Still EMP or coma

I just noticed something in HLV in the minute 45’. Please watch when Sherlock supposedly go out of his mind palace. Sherlock is considering Mary and when he come back the monitor behind him, showing us his heartbeat, starts going back and not forward. The monitor is running backwards, from right to left. When he is talking to Janine, in the minute 43'40", the monitor runs well, from left to right. I don’t know how put the gif from the two scenes so please go and watch and tell me I don’t go crazy. @monikakrasnorada @isitandwonder @multivariate-madness @stillgosherlocked @gryssenielsen @mylastvow

@yan-yae: Wow, great catch! I checked it and you are absolutely right. And you know what? They show us the heart monitor again and again, they are practically rubbing it in. Look, he has a heart monitor, the line is going from left to right as it should. And then, after the Mary deduction when he supposedly comes to, it changes direction. Maybe he never comes out of his MP. Which would mean that thinking about Mary leads him to playing through ideas of how to show John who she is and what she did. Which would explain the boltholes everyone knows about, Mycroft calmly sitting in his office when his brother’s life is in danger, and everything that follows.

@ebaeschnbliah

They really do rub it in @stillgosherlocked. The amplitude rises when Janine turns the morphine down or when Sherlock moves. And then suddenly in this very short scene after the Mary deduction it runs backwards - it’s a blink and you miss it moment. What’s this scene even needed for? The audience knows that Sherlock is in hospital from the Janine scene. It’s barely 5 sec long. And Sherlock just raises his head. He has even turned his morphine down before. And the scene is followed by John and Lestrade finding his empty room… I’d say the scene is unnecessary exept for the heart monitor. For the way we look at pictures (usually from left to right) the monitor would be the first thing we’d notice when watching this scene. Hell…

@isitandwonder: I just had a short look at the episode. Even before the Janine scene we get at least 10 shots of a heart monitor in the operation theatre. I would say such appliances are shown at least 20 times within a few minutes of footage. They could also have arrows pointing at the heart monitors telling us where to look. 

I got you, fams. Bad quality gifs ahoy!

Fowards:

Forwards again:

BACKWARDS:

But oh, what’s this? Doesn’t that whole footage look a bit… reversed? Why yes. Yes it is.

HE’S NOT COMING OUT OF HIS MIND PALACE. HE’S GOING INTO IT.

@yan-yae I AM SCREAMING!!! I’m sorry but I have to say this is fucking me the fuck up! I went back and watched the Janine scene, and I was like, what? Wait. That monitor is doing it’s normal thing, but then. BUT THEN…he ‘supposedly’ comes BACK from his mind palace confrontation of “Mary Watson, who are you?” and the MONITOR IS RUNNING BACKWARDS!!!!! And, then, @doomsteady, you perfect thing, you! You put the gifs here and JUST LOOK AT THAT. Not ONLY is the monitor running backwards, but this entire little scene is the REVERSE of him going into his mind palace!!!!!!!!!!

What does this mean? Which is it? Forwards or backwards??? I’m with @isitandwonder, WHY IS THIS SCENE EVEN HERE???? I keep going on and on about how odd the whole thing is- why is Janine not the worried almost-fiancee? Where are the standard questions we would expect: How are you? What happened? I’m okay, are you okay???? Instead we get absurd and frankly ridiculous tabloid headlines about Sherlock. AND, not even things like: SHERLOCK HOLMES IS A BACK-STABBING MANIPULATIVE BASTARD. No, oh no! We get all these salacious tales of Sherlock being a fucking amazing lay????? SERIOUSLY??? I mean, Sherlock seems like he’d be an attentive lover, imo. He seems to be a very sensuous person but, ahem. He’s GAY. Right?? That entire scene is so over the top and unreal. But now, this added in to the mix?? I’m flailing!!!!!!

@tjlcisthenewsexy @ebaeschnbliah @stillgosherlocked @multivariate-madness

WHAT THE FUCK IS HAPPENING

Yeah, I just checked the scene. @doomsteady @yan-yae Holy crap. HOLY CRAP.  HE’S NOT COMING OUT OF HIS MIND PALACE. HE’S GOING INTO IT.

The scene is reversed!???!!!!!!! On PURPOSE! You cannot tell me that they needed to run it backwards to get the effect they wanted…..they knew exactly what they were doing. It’s like that on purpose. He’s not coming out. He’s going in. HOLY FUCKING SHIT. SORRY BUT OMG. It’s all about one thing now…forwards or backwards:

what…the…fuuuu

YES PLEASE READ THIS VERY IMPORTANT AND SPECTACULARLY AMAZING CATCH BECAUSE THIS IS WHY S4 IS SO MESSED UP.

The heart rate monitor is deliberately going reverse and shot cleverly so that the monitor is the only clue for you to deduce that Sherlock is actually going into his mind palace and not coming out of it.

The lines between reality and mind palace started getting thin here and now it’s all mixed up for him!!

This makes me think that whatever happened after this is not reliably informed to us. John may never have forgiven Mary and whatever we see beyond this point maybe a jumble of reality and Sherlock’s MP. And by the time it’s S4, Sherlock is deep in it. Just creating nonsensical reality with his strong emotions in the mix to worsen things.

It’s an elaborate plan by Mofftiss…..time to write another S4 meta

Just to reiterate how things are messed up after this scene

Mary is reading the book written by Mrs Holmes named “THE DYNAMICS OF COMBUSTION”

That has a chapter named The Thyroid Gland?!?!?!

More to come on such fuckery….

Seems pretty accurate to me to have a chapter about an hormone producing and metabolism controlling organ inside of a book about the dynamics of combustion. Metaphorically speaking of course :)

„I am on fire!“ - Sherlock in TGG

good one to re read!

To add to the Mary/Moriarty twin debate…

In response to John’s suggestion that the bride may have a twin, Greg makes a point of saying “She had one older brother who died four years ago.” 

My question…why would they make a point of saying that the bride (the symbol for Moriarty) had a brother who died. Maybe it’s a random detail not meant to be looked into… perhaps it is mentioned to suggest that Moriarty does in fact have a sibling–

Then, of course there is the matter of John’s next suggestion…

Although Sherlock shot this down… later in the episode (as I’m sure you remember) Sherlock (in the present) says “John is always right, it’s boring!” 

If we take Sherlock’s words “as gospel” then that may mean that John is correct… “This whole thing (the bride having a secret twin) could have been planned.”

Wrapping that all together, we have:

Moriarty has a sibling of some sort (which may or may not be a twin) AND he most likely planned for that sibling to carry out his master plan after his death.

After all, Sherlock did say that Moriarty is dead BUT he will strike again.

hmm. from a metaphorical standpoint, it does make sense that homophobia (moriarty) and heteronormativity (mary) could be “twins” or at least working together.

so the original post is from 2016 and therefore of course lacks essential information from S4:

1) We know now that Moriarty indeed has a sibling, a brother who was a station master. I‘ll leave you to your own deductions who this ‚brother‘ in charge of a ‚railway station‘, that Moriarty had some kind of „sibling rivalry“ with, might be.

2) It‘s never twins. This show is about double-meanings, two sides of a coin, two bottles (good one, bad one), inside and outside persona, a person and its mirrored reflection etc. It‘s not about actual siblings or twins but about different versions.

3) Of course Mary and Moriarty are connected. Moriarty is the spider at the center of a web, he is connected to everything. As you said @sarahthecoat it does make a lot of sense that homophobia (or fear of one’s own sexuality) and heteronormativity are connected and made into two big villains on the show. The reason Sherlock has to hide his true identity is because of homophobic prejudices and the necessity for heteronormative readings. Sherlock hides behind the facade of a woman, but she is nothing more than a projection or a ghost. The same goes for Moriarty, he is a part of Sherlock that he (or his mind) separated from himself to protect. But Moriarty is not the only part that’s been separated from Sherlock. Sherlock’s identity is spread out via a whole web, so to me it‘s not sufficient to say Moriarty and Mary are ‚twins‘. They are both part of the problem, big parts indeed. But what about other facades and fears of Sherlock? Even on TAB there were more brides than just Moriarty and Mary. And on the plot level of the show there are more connections than just the one between Mary and Moriarty. And neither Moriarty nor Mary are actually dead (as in gone), because (almost) nobody dies inside of this narrative. The ‚villains‘ reappear over and over again, more and more distant, until the final problem is actually solved.

@therealsaintscully

mmhmm. as for the "station master", we haven't forgotten the time honored metaphor using trains, right? once again it is about controlling sherlock's sexuality.

I am reading this book at the moment – London and the Culture of Homosexuality, 1885-1914 by Matt Cook. First off, it’s brilliant and everyone should read it. Identifying as “gay” or “homosexual” was quite complicated during this era and Cook spends a lot of time discussing the idea of sexuality and sexual identity in London during these years. I’m just through the first chapter but have learned many things already:

1) Empty train cars (railway carriages) were quite popular spots for gay men to rendezvous and do the do 2) A gay man was often referred to as a “Molly” and a “Molly House” was a place where gay men could socialise together 3) A famous case involving two men (Ernest Boulton and Frederick Park) who were accused of homosexual activity and charged with “conspiring and inciting persons to commit an unnatural offence” was brought to court to great public spectacle. During their trial, one of the men (Park) GREW A MOUSTACHE to try to conform to the era’s expectations of masculinity (many men who were identified as gay were clean shaven).

More updates to follow – hopefully I can finish this before 1 January ;)

“one of the men (Park) GREW A MOUSTACHE to try to conform to the era’s expectations of masculinity (many men who were identified as gay were clean shaven).“

Well, well, well.

@therealsaintscully​ why stop in 1895? ;)

1) Empty train car:

2) Molly John

3) Moustache

And just for the sake of it, get yourself a fake wife:

Part of my meta series is going to be about John as the Westley archetype (most of the time) and while I haven’t got there yet, I spotted discussion about eyes! They are Everywhere, so definitely a Big Symbolic Throughline for the show. Eyes are the window of the soul, we are in effect Seeing the show through John’s eyes, but the camera itself acts as our eye as the viewer and allows us to see things other characters aren’t privy to. They also serve as a flag to us to Pay Attention, to Look Closely at what we are being shown, and are used in moments unexpectedly. The coffee cup transition, the skull poster having the eyes, priates with eyepatches, speculation that someone will LOSE an eye, the eyes in the micro and the tea, etc, etc (sorry I don’t know exactly when all these moments appear in the show, they’re just off the top of my head) Eyes are super important! And I CANNOT divorce in my mind the implication of someone losing an eye with the To The Pain Speech that Westley gives. If I recall, the lost eye thoughts center around John, and losing the left eye specifically (I don’t know why, that bit went over my head and I haven’t read anything like that in A While). But when I think of someone losing an eye, I immediately hear Westley saying “The next thing you lose will be your left eye, followed by your right.” And I will have to do more research on this one BUT it’s another one of those moments that made me go “HUH!” @lukessense this probably won’t be helpful to you at all but I was reminded of this tidbit!

@lillysliterature​​ so I had to read up on Princess Bride a bit, I know there are several connections between BBC Sherlock and PB but I haven’t read up on all the meta about that (there is just so much to read out there and I’m still trying to make sense of BBC Sherlock in my own words in a way). But anyway, I see the connection between Westley and John but I also see it between Westley and Sherlock. But that’s a bit of the problem, because the way I read BBC Sherlock, Sherlock mirrors himself in John Watson and therefore it makes sense that Westley isn’t just a mirror (or connection) for John but also Sherlock.

More under the cut:

Keep reading

rd for discussion. also that still of sherrinford makes it look kind of like a panopticon. (that's a type of setup where the person in charge is in a central glass office, from which they can see all the cells in a circle around them)