META Hiatus

I need someone to help me organize my blogs

THE REWARD is friendship and whatever on earth it is that you want if you feel like I can somehow reasonably provide it for you.

Y/N: Hey, Sherlock.

Sherlock: What now, Y/N?

Y/N: What do you call an Alligator in a vest?

Sherlock: Let me guess, an Investigator?

Y/N: YES! *laughs*

Setlock, Sherlock and John and a boat…

10/1 requests (closed)

And Sherlock’s like wat?? because no he doesn’t.

“Why don’t you drop by next week. I have some new product coming in and I think it’ll do you a world of good.”

Being Sherlock’s younger sister would involve:

Annoying the hell out of him whenever you interrupt him during his deductions, and only laughing at his reaction.

Learning how to make deductions when you were younger by watching him do them. You pick up quite a few things from him about deductions. Although they aren’t quite as refined as his, you’re still pretty good.

Mycroft and Sherlock being over protective of you. Despite their emotionless facades, you know that they care for you. (You could even say they loved you.)

Meeting John Watson, and getting along really well with him, much to the annoyance to Sherlock. You don’t care, though, and proceed to tell embarrassing stories of Sherlock and makes jokes with John. He’s surprised how different you are to Sherlock. (You reply: ‘Well, how similar to your sibling are you?’)

When you leave Sherlock and John’s flat for the third time, you bump into Mrs Huddson. She chats to you, and then invites you in for tea. As you are too polite to decline, you accept and end up loving her company.

Being as smart as Sherlock is, but just in different areas and subjects. Sherlock denying that you’re just as intellectual as him.

Enjoying family get togethers. (Unlike your brothers.)

The “Sherlock queerbaiting argument” suggests that:

1. Mark Gatiss, openly gay co-creator of the show and LGBT activist, whose favorite Sherlock Holmes adaptation is a movie which he has specifically stated – via verifiable sources – that he appreciates because of its gay, romantic subtext, and from which he has drawn numerous scenes, characterization, and lines of dialogue to incorporate into his own Sherlock Holmes adaptation, and which he has spoken at length about when introducing screenings of what is (or rather was) quite frankly this obscure film (which he has done more to promote in the last five years than its studio did at the time of its release), and the music from which was included in a BBC Prom centered around the music from his own show and co-presented by him, and which he and Steven Moffat are demonstrably “fixing” multiple elements of in their own adaptation, is going to A) not fix the “Watson doesn’t love Holmes back” element of that movie instead of B) using the financial and creative resources which are already at his disposal and the multi-episode set-up which he has already written into the show in order to fix it.

2. Despite not knowing how popular their Sherlock Holmes adaptation would be, and not knowing whether it would be renewed beyond the first three episodes, and having measured/realistic expectations for its success which have almost certainly been vastly exceeded, the show’s creators A) put gay subtext and text into those initial episodes – and the six subsequent episodes – in hopes of attracting and retaining a potential audience of LGBTQIAP-identified viewers which is SMALLER than the potential audience of heterosexual viewers and therefore less influential in keeping a show on the air through sheer ratings numbers, despite never promising to actually deliver on the subtext, instead of B) putting gay subtext in the show for reasons spelled out in the BBC’s own LGB representation report, and in meta which explains those reasons better than I could here, all of which make infinitely more sense than “making sweet, sweet money off that lucrative audience of gay, bisexual, and pansexual youths who represent a tiny fraction of our potential audience of literally tens of millions of people worldwide.” Which leads me to…

3. Despite making a show which is a massive hit with tens of millions of people worldwide, the majority of whom – statistically speaking – must be heterosexual, and the majority of whom don’t even see the gay subtext, as reflected by a global entertainment media which barely discusses it, the showrunners have A) decided to keep the subtext going not for their own reasons, as suggested above, but in order to continue baiting a small fraction of that audience for reasons which aren’t clear, instead of B) putting whatever the fuck they want to put in their show and making it exactly how they want to make it regardless of what the audience actually wants at this point, because they are literally the BBC’s #1 show and pretty much have a guaranteed audience of tens of millions without the need for “baiting” anyone – hell, they have a guaranteed audience of tens of millions even if they do ridiculous shit like making a Victorian episode.

And finally 4. the BBC, which released, prior to Sherlock’s first episode airing, a lengthy research report which was created after surveying LGB-identified viewers about how to avoid queerbaiting and how to create realistic, compelling portrayals of LGB characters, which spells out in black and white that a show which does what Sherlock is currently doing must deliver an actualized, on-screen relationship in order to both avoid queerbaiting and to give those LGB survey respondents what they asked for, which is a relationship that unfolds slowly, is A) aware that Sherlock is queerbaiting and is somehow just sort of okay with that, lol, whatevs, instead of B) holding Sherlock to the anti-queerbaiting standards set by the network, which dictate that Johnlock must become canon.