#tjlcmeta

John in TFP: “Shot me during a session. We still had ten minutes to go.”

With exactly ten minutes to go in TRF, Sherlock steps onto the ledge of Bart’s Hospital to commit suicide.

Is this the moment John is referring too?

Eurus killing John = Sherlock killing John = Sherlock dies/John dies.

The end of TLD isn’t a cliffhanger, it’s a metaphor. He replaces the gun with a tranquilizer because…

“Don’t solve the murder. Save the life.”

Sherlock lives/John lives

“We had chips” is the food/sex metaphor.

How did I not realize this before?! Now I understand why the phrase is repeated so many times, and why he has the conversation about sex with Eurus. She is trying to help him remember that he has imagined the possibility of having sex with John.

Sherlock wanted more (dinner/starving) in ASIP and still does! “Amazing. I mean the chips/sex,” says Fake Faith aka John and Sherlock. Fake Faith is both men because Sherlock is also a romantic now. She’s the embodiment of love. No wonder she disappears! He’s rewritten his memories. He suppressed his emotions. He is the lying detective when he says he doesn’t know what romantic entanglements means. He’s lying to himself until he confronts Eurus. When Sherlock says: “He/She?” and Eurus says: “Messy, though.” This is referencing all the mirroring and metaphors. It’s all a bit messy in Sherlock’s head trying to keep all this love stuff “straight”, trying to maintain the facade.

I get it now! ;)

@sarahthecoat @kateis-cakeis @ebaeschnbliah @gosherlocked @monikakrasnora @tjlcisthenewsexy

I read your meta: The Three Garridebs of Sherrinford

I have a different interpretation I wanted to share with you.

I don’t think the brothers are Sherlock’s facades. They are John. Dropping them in the ocean is about John committing suicide. Each of these locked rooms is answering the question Sherlock asked Ella in TST: “What do I do about John Watson?” How does he save him?

This room has the walls painted like the crime scene in ASIP with Jennifer Wilson. JW suicide parallels. Sherlock hands John the gun. Sherlock’s suicide is John’s suicide. He might as well just hand John a gun. A big gun. Prior to this scene we saw John walk out on the ledge and look at the water. Sherlock ignored Vatican Cameos. John is alone on an island metaphorically. He doesn’t see the love and loyalty behind the cold mask.

Let’s look at the brothers:

Nathan wears glasses. Sherlock is being reminded that he doesn’t see them as equals in their relationship. He often patronizes John. Treats him condescendingly like his Mary facade.

TEH: Sherlock imagines Mummy and Daddy Holmes as married mirrors for himself and John. Foreshadowing Sherlock’s facade marrying John in TSOT. Mummy/Sherlock is the one in charge. Daddy/John wears glasses, but has lost them. “John, you see but you don’t observe.” They are not being presented as equals here in this scene in TEH.

As we know, case in point, there are plenty of times when Sherlock doesn’t observe himself, especially concerning romantic entanglement. And he realizes this twice: TAB and in TST.

Howard: John’s alcoholism. Hand tremor.

Alex: John in S4. His change in appearance is superficial. John is mirroring Sherlock, so Sherlock isn’t shortsighted anymore, he’s had laser surgery. Sherlock is seeing the consequences of his actions through John’s eyes. He’s seeing his life in a new light.

Sherlock killed CAM to protect his Mary facade and was sent on a six month exile...his death. Sherlock dies/John dies. Alex killed Evans six months ago. John killed himself six months ago.

Sherlock has been telling himself a better story.  Eurus condemns them all because all leads to the same conclusion: John’s death.

This leads directly into the coffin room and Sherlock realizing he has to say “I love you” first so John can see the love and loyalty, saving him before it’s too late.

Eurus, before the hug, is how Sherlock see’s love as manipulative and dangerous. These rooms are suppose to be proving the point that love is a dangerous disadvantage, but they are proving quite the opposite. Instead these locked rooms of his heart are answering the question “What do I do about John Watson?“ The little girl on the plane is John. Sherlock’s constant reminder that this is all about saving John.

“Alex.” Sherlock looks at John. The camera pauses on John’s sad face.

“Condemn him. Condemn him with the knowledge of what will happen to the man you name (love).”

“Who loves you, Sherlock?”