Sherlock: 04.03
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@221elephants
Sherlock: 04.03
Sweet. :D

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four times Sherlock was alarmed by sex and the one time he wasn’t
#dear god what kind of strenuous mental gymnastics must it take#to watch these scenes and come out of them thinking Sherlock isn’t as gay (for John) as the day is long
Manifesto
When fans don’t behave well to the human beings who created a story because we didn’t get the version we want and feel we deserve, i’m not sympathetic to us, quite honestly. But I’m also not sympathetic to creators claiming that fans are getting their opus all wrong.
I think we’re allowed to interpret a story any way we like, no matter how “wrong” it might philosophically or realistically be, and I don’t have a whole lot of time for anyone telling us we can’t get a story as “wrong” as we want to. So I’ve already got one eyebrow up if a creator is having a go at fan interpretation just in principle, but when a perfectly reasonable, rational, arguable interpretation of a story is criticized by creators for getting it wrong, well. That’s a two eyebrow situation for me.
With all due respect to all writers, actors, directors, and creators of Sherlock, and I am a solid and true fan of them all so that’s a lot, if you think we’re interpreting your story wrongly because we ship Sherlock and John, I’m trying to grow a third eyebrow now just so I can raise yet another one to add to the other two.
I understand if it’s not the story you want to tell. I respect your right to your interpretation as much as I do anyone else’s. But your opportunity to shape my perception of your story is in the story. You already have more power than anyone else to shape what I see, you don’t get the meta third space as well. Come on. That’s just greedy.
There are certain imaginative doors that only a creator can close, and personally I think it’s a tragedy when that happens. It’s a tragedy when power is used to shut down stories. Anything that shuts down healthy fan creativity is a tragedy, as far as I’m concerned. So I’m sorry to see that happen.
I’ve been a slash shipper for a long time now, nearly 20 years. And at the time I thought I was a johnny-come-lately, because the whole fannish machine has been around so much longer than that. But there are some ways of thinking from ye olden days that come in handy at times like this. For years and years, we’ve never sought creator approval to ship what we want to ship, because there was no way in hell we’d ever get it. And the truth is, we don’t need it now.
I thought I liked the fourth wall coming down a little. It’s been amazing to be able to interact in some way with the people who produce things I love. But lately I’ve been feeling like we need to rebuild it, because it seems like absolutely everyone is getting hurt by its absence. There was a moment when it was glorious, but I guess we pay for the glory with shame and the hurt ever after. Maybe these two groups are just meant to be two solitudes, ships in the night. Alternate realities carefully ignoring each other. I don’t know.
Long ago I thought there must be a career in being a fan consultant for famous people who end up with a huge and active fandom at their feet, because someone’s got to be able to explain what’s going on and how 99% of what a fandom is doing is for each other, not for a creator. Fan translator and interpreter, if you will. Surely someone’s doing that, right? Maybe we should collectively set up a consultancy. I’m sure there’s money in it. But as of right now, with my nearly 20 years of fan experience, I’m not sure I have the first clue how a creator should interact with a fandom, or whether they ever should at all.
Anyway.
So this is how I’m going to deal with this emotional experience I’m having right now: I’m going to reiterate my argument it as if it matters at all. I feel need to defend my ship, myself, my thinking, and my community, and lay out the reasons why we are on to something whether you agree with us or not.
Goddammit.
“Your opportunity to shape my perception of your story is in the story.” YES.
I’m glad i saw this too, i guess the “silver lining” to my tablet dumping all my notifications, was that i thought about who might have posted something, that doesn’t post every day, so that i wouldn’t just catch up with it by tomorrow.
One of the things i find the most baffling about bbc sherlock, is the disconnect between the show and the writers. There’s the depth and complexity of the show, from the way it draws on and remixes elements from the Giant Lego Set of Canon, to the mirroring and coding, to the way it brings up and addresses real challenges in the queer community. The integration of all elements of filmmaking, from the text to the costumes to the lighting and framing and set design, everything is together. Then there’s the frankly boorish way the writers often behave toward fans who want to have real conversations about the show. Why put themselves out in public if they don’t like these situations? If the show isn’t finished yet, and we seem to be getting ahead of them, they could still be polite about it, or simply not engage.
What a contrast with how mr gaiman interacts with his fans, always happy to discuss the writing process, what inspired a scene, what he (and mr pratchett) were thinking/talking about, etc., and then, “but your headcanon is totally valid”, and “those are the questions for fanfiction to answer”. Which he doesn’t read, so go for it. He knows how to NOT talk about the parts that aren’t his business.
Well said @ivyblossom and @sarahthecoat ! I very much agree. It seems to be a widespread misconception that writers and other art creators have some kind of ’right’ (moral or cultural or juridical or whatever) to rule over the minds of their audience and determine how the viewers or readers should interpret their work. They. Have. Not. And that’s precisely the point of creative artwork in my opinion; it spurs creativity and imagination in its turn, rather than suffocating it. So the authors’ comments on their own work shouldn’t really bother us. There’s a line at the end of Conan Doyle’s REDH where Holmes quotes the French writer Gustave Flaubert, and I think it’s rather apt here: L’homme c’est rien – l’oeuvre c’est tout (”The man is nothing - the work is all”).
Interacting between creators and audience in a number of innovative ways can be great fun, if there’s a basic mutual respect. But when it aims at ’correcting’ people’s perception of a work, it’s not creative or productive in any sense. As for BBC Sherlock, I suspect that the authors, as well as some of the main cast and crew, are playing a certain kind of game with their audience; they have moved into the realm of fandom because basically they are fans themselves. (continued under the cut)
Keep reading
When did Sherlock actually OD?
The idea that we’re in Sherlock’s head in S4 has been discussed extensively before, at first by the brilliant people who came up with the EMP theory, later by me (X, X, X, X, X) and by a lot of others. But this interesting post from @the-signs-of-two providing new clues that “Sherlock is in his mind palace throughout S4 while overdosing”, with additions from @sarahthecoat and @gosherlocked, among others, made me want to focus a bit more on Sherlock’s overdose on drugs and some thoughts around that. This meta is not about the multiple mirrors, metaphors, codes and symbolism we see in BBC Sherlock (which have been discussed even more extensively), but rather about what plausible explanations there might be for the increasing absurdity of it.
Messed-up timeline and lack of logics
First of all, I think the timeline of this show is warped, at the very least from HLV and onwards. And actually, there seems to be some hints about this as well, for example these words by Mr and Mrs Welsborough in TST:
And of course, if the events in S4 only happened inside Sherlock’s head, there literally never was such a time. At least not in the order that the events are presented to us. Some big chunks of this story seems to be missing, while others have switched places with each other in time, making a complete, absurd mess of it all. (And I do believe this is all done intentionally by the screen-writers, to distract the audience from what’s actually going on.) After TSoT the narrative is no longer presented in a comprehensible order. But this would also mean that some apparently absurd things we see in S4 might have actually happened before that, albeit in another, more logical, context. And maybe they weren’t even presented to us that way, right? My point is: some things that appear as non sequiturs in S4 just might make more sense in another time frame. So let’s explore that.
An example of the first case, with important, missing time chunks: We’re not privy to what happened after Sherlock nearly died for the second time in HLV, when his heart stopped after the “Watson domestic scene” in 221B.
We only see him show up at his parents’ house at Christmas, supposedly after several months of recovery in hospital. As if the dying protagonist’s condition in between these time windows wasn’t even important. And ‘Mary’, who nearly killed Sherlock the first time and then threatened to finish the job, is now invited to celebrate Christmas with Sherlock’s family as if nothing, apparently meant to reconcile with John. But these scenes are mixed up in time with the domestic quarrel and the scenes where Sherlock sets up a trap to reveal ‘Mary’s true intentions to John. This confusion of timelines makes us totally miss the moment when we should have thought “wait a minute - what happened with the murder attempt against the show’s main character?” It was, of course, never logical, as @gosherlocked pointed out in this addition, that Sherlock was now defending ’Mary’s murder attempt, claiming instead that it was life-saving.
We never get to see how and when Sherlock came to this absurd conclusion, though, we merely see some confusing ‘deductions’ about how a gun-shot can be “surgery” because it’s not a head-shot, or about who must have called the ambulance. These ‘deductions’ have logical errors like causal fallacies and the “slippery slope fallacy”. I once wrote a meta about Sherlock’s lack of logics in HLV and onwards. Something seems to have been blocking his usually brilliant thought process - was it the IV-morphine against the pain in his chest wound? But it had already worn off, hadn’t it?
And neither was it logical, I’d say, that John’s wife had suddenly turned into someone like The Spider of TBB; a facade-climbing ninja committing murders in high buildings. Or that a critically wounded and newly operated Sherlock would be capable of climbing out of his hospital window, stealing the wheelchair and IV-drip on his way and setting up a trap for ’Mary’ in another part of town. And, in the mean time, even place a perfume bottle as a hint to John in 221B. Is he Superman or what?
Another example of missing chunks of time is between TLD and TFP, where we never get to know what actually happened after Eurus shot John in the face.
A smoking gun, followed by nothing, and in TFP we then learn that apparently the shooting was just done with a tranquilizer. Why? We’re never told.
And yet another: When did Sherlock manage to get out of his heavy drug abuse in TLD? 221B was turned into a meth lab and Sherlock was so addicted that he had to inject right before talking to the kids in a hospital. His friends had to take turns babysitting him, but apparently he could just snap out of it off-screen? We never got to know how this worked, that part is also missing.
The thing is, from HLV and onwards, neither Sherlock or John seems to have any normal human limitations. They go through fatal situations, where any real person would be bound to either die or be hospitalised, but afterwards they just carry on as if nothing, and any time frame containing real concern about the consequences to their life and health is simply left out.
Time inconsistencies in Sherlock Holmes is nothing new, though; already some of ACD’s canon stories have them (which would be of no surprise, considering that he wrote those stories during several decades, so I imagine it must have been difficult to recall all former events in a perfectly logical order). But ACD’s inconsistencies are minor, I’d say. BBC Sherlock, on the other hand, displays an increasing level of absurdity, at least from TEH.
So - when did it happen?
I think many of us feel pretty convinced that S4 happens inside Sherlock’s head, since this would explain all the logical problems mentioned above. But it’s still difficult to pinpoint exactly when he was actually trapped in there - the “point of no return” - since there are weird elements in this show already from ASiP. That’s why I think we’re seeing the show from Sherlock’s perspective from start; we’re in his head, and whenever it get’s a bit too weird it’s because he’s fantasizing things, reconstructing scenarios on his Mind Stage. This is how Sherlock Holmes’s puzzle solving usually works; it’s his MO. But there’s a difference between Sherlock recalling and dramatizing events in his head - while reading John’s blog - that have actually happened, and Sherlock making stuff up entirely inside his head. Events that aren’t confirmed by anyone else.
In TAB we’re outright told that the Victorian scenes we see were happening inside Sherlock’s Mind Palace:
A fantasy, thus. But we’re also told that the Victorian scenes are the product of Sherlock having overdosed on a cocktail of drugs, within the five minutes it took for the plane to take off and then land again:
But this time frame doesn’t make sense, as John points out:
OK Mycroft, fine, but was there even a plane? And if Sherlock was kept imprisoned and isolated before this supposed plane ride, when could he have got the opportunity to take the drugs? As I said in an addition to @the-signs-of-two‘s post, I don’t believe Sherlock’s OD actually happened in TAB, because TAB isn’t ’real’ and never was. It’s all taking place in Sherlock’s head, even the modern scene on the plane above, which is eventually followed by Sherlock, Mycroft and Greg witnessing a skeleton coming to life, and immediately after that scene this:
And I also highly doubt there ever was any ’deportation’ of Sherlock to Eastern Europe after having murdered Magnussen, because that scenario is absurd in and off itself. It would be much more likely to be part of a drug-induced dream separated from reality. Just think about it: would Sherlock Holmes shoot someone in the head rather than try to solve the problem? And would he do this to protect someone who had shot and almost killed him? And Mycroft, who is ’constantly worried’ about his brother’s welfare and drug addiction, would he send him off to a certain death rather than prison? No - just no; none of those things makes an iota of sense, and nor have they any similarity to ACD canon.
But knowing that Sherlock is indeed a drug-addict (like in canon) and probably also heart-broken after John’s wedding, I think it’s still likely that he actually did OD at some point. The drugs could well have lead to him being comatose and locked inside his own mind for a much longer time than his usual MP visits. The question is when he did it, though. Because if HLV and TAB are too weird to actually have happened, if they represent Sherlock’s drug-induced dream scenarios, then when did he actually overdose? Well, I think Mycroft has the answer:
If there never was any week of imprisonment in HLV, because HLV is all Mind Palace, when is this ‘solitary confinement’ most likely to have occurred?
Well, John’s honeymoon is rather likely to have lasted about a week, isn’t it? On the very final comments on the blog we see how desperately lonely Sherlock feels when John is on “sex holiday” with ‘Mary’:
In other words: he’s spending a week of solitary confinement in 221B. A week when Sherlock could have resorted to drug abuse, turning his own flat into a drug den. But this is also pretty much exactly what we see in TLD, isn’t it? When John has stopped visiting or even talking to him, Sherlock is isolating himself in 221B, high as a kite, preparing drugs in the kitchen, reciting Shakespeare, shooting pictures of Culverton Smith and believing he’s walking on the wall:
What if similar things to these actually did happen, but in another time frame, right after the wedding, resulting in an overdose? Far more logical and likely than the weird narrative of TLD, in my opinion.
After the wedding in TSoT, the next time we see Sherlock (HLV) John finds him in a drug den - with green tiles like 221B’s kitchen. We learn from Kate, Isaac Whitney’s mother, that this is a place where people “shoot up”. John asks for the exact address, but we never get to know it… And even if Sherlock claims that he’s there for a case (Magnussen), later in 221B he admits that he is indeed high.
But the main reason I believe that the OD happened right after the wedding is that this was exactly when John’s blog stopped updating. Since the blog is an external factor, written by John, it simply can’t be reflecting Sherlock’s version of the events. Until he hacks it and takes over the blog after the wedding. I think this symbolizes that Sherlock has now completely taken over the narrative (which is also manifested in S4, with John typing things on a jpg file in TST which we never see published, and people believing it’s Sherlock’s blog in TLD).
Up to this point, the narrative has been - broadly speaking - consistent with John’s version on the blog. But then Sherlock takes over and the blog stops updating. Which might mean that John is having far more pressing issues on his mind than writing on his blog - the issue of waiting by a comatose Sherlock’s hospital bed.
In the mean time, the weirdness takes absurd proportions, because the story is no longer reflecting ’real’ events described by the blog. The ’new’ things that happen are rather parts of drug-induced dream scenarios after Sherlock’s OD I believe, as literally shown in TAB. I think these dream scenarios are made up by a mix of re-cycled elements from Sherlock’s own memories of actual events, mostly from his adult life in episode 1-8, and Sherlock’s imagination of places where he’s never been. But I also believe that the ’real’ Sherlock is hospitalized and comatose after his OD, which sometimes bleeds through in HLV, TAB and S4. So the number one thing I expect to see happen in S5 is Sherlock finally waking up to reality instead of being trapped in his own variant of Dystopia; a reality where he finally gets the opportunity to face the truth about him and John.
Tagging some people who might be interested: @the-signs-of-two @sarahthecoat @ebaeschnbliah @sagestreet @raggedyblue @gosherlocked @elldotsee @spenglernot @loveismyrevolution
i like this! I only wish there weren’t quite so many impossible things ( for me to believe, anyway) from well before TSOT. But if ALL of the episodes are mind stage/memory/fantasy, then that allows for it. I keep wondering if “the singing detective”, which combines reality, hallucination, fiction, and memory, all in a jumble,might be part of the “giant lego set of canon” ™ that the writers are drawing on.
@possiblyimbiassed: I really love this post and I agree with many things. True, there are, as @sarahthecoat remarks, a lot of strange things happening before that but I can accept them because before the characters were mostly consistent, their behaviour understandable and in character. For me, from HLV on this has been nagging me - the characters suddenly stopping being themselves and losing all logic. So I am only too willing to accept and OD/coma/mind stage scenario from the end of TSOT.
However, there is one crux for me: If we were in Sherlock’s mind from this point on, the wedding and Mary’s pregnancy would be real and still would have to be solved.

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no one:
me: here’s a flow chart of 41 lgbtq+ book recommendations, have fun!
disclaimer: this is a very non-comprehensive list since I’m only including books that I’ve read
November in Elk Ridge, Utah
This is not an exhaustive list of ways to get jump started but these are a few of my favorites! Enjoy c:
Under the Ice
Weddell seals (Leptonychotes weddellii) are only found in Antarctica and are the most southerly breeding mammal in the world.
Photos belong to Laurent Ballesta.
the downside up

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brooklyn (19)99
HE HAS BEEN LOCATED
I was not gonna reblog this without Captain Holt lmao
why is andy samberg’s hair more beautiful and flowing than mine
These are fucking amazing
The figure swinging the earth – The Force Of Nature by Lorenzo Quinn
The guy being dragged by a bird – part of an installation titled Hacienda Paradise – Utopia Experiment by Fredrik Raddum.
The balancing elephant – Balancing Elephant by Daniel Firman.
The tea splashes kissing – Kiss of Eternity by Johnson Tsang.
The figure emerging from the wall – Break Through From Your Mold by Zenos Frudakis
The meditating figure splitting apart – Expansion by Paige Bradley.
The horses running through water – Mustangs at Las Colinas by Robert Glen.
The giant peeking from under the lawn – Popped Up by Ervin Loránth Hervé
The man under the raining umbrella – L’uomo della Pioggia (The Rain Man) by Jean-Michel Folon.
The huge bearded guy – The Appennnine Colossus by Giambologna.
The impossibly balanced stones on a beach – Untitled by Adrian Gray
The dragons with an egg – The Dragons in Love or The Varna Dragons by Darin Lazarov.
The stairway to nowhere – Diminish And Ascend by David McCracken
The underwater circle – Vicissitudes by Jason deCaires Taylor.
The epic warrior guy – General Guan Yu by Han Meilin
The sinking library – Sinking Building Outside State Library, Melbourne, Australia. I couldn’t find an artist’s name.
The giant hand holding a tree – The Caring Hand by Eva Oertli and Beat Huber
anthems of our generation
The Black Forest is a large forested mountain range, located in southwestern Germany. It is the setting for many Grimm Brothers fairy tales due to the mythological landscape of the forest.

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Found these on Facebook how cool are they!! They are amazing!!!!
Credit goes to 山神タヌ
This will always be my favorite gifset. Ever.
im morally obligated to reblog this every time i see it