wears so many masks.  That is why he is so desperate to be viewed as a sociopath, or even to somehow will himself into being one.  He is so hyper-sensitive, and loves so deeply, and so easily, that it can destroy him, utterly destroy him, and he knows this.  And still, for all that, he didn’t have a chance when it came to John.

Look at this man in love:

image
image
image

I love this because it was always my impression that Sherlock has no internal barriers, so he uses external ones like being abrasive, calling himself a sociopath, pretending to be completely self-absorbed and self-serving and emphasising his own flaws to keep people at arm’s length. Infact, I made a post once talking about how he is the most generous kind of giver - the kind that helps without wanting any credit, acknowledgement or thanks - in fact he does so in a way specifically designed to make people think they shouldn’t have to thank him by making them think that he is doing it for selfish reasons, incidentally or by being so rude people don’t feel they owe him.

For instance; solving crimes for NSY but being so rude and insulting about it so that Lestrade has no qualms about never thanking him or giving him credit (until John comes along). Like how when Angelo wants to brag about how Sherlock saved him but Sherlock keeps emphasising that he didn’t get him off completely. And when John is about to ask for money instead of giving John money directly, Sherlock takes him on a case and refuses to take Sebastian’s check, thereby allowing John to get the money he needs without impacting his pride or feeling indebted to Sherlock.

I just attributed this habit of doing things in a way that leaves people not considering themselves indebted to him as a sort of discreet selflessness. However, it makes so much sense that it comes down to his fear and difficulty with managing intimate relationships. Making people believe he’s undeserving of gratitude is an artificial, external barrier that keeps them from getting too close.

Avatar
sarahthecoat

hmm, interesting! I like this. Also it emphasizes how special the people who “owe him a favor” really are, like angelo. These are the people he helped, who weren’t fooled or put off by his abrasive mask, the few who didn’t say “piss off”.

Yes to all! Special thanks to @sarahthecoat , who made me realize the very important fact about the people who “owe him a favor”- they are the few who didn’t say “piss off” the few who saw Sherlock without the barriers and are happy to be part of the life of such an extraordinary, unique human! (and yes, Sherlock fell hook, line, and sinker in love with John the moment he saw him. He looked past John’s troubled condition. He recognized his soulmate.)

Avatar
elldotsee

God I love this soft man with my whole heart. ❤️❤️❤️❤️

♡♡♡

Avatar
lakoda0518

@sussexbound god you just broke me! 😭 the way you described all of that turned me to a puddle of mush! Love your work and the way you added to this post! (Sat in on a panel you were in at 221B Con and you guys were amazing! Thanks so much for giving up your time to us all!)

@lakoda0518 *waves*  Hello!  Thank you for bringing this ancient post back to my dash, and so happy to hear you enjoyed the panel.  It was a ton of fun.

Avatar
reblogged

Aziraphale has two modes: confident and not-confident

1. Confident: hands behind back; you know, when he looks like a cute professor. In those moments he could teach you about anything and everything.
2. Not confident: hands in front of him, where he looks more like the student about to make an oral presentation than the professor. In these moments he couldn’t teach you how to tie your shoes.

In both case he stays adorable tho.

Crowley on the other side only has one visible mode: beautiful disaster.

That’s it

Hey @krakensdottir your tags are perfect👌🏼(hope you don’t mind me sharing them with the others)

I see a few people saying Crowley is either 100% anxious or not at all but I think saying he’s a constent mix (except in some occasions with Aziraphale where he is much more relaxed) is more accurate. Also when his mood changes it’s much less radical and noticeable than Aziraphale who’s like an on and off switch.

"Tense nonchalance" is a great description indeed. Crowley seems like... like he's using this very practiced air of confidence to hide the anxiety underneath. Sometimes that's actually a good strategy. Fake it till you make it. Put on cool clothes and pretend you're James Bond. A lot of the people looking at you won't look closely enough to notice it's all an act. It works both ways, too. It might be enough to fool other people, and holding yourself in a confident pose and pretending you're confident can actually help you feel more in control of what you're doing.

I think Aziraphale performs the role of Good Angel™ in public, in particular when dealing with other angels. He's careful in how he adresses the other angels, he practices what to say to them, he stresses out over policy decisions that don't sit well with his own sense of morality (the Flood, the crucification), but he swallows that down. He doesn't flip out over it, even his protests are quiet, polite, shy. Aziraphale reasons and carefully tries to convince Gabriel, Uriel or Metatron to see his point.

We only see the confident Aziraphale when he's away from Heaven, when he's with Crowley, or when he's hanging out with human friends in the gentlemen's club. Look at his open, happy face while he's doing the Gavotte!

With Crowley he's confident and comfortable to the point that he's sarcastic and snappish at times, because he's not afraid Crowley will take it the wrong way. Actually, I think this confident Aziraphale is the genuine Aziraphale. That's what he's like when he's not scared half out of his wits and desperately trying to preform to Heaven's standards.

I think Aziraphale's mood changes are perceived as so significant because he is both more openly emotionally expressive (because Michael Sheen is just utterly rocking the micro expressions) and paradoxically less frequently seen actually acting out intense emotions. We see him have them, and then he bottles them up.

Crowley is the one we see dealing with his emotions, or at least letting them out. Crowley's mood changes a lot, too, and he's loud about it. Blowing a fuse, releasing the pressure valve. He shouts at his plants, and he shouts at Aziraphale. He rants at God. Crowley, for all his nonchalance in public, still lets go in private, when he's by himself or with someone he trusts (aka with Aziraphale).

Aziraphale quietly frets. He worries at his waistcoat, he paces around the shop, he mildly snaps at Crowley. But for quite a while, Aziraphale is holding it together. Aziraphale is trying to be calm, because that's what a good angel does. And then he breaks under the load of it at the bandstand.

I love to see more and more people adding their thoughts to this! I never thought it would interest so many people!

But I agree that Crowely actually deals with his emotions while Aziraphale bottles them up and I think that’s why their non verbal language is so different.

Aziraphale won’t externalize his frustrations, his anxiety or most of his emotions most of the time so his body language speaks for him instead.

Crowley doesn’t need that because he actually let the pent up emotions out once in a while either by talking to himself, Aziraphale or shouting at his plants or God. After that what’s left is like a nervous buzzing in the background that accompanies him everywhere.

After reading @on-stardust-wings thoughts I was reminded of when Crowley’s Bentley exploded and he actually took the time to mourn the loss of his precious car while Aziraphale was like “ok, now get up, pip-pip, we’ve got work” and yes you can say they were actually quite busy (with the apocalypse and everything) but it also reflects their general way of dealing with their emotions.

Omg yes. He handles the Bentley explosion by very deliberately letting himself succumb to his emotions for a minute, so he’s then able to stand up and get on with things. It’s a fascinating glimpse at Crowley’s coping mechanisms and how he very likely ‘walked off’ the worst of the Fall after it happened. There’s a reason he seems relatively well-adjusted considering what’s happened to him (and how it’s apparently affected the other demons we see). I think the ability to have outbursts, release the worst of the pressure, and then put a cap over the rest once it’s bearable again may have a lot to do with it.

It doesn’t mean he doesn’t still have the deeper issue, of course. He has to keep relieving the pressure now and again. Some things call for a satisfyingly blasphemous burst of angry screaming, or a drunk crying fit, or a moment of thousand-yard staring shock, just to process it all. These dramatic reactions are actually relatively healthy ways of keeping himself sane in the long term. He can’t afford to be overwhelmed by pain or bitterness or self-loathing. He’s got enough to deal with. He's got to play it cool to keep the anxiety at bay and his comrades from eating him alive and so on.

What’s funny is I don’t think this balance comes from any idea of what a healthy emotional reaction is. Crowley is just inherently a dramatic bitch, and it’s what saves him. If he repressed, he’d be a nightmare.

Honestly the degree to which Aziraphale represses so much for so long is terrifying if you think about it. Even when letting off the pressure around Crowley, it’s always careful, there’s so much restraint there. At least he’s himself around Crowley (that’s the genuine Aziraphale we see then, you’re absolutely right), but Aziraphale’s natural self is still very reserved and pensive and fretful, just as Crowley’s is dramatic and aggressive. Aziraphale is dealing with both his own personality and Heaven-inflicted trauma making it 1000x worse. It’s no wonder that, when he finally snaps, it’s with a calm expression on his face. It’s a bloody relief. He’s the beat-down office worker who, after years and years of abuse, suddenly finds a serene and giddy smile on his face as he runs his boss off the road into an oncoming train. He’s free. There’s no outburst, just a sudden lack of fucks given. No wonder the dude goes feral. He’s never let off the brakes before. Not ever. Heaven’s lucky it didn’t burn to the ground.

yes yes yes. All of this is a delight to read.

Also “Crowley is just inherently a dramatic bitch, and it’s what saves him. If he repressed, he’d be a nightmare.” Are probably the greatest sentences I have seen in a long time and are perfectly accurate, thank you @krakensdottir ttir​ (again, I love u).

Crowley has, by nature, a better way of coping even if it doesn’t erase the biggest traumas (this boy still needs a therapist; they all do). On the other side Aziraphale keeps eveything bottled, that’s how he is, and you can see how it affects him; he always seems nervous, all the time. Yes he knows he is now free and can actually relaxe but I still believe he should wrench the cap open and let out all the pent up trauma he’s got. (Or at least acknowled it) He DEFINITELY would need a therapist. And probably a session of screaming at the void with Crowley.

Ohhh yeah.

I think Aziraphale’s always going to be a fusser and fretter to some extent, he’s just Like That. But the anxiety level should gradually go down as he gets used to being out of Heaven’s sights. On the way, though, he’s going to have to have a few breakdowns. I mean, he's done it. He threw off the yoke, he broke the chains, he metaphorically ran his boss off the road... now what? Now what? He never even dreamed of this, let alone had time to consider what’d come after. The mother of all existential crises is about to hit him square in the face and I don’t think Az has ever dealt with anything like it before.

At least Crowley sort of knows what he’s going through. Like, Az didn’t actually fall but, well, this is pretty close.

Avatar
reblogged

Mary "Femme Fatale" Mor(st)an

A while ago I saw some discussion about the idea of Sherlock having definite “film noir” elements and Mary as a “black hat,” and then again recently about Mary being a classic example of the femme fatale.  All very interesting stuff, and an area of cinema I wish I knew a bit more about, beyond the bare bones provided by Film 101 in college, BUT—if there’s one thing I can do to death when my interest is piqued, it’s research like a champ.  (Meaning: I didn’t sleep at all last night, instead I stayed up to look into this whole thing more deeply so you’re all obligated to spread this around, sorry, I don’t make the rules.)

Avatar
sarahthecoat

@ebaeschnbliah , yes, this is the one i was thinking of!

Avatar
reblogged
Avatar
batterseas

This is something that bothers me a lot so I’m just going to rant about it now.

When John meets Sherlock for the first time, he somewhere in his late 30s or early 40s (I dont know his age, sorry). He has spent years in the army, with lots of men. My point? He’s not some teenager or someone in his youth, with little sexual experience when he meets Sherlock. He must have dated women before going to the army. And being surrounded by men, he must’ve known if he was attracted to them or not. In other words, he has spent enough time in the presence of both genders to know what he ‘likes.’

He has control over his emotions, he isn’t the kind of person who’d just say anything that comes to his mind when emotional. Like, when he’s with Ella after the Fall, though overwhelmed by grief, he keeps a tight lid on what he wants to say. Conclusion: He thinks before he speaks, no matter what the circumstances. If he’s about to say something he doesn’t want to, he stops himself immediately no matter how emotional the situation. Its like he’s trained himself to do it.

Whenever anything about his relationship with Sherlock is implied, he’s always either said: “I’m not gay”, “We’re not a couple”, “I’m not his date” and so on and so forth. In TEH, he tells Mrs. Hudson that he’s not gay and that Sherlock wasn’t his boyfriend, after she assumes that John’s getting married to a man. At Battersea, he’s really angry at Irene and yet he only says this when Irene asks if he’s jealous: “We’re not a couple.” And then “Who the hell knows about Sherlock Holmes, but if anyone out there still cares, I’m not actually gay.” (Excuse me if the dialogue isn’t entirely accurate, I’m writing it from memory.)

Now, again, he has already spent years in the army, surrounded by men AND dated women. There is no doubt that he knows what his sexual preferences are. Its impossible to not know if you’re someone like John who’s spent so much time around different kinds of people. Him saying that people have girlfriends AND boyfriends, and then “it’s all fine” clearly says that he knows about all of this stuff.

So he knows that, when he says “I’m not gay”, it’s not the same as “I’m straight.” Never, ever, throughout the show will you see him saying that he’s straight. He knows that if he says that he’s straight, it implies that he only likes women, if he says he’s gay, it means he only likes men. If he says that he’s not gay (doesn’t only like men), and then doesn’t say that he’s straight either (doesn’t only like women), put two and two together and you get a very self-aware, bisexual John Watson, who knows what he likes.

He says he’s not gay when people assume his sexuality. At Battersea, Irene talks about John’s sexuality with such certainty which makes him angry so he says that he isn’t gay and so she shouldn’t assume his feelings towards Sherlock. In TEH, Mrs Hudson thinks that he’s with a man, again assuming John’s sexuality, which makes him angry and he again says that he’s not gay. He doesn’t deny his attraction to Sherlock, not once, he just says he’s not gay so that people will stop assuming his sexuality, which, understandably, would be infuriating.

We all agree that at Angelos, John was trying to flirt with Sherlock and find out about his sexuality. Even Sherlock thought he was flirting. John’s whole body language screams that he’s interested in Sherlock. Again, THAT IS NOT HOW A PERSON WHO ISNT AWARE OF HIS SEXUALITY ACTS. John flirts with Sherlock as if it’s no big deal. So for him, flirting with men, is normal. Which means he is interested in men that way and he knows it. He’s embraced it.

He calls Henry (THoB) a normal looking bloke, which isn’t something many straight men would do. Do I need to even talk about James Sholto? And then John even flirts with one of Magnussen’s men who finds the tyre lever with John: “Doesn’t mean I’m not excited to see you.” (HLV) The makers of the show put all this for some reason. They want to show John interacting with men this way to drive home the point that while he’s not gay, he’s not straight either.

The point of this whole thing is to ask everyone to please stop treating John as Sherlock-sexual, to stop acting like John has had some weird sexual crisis after meeting Sherlock. I’ve read it in so many places and it’s funny sometimes, but then most times it isn’t.

John Watson, while not as intelligent as Sherlock, is very smart and self aware. He knew he was attracted to men before he met Sherlock. Sherlock, though the love of his life, didn’t cause a great sexual awakening in John, nor is he John’s exception. If you think John doesn’t know about his sexual preferences, about what his “I’m not gay” statements and his failure to deny any of his feelings for Sherlock imply then you are giving him much less credit than is due.

Yeah it’s one thing if people wanna explore the idea of John having a sexual awakening from Sherlock in fanfic or something, because it’s fanfic and anything is allowed. But yes I agree - it’s important to remember what we’re actually shown about John. And what we’re shown is a man who is already very much aware that he’s attracted to men, and Sherlock is not just an exception. 

Avatar
sarahthecoat

mmhmm!

Avatar

Sherlock is often metafictional in nature: in series three particularly, the writers frequently draw the audience’s attention to the fact that the programme is constructed. One of the ways through which they accomplish this is through utilising word selection and dialogue framing so as to draw attention to the particular implications of specific linguistic choices.

This plays a significant role in The Sign of Three, particularly in the exploration of relationships, and is exemplified by the framing of the introduction of Major James Sholto:

JOHN: “My husband is three people.”
MARY: Table five.
SHERLOCK: Major James Sholto. Who he?
MARY: Oh, John’s old commanding officer. I don’t think he’s coming.
JOHN: He’ll be there.
MARY: Well, he needs to RSVP, then.
JOHN: He’ll be there.
MARY: Mmm…
JOHN: “My husband is three people.” It’s interesting. Says he has three distinct patterns of moles on his skin.
SHERLOCK: Identical triplets – one in half a million births. Solved it without leaving the flat. Now, serviettes.

The resolution of the client’s dilemma is a simple one: even if the audience hadn’t heard of identical triplets before, it remains the most obvious explanation of three people who are identical other than mole patterns. The case doesn’t serve to showcase Sherlock’s deductive abilities and makes no impact on the criminal investigation aspect of the narrative. So what was it doing there? Possibly it was there to insinuate a connection between the case and the relationship between the other people present in the discussion either physically or by mention. It is between John twice reading out “my husband is three people” that Major Sholto is introduced – a character who is discussed with language carrying romantic implications. This is first exemplified during the following dialogue:

JOHN: Oh, God, wow!
MARY: Oh, G- Is that…?
JOHN: He came!
SHERLOCK: So that’s him. Major Sholto.
MARY: Uh-huh.
SHERLOCK: If they’re such good friends, why does he barely even mention him?
MARY: He mentions him all the time to me. He never shuts up about him.
SHERLOCK: About him?
[…]
MARY: Mm-hmm.
[…]
SHERLOCK: I’ve never even heard him say his name.
MARY: Well, he’s almost a recluse – you know, since…
SHERLOCK: Yes.
MARY: I didn’t think he’d show up at all. John says he’s the most unsociable man he’s ever met.
SHERLOCK: He is? He’s the most unsociable?
MARY: Mm.
SHERLOCK: Ah, that’s why he’s bouncing round him like a puppy.
MARY: Oh, Sherlock! Neither of us were the first, you know.
SHERLOCK: Stop smiling.
MARY: It’s my wedding day!

The framing of this dialogue creates a double entendre – Mary’s statement that it’s her wedding day serves explicitly as a reason for her to smile, but the implicit implication of it following her reminder that neither she nor Sherlock were ‘the first’ is that there is something romantic in the nature of John’s relationships with Sholto and Sherlock as well as her.

The second is during the flashback to John and Sherlock’s conversation on the bench while investigating the case of what will later be referred to as the ‘Invisible Man’:

SHERLOCK: So why don’t you see him anymore?
JOHN: Who?
SHERLOCK: Your previous commander, Sholto.
JOHN: ‘Previous’ commander?
SHERLOCK: I meant ‘ex’.
JOHN: ‘Previous’ suggests that I currently have a commander.
SHERLOCK: Which you don’t.
JOHN: Which I don’t.
SHERLOCK: ’Course you don’t.
[…]
JOHN: Why have you suddenly taken an interest in another human being?
SHERLOCK: I’m… chatting.

‘Why don’t you see him anymore’ and the term ‘ex’ are, of course, culturally associated with romantic relationships. It’s also particularly significant that John emphasises the semantic differences between ‘previous’ and ‘ex’, since the language of sexuality affects him more than any other character in the programme. He never claims to be straight, only “not gay” – a defensive technique which I and many other bisexual people can attest to having used – and only on two occasions when he has been pressured into discussing personal matters with someone he dislikes and then when it has been insinuated that he couldn’t possibly marry a woman. His other denials of involvement with Sherlock refer to their relationship status – he is “not his date” or they are “not a couple”, but those are temporary claims that in no way discount the possibility of attraction to or future involvement with Sherlock or with men generally. That John plays the most prominent role in exploring the minute differences in language in this episode will therefore be of interest to anyone who reads him as queer and closeted.

Even John notes Sherlock’s unusual level of interest in ‘another human being’ (and ‘chatting’, Sherlock? really?) - remember that at this point in the narrative, when the flashback scene actually took place, Sherlock was not aware that Sholto was the intended victim of the ‘Invisible Man’. The parallel that Sherlock draws between himself and Sholto (implying that he is John’s current commanding officer) is also notable, given that he is evidently jealous of him and discusses him romantic terms.

Then there’s the dialogue between Sherlock and Sholto through the hotel room door:

JOHN: Whatever you’re doing in there, James, stop it, right now. I will kick this door down.
SHOLTO: Mr Holmes, you and I are similar, I think.
SHERLOCK: Yes, I think we are.
SHOLTO: There’s a proper time to die, isn’t there?
SHERLOCK: Of course there is.
SHOLTO: And one should embrace it when it comes – like a soldier.
SHERLOCK: Of course one should, but not at John’s wedding. We wouldn’t do that, would we – you and me? We would never do that to John Watson.
JOHN: I’m gonna break it down.
MARY: No, wait, wait, you won’t have to.

John parallels Sherlock and Mary several times throughout series three – ‘she has completely turned my life around; changed everything. But, for the record, over the last few years there are two people who have done that,’ ‘You should have got married’ and ‘I want to be up there with the two people that I love and care about most in the world. … Mary Morstan… and… you’ – and here we again see Sherlock explicitly paralleled with Sholto, too.

This triplicity, the triplicity of ‘The Sign of Three’ as a title and the “my husband is three people” case could perhaps coexist coincidentally, but ‘the universe’ (and the media industry) ‘is rarely so lazy’.

-

This is derived from my meta on romantic conventions in Sherlock, which can be read here.

Avatar

I've seen lots of metas on ASIB that have addressed all my questions but one. Upon receiving Irene's phone, left on the mantle at the Christmas party, why does Sherlock shut John out of his bedroom and tell him that he's fine? Why does he shut John out?

Avatar

Moments before John had given Sherlock flack on his blog for failure to solve a case, which is something Sherlock is sensitive about. And we know from the previous episode, TGG, that Sherlock is HELLA-sensitive about John writing about his inability to understand human emotions, too.

Then Sherlock deduces that Molly is in love with him and accidentally humiliates her. He clearly feels bad about that, and of course he would. After all, that hits Sherlock in several sore spots:

  • He missed something, when at that point his entire sense of self-worth was predicated on being the guy who doesn’t miss anything. That stings him on a personal level; he’d be irked about that even if no one else was there.
  • He missed EXACTLY the sort of thing John was talking about, right at a time when he was fixated on John’s perception of his capacity for romance.
  • He’s embarrassed himself in front of a bunch of people by being wrong about something that was obvious to them. Sherlock is rarely the most clueless person in the room and he doesn’t handle it well emotionally.
  • If someone genuinely likes Sherlock, he hates making them feel bad or failing them in any way. He’s just realized that Molly genuinely likes him more than he knew, and he’s just deeply upset her.

Now keep in mind that on top of all this, Sherlock was already on edge about John, and how John was going to abandon him for Christmas, and how he had to hang around all these other people when social gatherings aren’t his thing. That’s enough to make anyone go hide in their room.

But THEN, the same moment he realizes Molly is in love with him, he also deduces that Irene is too. (He pieces it together when he realizes that, just like Molly, Irene’s wrapping paper matches her lipstick. Rewatch it if you need to, it’s made explicit by the visual of Irene’s lips.) His failure to accept that as a serious possibility and not some manipulative ploy on Irene’s part may have literally GOTTEN HER KILLED.

I repeat: SHERLOCK HOLMES MISSED THE OBVIOUS AND SOMEONE DIED. And not just a random person, which we know from TGG is enough to bother Sherlock, but SOMEONE WHO GENUINELY LIKED HIM AND REALLY DID NEED HIS PROTECTION.

Once Irene’s phone is in Sherlock’s hand, he feels like the biggest unforgivable failure in the world. Everything just crashed down around him, and everyone is judging him for the Molly thing because they don’t even know how much worse he actually is. They’re all just trying to enjoy a Christmas party like normal people whose idiocy doesn’t get others killed, and there he is, the giant arsehole who always manages to ruin everything. That’s why he dreads social gatherings. He always finds a way.

Sherlock is coming from a lifetime of feeling out of place, so this is basically a nightmare scenario. I mean, literally: imagine what one of Sherlock’s nightmares would be like, and it would be like this Christmas party. Big social gathering, he fucks everything up, the talent he credits for John’s companionship fails him in front of John and validates John’s perception that he’s an unfeeling monster, he upsets people who love him, they judge him, he gets someone killed, yadda yadda. That scene is like Sherlock nightmare Bingo. All that’s missing is John being kidnapped.

So when John latches onto the whole phone thing, he’s only wanting to know if Sherlock is going to sleep with Irene; John doesn’t know she’s dead quite yet. But in that moment, Sherlock is wracked with guilt and insecurities. Sherlock feels hunted by someone who just wrote a blog entry about how he didn’t solve something and is constantly criticizing his inability to understand things like romance. So no, he doesn’t want to look at John when he tells Mycroft Irene is dead. He doesn’t want to look at anyone. He doesn’t even want to even be calling his brother about it, but he has to. I mean, calling Mycroft because he’s a fuck up who missed something to tune of FATAL consequences is pretty awful for Sherlock already.

Can you imagine how Sherlock feels? Heeey Mycroft, I’m not as smart as you, as always, and someone died for it. Heeey John, you were right, I’m as clueless and lacking in empathy as you always write me. If you yelled at me when that old lady got blown up and that wasn’t even my fault, you’re going to really hate me now.

You’d shut the door in John’s face too, wouldn’t you? I would, anyway. I mean, I have a FANTASTIC relationship with my husband, I’m not scared to be vulnerable in front of him, I never worry that he’s going to leave — but if some failing of mine got someone killed I’d have a lot of trouble facing anyone right after hearing the news, especially if I knew other people absolutely would not have fucked up if they were in my position. Sherlock, however, doesn’t have any of those positives going for him in ASiP. He’s just sad, anxious, and insecure, waiting for the failure that will make John stop valuing his deductive abilities and move out.

Sherlock rarely allows anyone to see him when he’s vulnerable prior to S3, really. He just turns and walks away sometimes, like when John told him no one was reading his blog earlier that episode; he shuts down and just wants a door between himself and the rest of the world so he has time to reaffirm his grip on his self-control.

Avatar
Avatar

The fact that Sherlock wasn’t even inviting John on cases in TBB is amazing to me because John is so useless otherwise. John has no job. He complains when he has to go shopping. He’s not even helpful in any way to Sherlock at this point, but Sherlock enjoys having him around so much that he gives him money and discourages him from being employed while doing cases behind his back. Why was he even looking for a flatmate?

You know, I love this so much, because it’s true.  John was a complete mess when they first started living together.  He was really struggling to pull his life together, and he wasn’t functioning well, and there is no reason why Sherlock, if he was simply a roommate, should have been responding to John’s general tetchiness and lack of motivation (and complete inability to hold up his end of their shared finances) with this:

image

Sherlock was in love, whether he realised it or not.  I honestly think it was love at first sight.  You see it in the way he takes such a care for John’s wellbeing from the start.  The day John shows up to see the flat in ASiP, Sherlock waits patiently at the top of the stairs, and then holds the door open for John to enter.  He tells him to stay, to make himself comfortable, before rushing out to the case.  When he hears John snap at Mrs. Hudson about his leg, Sherlock realises John is frustrated by his injury, and so Sherlock reappears and invites John along, and then proceeds to heal John of the psychosomatic limp.

Even before John saved Sherlock from the cabbie at the end of ASiB, Sherlock was already head-over-heels.  I honestly believe that’s why he full on panicked at Angelo’s when John came on to him.  It was moving WAY too fast, and he didn’t want just sex (which let’s be honest, was probably what John was fishing about for, because even though I think John accepts his bisexuality, he doesn’t seem as accepting of his biromanticism, or having any of it visible to the general public).  It was special, and Sherlock wanted to take it slow.

So then you get to TBB.  They’ve been living together for a couple of (or a few?) months at this point.  John’s coming along a little, but he’s still struggling.  He’s grumpy, passive-aggressive, reactionary, and a bit of a lay-about.  But, that’s the depression and residual PTSD, I think.  And Sherlock knows that too.  The events of ASiP tied John to Sherlock, and they helped kick-start him out of the doldrums, but depression doesn’t just go away like that.  It takes time - a lot of time.  The effects of PTSD never fully go away (and I’m sorry, despite what Mycroft said, I do see John as exhibiting some symptoms of PTSD.  My sister has it, so I recognise it).

But for all that, for all John’s struggles, for all the challenges that come with that, especially when you are talking about a fledgling relationship, Sherlock is patient, kind in his own way, and almost seems delighted by what other people would probably perceive to be John’s failings.  

That face in that gif up there is the face Sherlock gives John, after John has just told him that he didn’t get the shopping because he got too frustrated with the chip and pin machine and had to walk away (^_^ been there John!).  When John returns with the shopping and passive-aggressively snaps about Sherlock not helping put up the groceries, the grumps about the scratch on the table, and then proceeds to mutter about his inability to pay the bills and need to get a job, Sherlock’s response is to tell John that jobs are boring - let’s go on a case!

Sure, Sherlock prefers to keep John with him, because he’s a little bit selfish for John’s attentions and presence, but I also think that he knows John isn’t really a) ready for an actual full-time job, b) actually prefers the cases to boring clinic work, and c) would be likely to slip back into a depression he is just starting to come out of if forced to engage in a boring 9-to-5 job to the exclusion of all else.  He’s telling John he doesn’t care about John’s ability to hold up his end of the financial arrangement, he doesn’t value John for that.  He would rather cover all that ridiculous money stuff, and just have John happy, and present, and tagging along.

Sherlock keeps John around, is willing to pay his way, and isn’t even all that anxious to force him into cases because he is madly in love with the man already, and just wants John happy and well.  It’s ridiculous.  

Sometimes I sit back and think about how hard and how fast Sherlock fell in love and I just smile.  He really is that soft, and that is why he throws up so many walls, wears so many masks.  That is why he is so desperate to be viewed as a sociopath, or even to somehow will himself into being one.  He is so hyper-sensitive, and loves so deeply, and so easily, that it can destroy him, utterly destroy him, and he knows this.  And still, for all that, he didn’t have a chance when it came to John.

Look at this man in love:

image
image
image
Avatar
Avatar
kinklock

What really gets me about Mary is that she is the classic femme fatale from a film noir, like the exact definition, and it’s such a shame people aren’t appreciating that to its fullest. Femme fatales are always initially presented as the innocent dame that turn out to be liars and usually killers, like that’s straight up what Mary is.

The parallels are so strong too though - like, in The Maltese Falcon, one of the most famous film noirs really, it’s revealed at the end of the movie that the main character’s partner in detective work was murdered by their female client who turns out to not be who she claimed to be (this is also mirrored by the falcon itself also turning out to be a fake, which is the object she takes part in delivering). And, even though he’s in love with her, he sends her off to be hanged for her crimes and explains to her that avenging his partner’s death takes precedence over any mutual love they might feel for each other. Sort of sounds?? a LOT like Mary and the AGRA key ?? If you follow the logic you’ll also see what John’s probably going do in the future. Embrace the femme fatale friends. 

Also, take a look at the promotional pictures:

“Classic femme fatale from a film noir” indeed.

I DONT THINK YOU UNDERSTAND the first time the femme fatale from the maltese falcon is seen on screen she is entirely wrapped in a fur shawl just like that one !!!!!!!

seriously though

Avatar
reblogged

Mary "Femme Fatale" Mor(st)an

A while ago I saw some discussion about the idea of Sherlock having definite “film noir” elements and Mary as a “black hat,” and then again recently about Mary being a classic example of the femme fatale.  All very interesting stuff, and an area of cinema I wish I knew a bit more about, beyond the bare bones provided by Film 101 in college, BUT—if there’s one thing I can do to death when my interest is piqued, it’s research like a champ.  (Meaning: I didn’t sleep at all last night, instead I stayed up to look into this whole thing more deeply so you’re all obligated to spread this around, sorry, I don’t make the rules.)

Avatar
sarahthecoat

i remember this excellent post from back when i was a lurker.

Avatar
reblogged
Avatar
221behavior

Making Friends with Sherlock Holmes

In honor of the filming of Season 3 I’ve done a bit of character analysis for A Study in Pink. Character analysis is a favorite hobby you see, and I cannot handle Holmes and Watson. I can not. Admittedly I have watched all 8 episodes of Sherlock way more times than is considered healthy, but I’ve probably watched A Study in Pink more times than all the others combined. This is because I am absolutely fascinated by the way Sherlock and John come together, the way they start their relationship. After all, Sherlock Holmes doesn’t have friends, he just has the one. So how did that one make it through the gate? 

My theory is that the Holmes brothers approach all things scientifically, people included. We know that Mycroft picked John up and intentionally stressed him out just to see how he’d react, so why wouldn’t Sherlock?

Sherlock does specific social experiments to test his hypotheses about other people and I think nearly all of his remarks to John in the first episode are calculated, except for the ones that betray his surprise at John’s unpredictable behavior. The following is a rundown of what I think is happening at the beginning of this relationship. 

Sherlock Holmes needs a flatmate, but more than that, he needs an assistant. He states it explicitly, and my opening argument for this entire episode is that pretty much everything Sherlock does or says in ASIP is a test to see if John can fill the position.

From the minute they meet in the lab, Sherlock instantly knows why Mike has brought John in; John will be a potential flatmate. Okay. So what does that mean? John is someone that Sherlock will have to share his space with, so it’s going to be important that he’s someone Sherlock can be civil to.

We never learn much about Stamford, but I sortof wonder if he doesn’t regularly keep his phone in his coat because, if he does, Sherlock may have asked him if he could borrow it solely to see if John would offer his, especially considering that Sherlock never has problems with phone reception in the lab at any point after this. After all, a person’s attitude toward sharing their stuff is going to be the one of the first concerns for being flatmates. It could just be a coincidence that moves the plot along, but I’m just not sure when you’re dealing with Sherlock. He’s a brilliantly written character and he will often do and say things that turn out to have secondary motivations. It’s what makes the show so much fun to watch over and over. Okay, anyway…

When John meets him at 221B, Sherlock is very polite. He shakes his hand, requests a first name basis, waits for him at the top of the stairs, offers tea, doesn’t get rude or launch into a belittling run-down to prove him wrong when John doubts the claims on his webpage, and tells John to make himself at home. All of these are formalities that Sherlock is infamous for not participating in, and I don’t buy that he’s being nice just because there’s something special about John. I think he just needs a flatmate and knows that everything about his normal behavior drives people away, so instead of doing what comes natural to him he’s acting, putting up a “normal” front. He displays full competence of social etiquette in order to set up a standard, uninvolved, non-antagonistic flatshare relationship, and plans to leave John behind when Lestrade calls him. But then Sherlock hears John yelling about his leg.

I’m sure he already knows that John isn’t prone to random emotional outbursts, so if he’s shouting about his leg it must be because it’s preventing him, currently, from doing something he wants to do. It’s not stopping him from “making himself at home,” leaving, or doing any normal activity, so the only time-relevant factor left is Sherlock’s leaving. He’s not attached to Sherlock at this point, so why would he care if he left? Unless, of course, he wishes he were able to do something equally productive or…join him. 

Okay then. If John is interested in coming along, and as Sherlock had just told Lestrade—he needs an assistant, why not try out John? But if John is going to be of any use at all, he’ll have to know how Sherlock works. He’ll have to explain his techniques to John and remember, Sherlock seemed to be avoiding doing this at the apartment. When John asked him how he knew the stuff that he did, Sherlock just smiled and stayed quiet because he knows how quickly it sucks the civility out of his relationships. But an assistant would be way more valuable than a flatmate and another flatmate will be easy to find, so given a choice between the two, of course he’s going to give it a shot. So from this point forward in the episode I don’t think he really stops testing John, except for when his attention is focused elsewhere.

First test, easiest test; can John endure being analyzed? (Just as a side note, my favorite line is, “The man sitting next to me wouldn’t treat his one luxury item like this,” because somehow, from a once-over glance, Sherlock inferred that John was someone who takes care of things that he values, and I think that’s adorable. Okay, anyway—) Once finished he has a kind of flippant, uncomfortable expression on his face because he’s already predicted that the response will be negative and is preemptively trying to suppress his reaction to the rejection that, obviously, doesn’t come. When he hears “amazing,” his expression quickly shifts to reflect confusion. Apparently no one’s ever passed the first test.

On to phase two then.

After they get out of the cab Sherlock asks, “Did I get anything wrong?” and, if you look closely, he’s fidgeting with his glove and shaking his hand. He’s got a lot of nervous energy. I think after John didn’t have the normal reaction of, “Piss off,” Sherlock wasn’t immediately sure how to proceed. With the notable exceptions of Ms. Hudson and Lestrade, the people Sherlock knows seem to fall into two categories; one type meets him with insecurity and hostility, and the other type meets him with idealization, a blind ‘he’s brilliant’ blanketing, the kind we see with Angelo who chooses to gloss over the fact that Sherlock sent him to jail. I think Sherlock is curious to see if he’s gotten anything wrong, but I think he’s more curious about how John might go about telling him if he was. John obviously hasn’t volunteered any information but, because Sherlock is nervous, he must be anticipating something worse than he gets. Probably one of those two responses. Instead John focuses on the points he was right about and omits the one he missed.

Because of this Sherlock then remarks, “I didn’t expect to be right about everything.” For the first two seasons Sherlock never admits fault to anyone else, and tells John not to admit it (on his blog) either. It’s is an admission of potential weakness. An admission of weakness. That in itself is a test. “If I admit that I don’t know everything, will you still be impressed?”

What he discovers though is that he already was wrong, John just didn’t think it was a big deal and, more importantly, he doesn’t think a mistake negates the brilliance of the rest of his observations. He doesn’t attack him, doesn’t question him, doesn’t lower his opinion of him, or reassess him. He’s just…fine. 

Sherlock takes it in stride, but he’s probably surprised that John didn’t bother telling him that he’d made a mistake. I would expect that he’s used to people leaping at the chance to prove him wrong. It’s normal, polite behavior not to, of course, but no one treats Sherlock like he’s normal until John.

A friend, at least a good one, will usually not point out another friend’s mistakes if they aren’t important. Degrading a friend isn’t something people generally find pleasant, and it has a negative impact on the relationship. So even if they barely know each other, the implication that Sherlock probably gleans from John’s response is that John is interested in forming an amiable relationship, one where power dynamics are not the focus. And that is probably a very rare thing for Sherlock. When people quickly recognize how much power he potentially has over them, they either turn defensive or submissive, so a relationship where his mental strength isn’t the focal point is probably largely foreign to him. 

Once inside Sherlock does his thing and John gets to see how much cooler it is when it’s not happening to you. John shows that he’s okay with not being as bright as Sherlock when he openly admits, “It’s not obvious to me,” so he’s not going to try and compete with him like, for example, Anderson. That’s good. But I think the real gem of this entire scene is the fact that John’s not afraid to praise Sherlock in public.

 I think it would have been very different if John had waited to pull Sherlock aside later and say, “you’re brilliant.” When Sherlock is deducing Jennifer Wilson and John says, “That’s fantastic!” Sherlock asks him, “Do you know you do that out loud?” I think he is happy that John is okay acknowledging his brilliance, but I think he’s far more surprised, and markedly impressed, that John’s willing to do it in front of other people. Because everyone there has already made it crystal clear that the accepted behavior is to hold Sherlock in contempt and ostracize him whenever possible.

 John is blatantly disregarding the social cues of the people around him and is acting on his own opinions. At the same time though, he won’t examine Jennifer Wilson without Lestrade’s permission, even though Sherlock obviously feels fine bullying him. This means that he’s making separate and conscious decisions, and it’s not just as part of a blanket “fuck the rules/other opinions” philosophy, which could be problematic.

 John is someone who does not bow to popular opinion, which implies a rational and impartial ability to look at a situation for what it is, rather than what other people think it is, before drawing conclusions. That in itself is going to be indispensably valuable to someone like Sherlock, who already has all the information and just needs a different view point occasionally.

 Brilliant!

 Naturally, he then abandons John at the crime scene.

 At this point Sherlock wants to move quickly. He can’t be bothered to oblige John’s unnecessary limp and he’s used to doing things by himself. But this aside, even if John will work as an assistant, he’s going to get left behind a lot. I think this situation doubles nicely as a display of what comes naturally to Sherlock and an opportunity to gauge John’s reaction to being ditched, which will inevitably happen.  After all, when he’s finished finding the case Sherlock calls John back. Yes he ditched him, but he wasn’t done with him.

So the conversation in the taxi was about determining John’s character, and the ones at the crime scene were about how he would work around others. From these interactions, Sherlock has learned that John is someone who can both tolerate him and whose opinions won’t be swayed by the general atmosphere of discord that follows Sherlock. So now it’s time for the third round of tests; will he be able to meet the mental and physical requirements for a good assistant and is he someone who can stand to be around Sherlock (and someone Sherlock can stand to be around) for an extended period of time?

Obviously he started this at the crime scene. While John is looking over Jennifer, Sherlock is watching him very intensely. He’s assessing John’s skill level and he seems to conclude that while he’s not a genius by any stretch, he’s not incompetent. He’s intelligent enough to hold his own and have a legitimate reason for being there (other than to simply stroke Sherlock’s ego, which would probably get tiresome really quick, even for Sherlock). He also voluntarily provided an alternative theory, “Maybe she checked into a hotel and left her case there.” This means that he’s 1) mentally participating even if it’s not terribly helpful, and 2) he’s not so intimidated by Sherlock that he’s afraid to toss out ideas that have probably already been considered, and will be quickly dismissed as wrong.

When John arrives back at 221B, Sherlock’s laying on his couch. He starts out ignoring John and, while Sherlock does get lost in thought and non-responsive, when he does talk he states that he called him for the menial purpose of using his mobile.

He’s intentionally goading John, trying to assess how far he can put him out before he genuinely starts to get pissed off. John offers Sherlock his phone and Sherlock doesn’t take it, he puts out his hand and waits. How much can Doctor Watson stand? That’s what he’s asking there, not “Will you pass me your phone?” Especially considering he doesn’t even want the phone, he hands it right back to him to make him send the text. He just wanted to see if he’d give it to him when he was intentionally being an ass. And the answer was yes. All through this scene he is pushy and rude, all of it testing how far he can push him. Can he insult him outright? Yep. John’s irritation is obvious, but what matters is that he passes the most important test of all;

Will he do what I tell him, if I don’t tell him why?

This is huge for Sherlock because he literally cannot always take the time to explain himself. He has to move fast and he has to do so frequently. Is John someone that he can trust to trust him? He already knows that John is impressed by his skill and is willing to publically acknowledge it. But does he have enough faith in him to assume that he’s doing the right thing? Because that’s going to be a vital trait of a useful assistant for Sherlock. In the casebook, in the post-its concerning the text, Sherlock says, “[it] shows how much I like you, I wouldn’t have let just anyone do it.” It does show how much he liked him. More accurately though, it showed that Sherlock had high expectations of John, and had deemed him reliable enough to give a shot.

When he pulls out the case John stares at him for a moment and he sighs, “I didn’t kill her.” When John says, “I never said you did,” he asks, “Why not?” It’s the logical assumption, it’s what everyone else but possibly Lestrade would assume. John doesn’t actually give him an answer, but Sherlock doesn’t need one. The point is that he didn’t make that assumption, no matter what his reasoning was. Sherlock gets kindof excited at this. He grins and hops up onto the back of his seat. But it’s not so much a celebration of, ‘he trusts me,’ as ‘yes! He didn’t jump at the obvious answer, he’s using his brain! Excellent!’ 

He then gets the follow-up to the ‘will you do what I say without knowing why?’ test; the ‘how will you react when you learn I’ve had you text a murderer?’ test. John’s answer is ‘nervously but still even-tempered.’ There’s no hysterics and he becomes even more impressed when the plan works out.

Sherlock leaps out of his chair. He’s just brimming with excitement. He was right about the murderer calling back, of course he was, but now everything is going his way. He’s excited about his success and he’s excited about John. He wants him to come along now, in-the-field so to speak. Before, when he went looking for her case, he left John behind. Now he wants to see him in action.

When they get into Angelo’s, Billy pulls a reserved sign off the table. Sherlock called ahead. That’s not really analysis I just think it’s hysterical. “Angelo, I need the window seat for a case.” “Anything for you.”

Sherlock notices everything everyone says about everything. When Ms. Hudson asks if they need two rooms, Sherlock has the briefest flash of confusion on his face, but when Angelo assumes John’s his date, he says nothing. He doesn’t even flinch, he just asks if John wants to eat. I think he realizes that this is an assumption that people are going to make about them and, since he’s used to people assuming wrongly, he’s not concerned. John is ruffled but not rude, so Sherlock drops it. But John keeps harping on it. He hasn’t pinned John for being gay, and obviously he thinks he can tell (Jim from IT), and Sherlock looks more annoyed the longer he he keeps pressing it. I don’t think it’s John’s possible come-on that bothers him. He doesn’t want romance, he doesn’t want that kind of messy relationship, but I think his concern isn’t about John’s potentially being attracted to him as much as the implications of the broader conversation topic; “People don’t have your kind of relationships in real life.”

In other words, “If you’re not into women, and you’re not into men, are really you into anything? Or are you weird?

He probably doesn’t want John to think he’s weird. He likes John because he doesn’t treat him like he’s weird. John’s probably the best chance he’s had at a friend in a long time (if ever) and suddenly John’s going to throw it all in the gutter because he doesn’t do normal relationships? Sherlock looks annoyed but he also looks a little anxious. Of course, John is just making small talk and trying to figure Sherlock out in the way normal humans do, by asking questions. When John says, “It’s all fine,” Sherlock visibly relaxes.

“Good…” he says. “…thank you.”

John gives him an odd look for the thank you, like maybe he thinks he’s being indirectly insulted, but Sherlock is probably just genuinely grateful that John’s not looking down on him for not “being normal.”

Now, as for the car chase scene, again I think it doubles as work and a test for Sherlock. Can John ditch the ridiculous limp? Yes. Can he keep up? Yes. What about when he’s asking him to do things that make him nervous, like leaping from building to building? Yes? Excellent! He needs some polishing as he doesn’t always listen to orders the first time, but he’s quick to make up for it and, as a bonus, he’s apologizing to everyone that Sherlock shoves out of the way. That’s good. Less angry people with John there to smooth it out. In the end of it he’s even willing to play along as one of the police without Sherlock asking him to. “Any problems just let us know.”

THEN, amazingly, he doesn’t even harp on Sherlock’s mistake. Sherlock makes mistakes sometimes and it’s not a big deal to John. And, best of all, he laughs at Sherlock’s sense of humor. Sherlock looks so nervous when John starts laughing. Maybe he’s afraid that it will be followed up with a nasty remark about Sherlock’s pickpocketing or his mistake, but it’s just that John happened to think Sherlock was funny. Nothing more vicious to it.

In their hallway, away from the police, Sherlock looks so genuinely happy. It’s the first time you see him really happy, really laughing and not just sniggering. He’s just…he’s thrilled that this man has appeared. He’s not afraid of Sherlock, not intimidated or threatened, doesn’t care that he makes mistakes, doesn’t take Sherlock’s irritability and snippiness personally, doesn’t care that he’s not normal, has a similar appreciation for action and adventure, shares his dissatisfaction with everyday tedium, and has a similar sense of humor. There’s just one more thing.

“Ms. Hudson, Doctor Watson will take the room upstairs.” “Says who?” “Says the man at the door.”

When Angelo knocks on the door and John goes to answer it, there’s a shot of Sherlock breathing deeply and looking down at the floor. It’s very brief, but he looks like he’s stealing himself, as if he’s about to be punched in the face. I think this is his final test for John as an ally.

If there’s one thing in the world someone is going to get pissed off about, it’s having their deep-rooted psychological issues being dismissed as being all in their head and, moreover, having that fact handed to them by a total stranger.

Angelo is literally laughing at John. “He said you forgot this.”

If John was going to be touchy about any of his issues, it’s that one. In his early blog entries he repeatedly complains that no one says anything about his limp. John’s identity had become very focused on being a wounded soldier and you’d better believe John could have interpreted this as Sherlock saying, “the fact that you’re still dwelling on your traumatic, life-threatening injury is totally ridiculous.” It was a real possibility that John would’ve taken that badly. He might have easily gotten embarrassed and defensive and have made up some line about how it was just adrenaline and Sherlock does NOT know everything about him and he’s WRONG. I mean…this is a psychological condition to John and what Sherlock is doing is basically equivalent to telling someone with chronic depression that they could have solved everything all along by smiling more. It could have gone very differently.

John smiles though. He doesn’t do any of those things and when he looks back in Sherlock is absolutely beaming. He’s thrilled. If John’s not going to get angry about having that thrown in his face then there’s probably nothing that Sherlock’s unique abilities—the part of him that he knows drives people away—can do that will ruin things. He finally has his shot at a normal friendship. A real one.

Once upstairs things are pretty self-explanatory. John has decided that Sherlock is awesome and readily defends him even though he has no information about his drug use history. I think John feels that the detectives were wrong in their other assessments of him and therefore are probably wrong about all of them. He goes ahead and defends Sherlock even if he doesn’t know if he’s right or not and Sherlock, in turn, bounces ideas off of John and asks specifically for John’s assistance.

 When he realizes he’s said something socially inappropriate he runs it by John in a peculiarly childlike way. “Bit not good?” “Bit not good, yeah.” It’s an odd question really, but it’s interesting that John responds in kind. He uses the exact same language back with him, which reflects a willingness to meet Sherlock on whatever level he’s at.

As for the next part with the taxi driver, this is about the only part of the episode I don’t think was part of his test. I think at this point Sherlock already has a solid opinion of John formed, and he probably isn’t worried about testing him further. I think, instead, that old habits die hard. Even though I’m sure John would have helped him, Sherlock runs off on his own, doesn’t attempt to involve him, and doesn’t spare him another thought once his attention is elsewhere.

In the final scene when Sherlock confronts John, he doesn’t say much about his opinions on the fact that John saved him. I think Sherlock is surprised, not only that John was the one who saved him, but by the fact that, without any formality or a hinted request, John was already acting as his assistant. It was a job that he was going to do naturally. John was perfectly on-the-ball, got there in time, and acted acceptably (for Sherlock) without any instruction at all. He’d persisted where the police had left off, and I don’t think John shooting the cabbie was an act of friendship or loyalty, and I don’t think Sherlock thought this either. John was just acting in accordance with his moral compass, and this is probably what finalized it for Sherlock. John was someone who could be trusted to act intelligently with or without Sherlock’s instructions.

 He’s not going to be Sherlock’s assistant. He’s going to be his (business) partner.

This last conversation is my favorite in the whole series. It’s so easy to see what makes John and Sherlock different, but what makes the friendship so delightful is what they have in common.

When discussing it John says, “He wasn’t a very nice man,” and Sherlock’s micro-expression is a smirk. John killed someone and he didn’t feel bad because the person wasn’t very nice. This is right on the same level with Sherlock’s, “not good,” —a childish but widely understandable description of the situation. Moreover, John follows it up with a joke. John just killed someone and then he makes a joke about it. Let’s just flash back to one of the first things Sherlock said to John. “You stopped her husband being executed?” “Oh no, I ensured it.” He tells John that he ensured a man’s death and as he says it…he smiles. Proudly. This is not something that most people would consider normal or “good,” but, “He wasn’t a very nice man,” is something Sherlock can hear, understand and appreciate. Really, it’s indicative of the fact that they are actually very similar people, despite the numerous and obvious differences. They view life and death and morality from a relatively similar position, and can appreciate that there is an awful lot of grey area that can’t be dealt with by always following rules.

Sherlock then makes a follow up joke and John gets nervous. “We can’t giggle, it’s a crime scene.” Sherlock’s reply? “You’re the one who shot him, don’t blame me.” You’re the one that made it a crime scene, he teases. And that’s Sherlock’s sense of humor. It’s very dark. But John doesn’t care. John’s not judging him for it. It’s all fine. The exchanges of, “You risk your life to prove you’re clever.” “Why would I do that?” “Because you’re an idiot,” and “I never guess,” “Yes you do,” are perfect summaries of the fact that John views Sherlock as an equal. He knows that Sherlock is smarter than he is, but he doesn’t feel devalued because of it, and that’s obviously something very comforting to Sherlock. In a world stuffed full of people who are frightened or intimidated by him, he’s never been able to find someone who would treat him like a perfectly normal bloke. He would never want to be normal, of course, but it’s hard to stand alone in the world forever.

 Anyway, you can always tell a friendship is real when you can tell your friend, “you’re so full of shit,” and have them know that it’s true and it’s okay. It doesn’t change anything.

 At the very end of the episode John asks him, “What are you so happy about?” His answer is, “Moriarty,” and I’m sure that’s true. He’ll be a fun new mystery and an enjoyable new distraction. But Sherlock is not just smiling about Moriarty. He’s smiling because Sherlock Holmes has finally found himself a friend.

Avatar
sarahthecoat

Reblogging ASIP meta in January. I love this extensive character study!

Avatar
reblogged
Anonymous asked:

Ok. You know how when Mary died John had an imaginary Mary for a while? What if he had an imaginary Sherlock? (I’m guessing he did). But what if imaginary Sherlock never leaves? What if Sherlock really did jump and die and seasons 3 and four are all in John’s head? I know it’s a really big stretch, but it just occurred to me. And all the ‘cases’ he’s going on? Mycroft? Idk it’s literally something that popped into my head.

Hi Nonny!

I’ve actually talked briefly about this before! I do believe John had an imaginary Sherlock; there’s evidence of this in TEH when he looks to Mary at the restaurant to make sure she is seeing Sherlock standing there as well. And further evidenced when he sees “Ghost Mary”, who they purposely made look like Sherlock for the first few minutes. So yeah, I really do believe that John had been walking around all those years with an invisible Sherlock.

And yeah, anyway, I have also thought about this painful headcanon myself for a long while, and it hurts every single time I think about it D: Because of my own depression issues, my brain goes to very dark places when I think about what John might do should Sherlock never ever return. On the “least destructive” path, probably hallucinations and he goes to therapy to learn how to move on. But I’m one who looks at evidence within canon:

I think 2 years was nearing the limit for John. He wasn’t happy with Mary, I don’t care what anyone says. The only reason she was in his life was because I feel like she was placed there by someone (another reason “””Mary’s””” backstory makes no sense because she just… showed up out of the blue, coincidentally around the time of TGG and inserted herself into John’s life?? What a fucking coincidence) because someone noticed he was falling deep. Honestly, Nonny, while I do think John is a very strong person, sometimes mental illness can overwhelm anyone. It was already hinted at in ASIP that John was suicidal just before he met Sherlock, so yeah, that just doesn’t “disappear” like magic. It comes and goes. Sherlock made John feel like he had a purpose, and without that purpose…. well.

Sorry, Nonny, I didn’t mean for this to go so dark. Anyway, John is a terribly complicated character with more layers than an onion, but he loves Sherlock so fiercely that he, I think, would try his hardest to move on, and live the life he knows Sherlock would want him to live. It’s hard when John is blaming himself for Sherlock’s death (John believes he’s not enough for Sherlock) for two years straight, and I feel like he saw very little of his therapist after that one visit. Poor John.

Avatar
Avatar
may-shepard

@fellshish further to our conversation of laat night!

The idea of invisible Sherlock is boosted a bit further by John’s dream of him in teh too. Good god what a sad situation.

Avatar
sarahthecoat

yup.

You are using an unsupported browser and things might not work as intended. Please make sure you're using the latest version of Chrome, Firefox, Safari, or Edge.
mouthporn.net