Anonymous asked:
This is a bit ridiculous but do you know or could you crowd source what the food item that’s pasted around the Christmas party (and Sherlock later steals one from Mrs. Hudson’s fridge) could be? It’s like rounds of white bread with melted cheese on top maybe? It strikes me as an odd food item when it pops up in Scandal but I don’t know English food very well (not that I’m looking for recipes since English food is, well, English food).
Ooh! Wait! I know this!
Not that I’ve ever eaten one in my life, but I saw it mentioned in passing at some point: they’re mince pies.
“I mean, he thinks he can solve everything by being sort of cold and remote. Our Sherlock even entertains the idea that he’s above emotion. He’s actually a terribly emotional man and he’s a desperate show-off. And far from being cold and remote, he’s got a bunch of people who look after him. The support team is enormous. He doesn’t quite realize that far from being the invulnerable ice king, he’s actually perceived by his friends as a wonderful, amazing man, but one you have to look after.” — steven moffat (via aubkae)
My sister and I were talking the other day, and Reichenbach came up, and she mentioned that a friend of hers had an awesome theory. When Sherlock hits the ground, you hear a crunching noise. The mystery has been solved, thanks to the massive intellect of her friend:
Sherlock still had the crisps in his pocket, you guys.
EVERYBODY GO HOME. This mystery is solved.
omg but it’s even more funny because that could have actually been it
#my FAVORITE #because sherlock is so concerned and worried about getting it wrong #and it’s FUCKING SHERLOCK HOLMES #WHO NEVER THINKS HE’S GOING TO GET IT WRONG #but this time it matters #because it’s about john#and so he doubts himself #because this time he can’t be wrong #he can’t be wrong when it comes to john
Also he’s pretty.
All of the above.
Anonymous asked:
This wasnt on your OOC-list,so I wanted to send it to you. In the beginning, SH thinks John might think he is a fraud and it makes him quite upset and angry.I thought it was ooc, because he’s usually cool if he’s angry. Then again, I can’t say what it means more than that he didnt want John to think he was a fraud… maybe. ;-) (Sorry for posting anon, haven’t got tumblr)
Sherlock keeps his cool most of the time, but having him keep his cool all of the time would be boring. He tends to have a little meltdown and start yelling at least once per episode. Sherlock’s more emotional than he thinks he is, he’s never been fond of the prospect of Jim outsmarting him, and of course Sherlock cares about John’s opinion of him more than almost anything else in the world. So the whole thing seemed pretty in-character to me.
But even if I’m just being unreasonably nonchalant about Sherlock’s outburst… Like you said, what could it even have to do with anything? There’s basically no way yelling at John at that point could serve as the secret key to his survival later. So even if some people think that part was out-of-character for Sherlock, I don’t think it was “the” out-of-character action.
“Sherlock almost exists on starving its audience.” — Steven Moffat on the long waits for new episodes (via finalproblem)
Casually sobbing over a gifset.
This is perfect.
I absolutely adore Mycroft. God. Just the entire relationship between Sherlock and Mycroft — it’s like he almost wishes he didn’t care, but he does and it really won’t fucking stop any time soon. He’s already admitted, in so many ways, that he cares about Sherlock — because he is Sherlock Holmes’ Big Brother.
He watched that smart little shit grow up. He probably watched Sherlock pretend to be a pirate. He probably cleaned up a scrape or two because Sherlock didn’t always have that grace. He probably answered any and all questions Sherlock asked him until the point where Sherlock sought out the answers himself. He probably had to guide his socially awkward brother through situations during the years when Sherlock couldn’t do it himself. He was the role model. And he watched out for, and continues to watch out for, the baby brother that tries to push him away because little siblings seriously never seem to think they need it or that they’re too old for it — jesus fucking christ.
They’ve got this whole ‘we’re really bad siblings john trust us we hate each other’ thing going on — but when it comes down to it, Mycroft Holmes can try to pull whatever BS he wants about his concern being because he wouldn’t want to upset Mummy, but he fucking loves his annoying little brother.
(And I don’t know if I’m just projecting my own relationship with my brother onto the Holmes — yes I’m aware they’re not exactly normal — but I think it’s the same at the core. I absolutely detest my older brother sometimes, because I think he’s a complete asshole that used to steal shit from my room — but if I ever really needed him, like really needed him, he’d be there for me. Just like the hospital. Even if Sherlock left, Mycroft was there. He would’ve been there, just like he probably was, years before when something troubled a younger, John-less, not so independent Sherlock Holmes.)
I love how Mycroft constantly goes to John, though. John is his inside correspondence. His direct link to Sherlock even when Sherlock tries to sever ties — because John is the tie he won’t/can’t cut. And I like to think that the way Mycroft and John develop throughout the series is that Mycroft starts to put more and more faith and trust in John to take care of his brother like Mycroft would.
Because it starts off with ‘hey, I’ll give you this much money to tell me what he’s up to sometimes’ to ‘the girl he may have feelings for is dead. what should we do?’ and it’s really lovely because Mycroft now feels he has to ask John — who’s starting to become someone who knows Sherlock just as much as he does, if not more — for advice on what they should do for Sherlock. Because John seems to understand Sherlock more, seems to know what he feels or thinks that Mycroft has lost the ability to do so with time and distance.
Sorry. Mycroft feels.
Everything about this. This is why I love Mycroft so much. In fact, he’s my favorite character…even before Sherlock…and THAT says a lot.
They have such a delightfully complicated relationship. It’s really fascinating to watch.
mycroftlaughingalonewithcakes:
#His Face Always Gets Me #Like He Just Realized How He Makes Molly Feel. #How She Has Even Started To Think That She Doesn’t Count. #This Scene Is Completely Amazing. #Breathtaking.
It’s so well acted…
Can I be a wet blanket here?
I think the idea was for us to think that^ at this scene. Reinforced by the emotionally loaded “What do you need? -You” further into this episode. But I think this is bait (I won’t go into how there are so many forced intentions for the viewer to lay eyes on Sherlock+anyonebutJohn in this series, but I will say this:)
I think this is Sherlock’s face while he realizes “you are right, you don’t count. I don’t think you do. SO… Moriarty wouldn’t think you count either.” And that’s the exact moment when Sherlock plans his face-to-face with Moriarty on the roof of the hospital. If Moriarty had thought Molly counted, he would have added her to the list of Sherlock’s friends and there would have been a fourth sniper. But he didn’t, because Molly is actually right when she says she doesnt’ count. Paradoxically, the exact moment she says so, she becomes the most important piece of the Sherlock’s plan for defeating Moriarty and surviving it. (How he did that is another story and I genuinely have NO IDEA what they’ll come up with. But I’m sure Molly was very much important in that plan)
Less romantic, I know, but I think the reason why Sherlock was “sad” as Molly says is because he hadn’t yet figure out the whole fake-my-own-death plan.
So…
My brain is telling me this is right, but my heart is screaming at me it’s not while breaking in a million pieces
I think this is absolutely right. There are these meta moments within Reichenbach during which involve Sherlock acting. I’ve always thought that this was an act, and I also think that parts of the rooftop scene are Sherlock acting.
Namely: “Yes, but now that it’s all up here, I can use it to alter all the records! I can kill Rich Brook and bring back Jim Moriarty!” (After which, Moriarty calls Sherlock a doofus. lol.) But seriously, take a look at his face. He looks like he’s acting, he sounds like he’s acting. Sherlock may be immature about some things, but he is not naive. Not when it comes to puzzles.
Also I think he’s acting when he’s all “You’re insane!” “John? Mrs. Hudson? Lestrade?” Just look at his face. The mock drama on it is almost too believable. And the number of “pleases” that leave Sherlock’s mouth is unbelievable. I can’t buy in. Because if he didn’t have an inkling of an idea that he was going to be jumping off of a building, he wouldn’t have had to talk to the chick who does post-mortems beforehand. (Note: there’s no mention of Molly. He knew there wasn’t going to be, as OP stated.) He leads Jim on, like he leads Molly on, like he leads John on at the end.
It’s just - because the words in Reichenbach give us so many feelings, it’s easy to forget that Sherlock is what he is - a “high-functioning sociopath.” One needs only to look back to “The Great Game” for a great example of Sherlock acting in order to exact the reaction that he needs from people. So while the words he says to Molly may be sweet, and even grounded in the truth (“You’ve always counted.”), they are all tools through which Sherlock gets what he needs to settle his score with Moriarty.
I’m not saying that he doesn’t mean all of the emotion and that Sherlock is a heartless bitch. I’m not saying that the tears during the phone call to John, and his concern for Mrs. Hudson and Lestrade is all false.
(I actually think that Sherlock might have been tearing up because he didn’t want to do what he did, he didn’t want to trick his only friend. He might also be crying because when he admits what’s happening to John “It’s trick, just a magic trick.” he knows that John is too emotional/”ordinary” to understand what he’s insinuating. In addition to that, he’s probably crying to help the act.)
What I am saying is that when we’re getting “Sherlock” feels over “Keep your eyes fixed on me,” we are also getting carried away from the point. We’re John Watson. And Sherlock has positioned us as carefully as he did Watson before he leaped off of St. Barts.
The bike hitting Watson was not an accident. We all know that.
Just, sometimes, we forget.
We get hit with the Reichenbach feels and forget.
^^^^THIS
is in part why I sometimes wish he’d just died for real, hadn’t come up with a clever magic trick to fool all of us. I wish that moment could have been the first and last truly honest moment of his life, rather than just another lie.
The Last Post - Summing Up.
This is the last post for this blog devoted to Sherlock Holmes and landscape, seeing as I have explored all Sherlock episodes as well as the two Sherlock Holmes films for ways that landscape has been both shown and used in these two very different adaptations. In this post, I wish to consolidate what I have learnt from this blog, and an area of further thought relating to things that I have studied throughout my Inspirational Landscapes module.
Previously, when watching films or TV dramas, I can honestly say that I haven’t really taken the landscape into account. I’m normally too absorbed into the narrative that it’s merely a backdrop to me! Learning about the different aspects of landscape throughout my Geography degree in terms of the processes working upon it, how the landscape was formed to begin with and so on gave me a one-sided view upon the natural world. I only really saw it as a series of layers with different processes and influences working on them, creating a specific landform or area. However, after taking the module on Inspirational Landscapes, I can now see landscapes in many other ways, and how there are in fact other landscapes present in the world rather than just the natural one. For example, there’s an underlying cultural landscape wherever you look: cities have a number of cultures mixed together; farming in South-East Asia has certain cultural aspects that influence the landscape. Indeed, I touched upon this briefly when in the post about the Sherlock Holmes films, and how Robert Downey Jr uses the market-cum-circus cultural landscape to create his disguise. It’s amazing how the wider picture can be created from many numbers of layers, and how easy it is to forget that these layers exist.Going back to my main point, I have learnt a lot of things about how landscape has been used in films just by doing this blog on Sherlock Holmes. BBC Sherlock gained the reputation of transforming the way London is shown on screen by showing places in a new light. London is filled with many ugly concrete buildings that tourists don’t tend to see, but they’ve been recreated with the use of clever filters and lighting. For example, Battersea Power Station was used in ‘A Scandal in Belgravia’ for the confrontation scene between Dr Watson and Irene Adler, and the inside is shown with grey filters to make it look a lot more interesting. The power station is a bit of a blot on the Southbank landscape, but has been greatly improved. Also, the use of the ‘underground London’ landscape was very interesting, as shown in ‘The Blind Banker’. Contrasted against the CGI-heavily Sherlock Holmes films, I have gained a different take on how these landscapes have been used. From this study of landscape in film, I can say that these skills are transferrable when watching films in the future. I watched ‘Third Star’ a few nights ago, which I have never previously seen before and I really enjoyed it, despite how sad it was at the end. But I felt like I learnt more about the significance of the storyline from looking at the landscape. The group were doing a road trip to a bay in Wales because it was significant, and I was able to see how significant it was to the main character. I’m trying to not give too much away to people who haven’t seen it, but I do recommend it. So that’s what I’ve learnt from writing up this blog.
One thing that I do want to mention is something that I have noticed whilst rewatching the episodes of Sherlock, is that the inside of 221B Baker Street gradually gets messier throughout the episode, therefore as the case progresses. This is more noticeable in the TV series than in the films as there are more scenes based in 221B, and this can be related to the ideas of home and boundaries. The screenshots below help to explain this explicitly, and these have been taken from ‘The Blind Banker’, ‘The Great Game’, and ‘A Scandal in Belgravia’.
‘The Blind Banker’
‘The Great Game’
‘A Scandal in Belgravia’
I am aware that in the books the inside of 221B Baker Street is renowned for being very messy, as it’s the way that Holmes works best in. However, I’ve noticed from watching these episodes that the flat goes through cycles of cleanliness and messiness as cases come and go. This shows that 221B is more than a home to Holmes and Watson, and is increasingly an office; an extension of the laboratory they both work in at St Bart’s. An example of this is in ‘The Great Game’, where Holmes uses both St Bart’s and his ‘private laboratory to solve the first case. Likewise, in ‘The Blind Banker’, the messy mood-board of notes on the wall of the flat indicates that this is more of an office than a place to live, and is a way of bringing the outside in. To Watson, the 221B Baker Street is increasingly like a home to him as he gradually moves his belongings in, shown in many episodes by simply taking charge of domestic situations. An example of this would be in ‘A Scandal in Belgravia’, where the flat is tidy due to there being no explicit case and because it’s Christmas.
The use of the flat as both a home and an office also relates to the idea of boundaries, in the way that Holmes’ has no boundaries to his work as a consulting detective, though his main boundary is within the London boroughs. The boundary between home and work also blurs throughout most episode, as stated above. These are not physical barriers; rather they are placed in the wider landscape by the viewer’s emotions and understandings of each case. This shows that there are more things to think about when studying a TV drama or a film in terms of landscape, especially when the viewer feels a connection between themselves and the visual meaning. There’s a lot more to film than the narrative, the action and the landscape in which it’s all placed in.
To conclude, I have learnt a great deal of things from doing this blog, and I hope that you have too. There’s now a great deal more to look at the next time you watch Sherlock or the Sherlock Holmes films, and I hope that this as helped influence you to look at this yourselves next time. I hope that I have pointed out new things to look at in terms of small details that add to the film, whilst still appreciating the wider picture that film in this new era of cinema creates. Thanks for reading!
Anonymous asked:
Why would Jim pick Lestrade as the third target?
Because despite all the sweet but over-dramatic statements about only having one friend, Sherlock has several friends. Obviously John is Sherlock’s BFF, but he sees that Lestrade is one of Sherlock’s friends as well.
John: You know he’s actually pleased you’re here? Secretly pleased.
I’d even consider the Lestrade-Holmes friendship to exist in the original stories. Again, it’s nothing like the Watson-Holmes friendship, but when you have a scene like this in The Adventure of the Six Napoleons…
We sat in silence for a moment.
“Well,” said Lestrade, “I’ve seen you handle a good many cases, Mr. Holmes, but I don’t know that I ever knew a more workmanlike one than that. We’re not jealous of you at Scotland Yard. No, sir, we are very proud of you, and if you come down to-morrow there’s not a man, from the oldest inspector to the youngest constable, who wouldn’t be glad to shake you by the hand.”
“Thank you!” said Holmes. “Thank you!” and as he turned away it seemed to me that he was more nearly moved by the softer human emotions than I had ever seen him.
SEARCH BY...
type
character
episode
other
