Crossover idea for The Hobbit and Sherlock. Kinda got away from me, be warned. 

I’m honestly not a big fan of Smauglock and Sherlock/Hobbit crossovers in general. I mean, I’ve sure there’s one or two fanworks out there that might make me change my mind, but I sorta like having Middle Earth and modern London be separate things. 

HOWEVER, I was thinking about the very different characters Martin Freeman plays. Both heroes, very brave people when you get right down to it, but they’ve taken drastically different paths in life. 

John Watson is a soldier and a doctor. He’s shot guns, many many times, and he knows how to defend himself no matter what. He’s traveled, extensively, and been with several women. He works with Sherlock in order to expose himself to MORE danger, because he’s a junkie for that stuff. 

Bilbo Baggins is a homebody, plain and simple. He loves his home, he loves the Shire, and he’s not shown to do much else besides eat and smoke and enjoy creature comforts. However, he’s very clever, and his on-the-spot thinking often gets the dwarves and himself out of trouble. He reads a lot of lore and maps, and he writes about his adventures later on. He’s good at riddles (better than I am, at least) and he’s resourceful. But he still wants, more than anything, safety and the stability of a home.  

Now, as for similarities, as I mentioned before both are heroic and brave, in their own way. They both are average fellows thrust into extraordinary situations. They get flustered easily. They both have a thing for tall(er) broody dark-haired guys. They both are played by Martin Freeman, obviously.

So. Why do I bring these differences and similarities up, other than for meta purposes? Because it’s central to the idea I was hatching. 

You see, the main difference between John and Bilbo is this: John is a soldier; Bilbo, a scholar. Bilbo is all quick wit and learning. John, though he IS a doctor, and clever enough to keep up with Sherlock, is all about defense and action and physical activity (teehee). 

What if, through some ~*~mystical magical powers~*~ or something, John and Bilbo switched places in time and space. So that John is suddenly on a quest with thirteen dwarves, and Bilbo wakes up in 221B Baker Street. Perhaps this comes about through Thorin wishing his burglar was better prepared to fight off orc warriors, and Sherlock wishing John were a bit quicker on the uptake. 

I mostly just want to see John being all “oh shit, elves and dwarves were real!” and getting used to the dynamics of the group, while the dwarves are all “how did our hobbit get so BIG” and John is secretly pleased to be the tall one for once. 

And then Bilbo getting really confused by the modern world, a bit startled by cars and cell phones and microwaves and just all sorts of stuff. But then he and Sherlock get into a game of riddles and Bilbo is just TROUNCING him and Sherlock is all “how could this happen to meeee” and hilarity. I also think Bilbo would get along well with Mrs. Hudson and Mycroft. But the modern world is so big and busy, and it make Bilbo feel very tiny and lost. He takes comfort in John’s jumpers and comfy chair. 

Eventually though, you know the dwarves would miss Bilbo and Sherlock would miss  John. Thorin would probably be delighted that John can use a knife and shoot a gun (oh shit though guns in Middle Earth would scare ERRYBODY better hope Sauron doesn’t get hold of that shit), but after a while he’d get tired of being shown up all the time, and John doesn’t have the whole “must save Thorin” imperative that Bilbo does. I think John would actually really dislike Thorin, who’d probably be a bit hurt, since he’s used to everyone listening to and respecting him. I mean, Bilbo isn’t exactly a pushover, but he’s more of one than John fucking Watson.

Meanwhile Sherlock misses John terribly, because bringing Bilbo out on a case isn’t exactly something he can do in the first place (Bilbo REFUSES to wear shoes, just flat out refuses; also, though he looks facially similar to John, he’s about child-sized, and Sherlock is shocked to learn that Bilbo is fifty), and even when he just describes the case to Bilbo he has to explain a lot of modern things anyways and it’s pretty tiresome in his mind. And Bilbo always thinks up what the solution was even then (“well, couldn’t the husband have done it?”) and it makes Sherlock feel a bit foolish. Plus Bilbo is a coward, for all that he has his brave moments, so at first he almost faints when he finds cow eyes on the counter. And then he actually faints when he finds human toes fermenting in the pantry. Sherlock is pretty much pining for John at this point. 

So yeah. My idea for a crossover between Sherlock and The Hobbit. I think it’s a pretty fun idea, plenty of room for shenanigans and angst and even romance (oh Thorin-senpai, my little hobbit heart can’t bear to be apart from you), and just seeing how each character would react to each world. 

bbcsherlockftw:

eva-christine:

We know that Moriarty leaves Grimm’s Fairy Tales as a clue for Sherlock to find the abducted children. But what if he also leaves this book as a clue to the IOU riddle?  

It’s obvious that Sherlock doesn’t believe for one second in the binary code – the “code” he’s tapping out in Bart’s is completely different from Moriarty’s “Partita No. 1” sequence.

And yet, this scene in Bart’s lab is an important moment of realization for Sherlock. What he figures out is not how to “destroy Richard Brook and bring back Jim Moriarty,” but rather how to play “ordinary Sherlock” for his enemy. He immediately texts Moriarty and pretends to believe in the existence of the code, gaining the upper hand in their game.

At this point, Moriarty is so sure of his intellectual superiority that he’s fine with Sherlock choosing the time and place of their meeting. As long as Moriarty thinks that Sherlock is an ordinary doofus who bought into the “key that can open any door” farce, he doesn’t suspect a trap. And that’s what St. Bart’s rooftop is – not only a convenient place for Sherlock to fake his death, but also a trap for Moriarty. Because, you see, Moriarty just can’t be allowed to stay alive. 

Sherlock can’t fake his suicide with Moriarty standing right next to him on the rooftop. Moriarty might notice the rubbish truck. He might see a mattress, or laundry bags, or a garbage bin, or a safety net, or a giant rubber ducky – whatever the hell it is that Sherlock lands on. Moriarty is not stupid; he’ll figure it out. He may even want to see Sherlock’s body in the morgue to make sure he’s dead. Killing Moriarty is out of the question, as Sherlock knows that their rooftop encounter is likely to be observed by Moriarty’s henchmen (who will then retaliate in kind). I think it’s fairly obvious that Sherlock figures out not only that Moriarty wants him to die, but also that Moriarty will kill himself right there on the roof if given enough incentive.   

How does he figure it out? It’s easy to guess that Moriarty wants Sherlock dead and his reputation ruined; he does promise to burn the heart out of him and kill him “anyway, someday.” Moriarty also goes to great lengths to discredit Sherlock through the media, so it makes sense to conclude that he’s not going to have the detective assassinated – dead men get listened to. Suicide, on the other hand, will discredit every word Sherlock has ever said, destroying his entire legacy. I have no doubt Sherlock can deduce all of that. But how does Sherlock know with absolute certainty that Moriarty will commit suicide? It cannot be a lucky guess; there’s too much at stake here. Sherlock bases his entire “fake suicide” plan on the assumption that Moriarty will not be there on the roof to call his bluff.

Something is missing here. When Sherlock says that he can “kill Rich Brook and bring back Jim Moriarty” using the binary code, Moriarty gets really, really upset because “this is too easy, this is too easy!” Looking sad and disappointed, he calls Sherlock “ordinary.” Why is Moriarty using words like “too easy” and “ordinary”? All he did was hire people to break into all those places – there is absolutely nothing extraordinary or even particularly difficult about it. In fact, it’s a lot more boring than having a key that opens “any door, anywhere.” So, what is all this talk about Sherlock being ordinary?   

There’s this one really, really interesting, really quite extraordinary thing in “The Reichenbach Fall” – the “IOU” riddle. It’s never explained, so we’re left to assume it has no meaning other than the boring, ordinary “I owe you.” But are we so sure it’s meaningless? It’s the most fascinating thing in the entire episode, if not the whole series. It’s everywhere. 

Moriarty gives Sherlock this “IOU” riddle – carves it into an apple, paints it on every available surface, and even tells him outright that it’s a riddle, learn to like riddles – but boring, ordinary Sherlock never solves it.

Or so Moriarty thinks.

 

Sherlock mutters “IOU” while analyzing the glycerol molecule in Bart’s lab (right before we are shown the chemical structure of glycerol). When asked about it, he claims it’s “nothing, a mental note.” It’s not like Sherlock to mutter random, irrelevant things out of the blue, so I choose to believe that Sherlock is having an “Aha!” moment here. What if IOU refers to chemical elements – iodine, oxygen, and uranium?  

And what if, like in “The Blind Banker” (also written by Stephen Thompson), each symbol is a number? The atomic numbers for iodine, oxygen, and uranium are 53, 8, and 92. 

My first inclination is to assume it’s a secret code. But this is a TV show, not the CIA, so 53-8-92 is probably something really, really simple. In “The Blind Banker,” the key to the cipher was in a book – London A to Z. In this episode, there’s also a book – Grimm’s Fairy Tales. Moriarty leaves it at the crime scene, knowing full well that Sherlock will find it. 

From what I can see in the screen shots, Moriarty’s book was printed in “Great Britain by […]pire Press, Norwich.” I browsed through my school’s library database and came up with “Jarrold and Sons, Ltd., The Empire Press, Norwich.” I couldn’t find this book anywhere, so I’d wager it’s pretty rare. Luckily, we are shown the inside of Moriarty’s book, so I was able to compare page numbers, fairy tale numbers, illustrations, and text placement in several different editions. The 1944/1972 Pantheon Books edition turned out to be an exact copy of Moriarty’s edition:  

Each fairy tale in this edition has its own number. (Please ignore the marked fairy tales. The markings have no meaning other than the fact that some people have no respect for library books.)

So, what if IOU refers to Grimm’s fairy tales #53 (iodine’s atomic number), #8 (oxygen’s atomic number), and #92 (uranium’s atomic number)?   

 

Remember, Moriarty is the sort of criminal that leaves clues.

John: What sort of kidnapper leaves clues?

Sherlock: The sort that likes to boast, the sort that thinks it’s all a game. He sat in our flat, and he said these exact words to me: “All fairy tales need a good old-fashioned villain.”

 

Grimm’s fairy tale # 53 is Little Snow-White.

The Evil Queen makes three attempts to kill Snow White, just like Moriarty makes three attempts to kill Sherlock (the first two being the poisoned pill and the Semtex jacket in the pool). On the last attempt, both villains bring an apple to their intended victim. The Evil Queen orders the huntsman to bring her Snow White’s heart. Moriarty also promises to burn the heart out of Sherlock. To make sure Sherlock will be shown the security tape, Moriarty writes “Get Sherlock” in mirror writing and then poses for the security cameras wearing the Queen’s crown jewels and mantle. After his acquittal, he comes to Sherlock’s home, proclaims himself “a good old-fashioned villain,” drinks from a cup with a crown on it, carves “IOU” into an apple, and tells Sherlock to learn to like riddles. Sherlock takes the apple and studies the three letters, looking intrigued. Maybe this scene is not the “arts and crafts with apples” time. Maybe what Moriarty is doing here is leaving a clue for Sherlock (just like he later sends breadcrumbs to 221B as a clue). It makes sense if you think about it – in a way, their final problem is “who in this land is the fairest of all.”   

When trying to get Sherlock to jump off the roof, Moriarty says, “I love newspapers. Fairy tales. And pretty grim/Grimm ones, too.” I bet he doesn’t count on Sherlock actually pulling a Snow White, though. This leaves me wondering if Sherlock’s Snow White stunt – dying, but coming back to life after getting rid of the bad apple (i.e., Moriarty and his network) – is a coincidence, or if Sherlock enjoys playing this Grimm’s Fairy Tales game just as much as Moriarty does.  

 

Grimm’s fairy tale # 8 is The Strange Musician (also translated as The Strange Violinist and The Wonderful Violinist in some editions). This fairy tale is about a violinist looking for a companion. The violinist’s music attracts three wild beasts. He outsmarts them, and they attempt to kill him in revenge. One of those beasts is a fox. Moriarty is wearing a fox pin on his tie when he comes over to 221B to give Sherlock the “IOU” riddle. Sherlock is the violinist, obviously.  

 

Grimm’s fairy tale #92 is The King of the Golden Mountain. It’s the story of a boy who becomes king by passing a series of trials and killing his competition (there‘s also an evil queen, a demon who solves people’s problems for a price, and a merchant who unwittingly sells his only son to that demon). Moriarty puts on the crown and sits on the throne in the Tower of London. When they meet at 221B, he takes a tea cup with a crown on it and boasts to Sherlock that “the man with the key is king.”

 

So, Moriarty gives Sherlock a book of fairy tales, tells him what fairy tales to take a look at – “IOU” – and provides him with a gazillion clues to those fairy tales. And what, pray tell, is Sherlock supposed to do with them? The Sudoku Cube from Moriarty’s video looks tempting, but if it was relevant, it would’ve been included in one of the actual episodes. We’re probably looking for something that’s right there in “The Reichenbach Fall,” something so ridiculously obvious it’s been staring us in the face the whole time. 

Moriarty leaves Grimm’s Fairy Tales at the site of the kidnapping. What else does he leave there for Sherlock to find? A message written in invisible ink. And a bottle of smelly linseed oil, just in case they don’t notice the invisible message.   

Now, Moriarty is obsessed with fairy tales. He sends Grimm’s Fairy Tales to the future crime scene and an envelope full of breadcrumbs to 221B as clues to find the brother and sister eating candy in a chocolate factory. And yet we are supposed to believe that the trail of linseed oil (so obviously, obviously, obviously representing a trail of breadcrumbs here) is not Moriarty’s doing? Come on. What are the chances that the kidnapped boy just accidentally follows the plot of Hansel and Gretel? Slim to none.

 

I think it’s also important to note that Sherlock takes Grimm’s Fairy Tales from the crime scene and keeps it with him – we see him look at it in Bart’s lab after John remembers about the breadcrumbs. Could it be that there’s a message inside Grimm’s Fairy Tales? Sherlock looks through Moriarty’s book in the kidnapped girl’s room, but he doesn’t see anything on its pages. Still, he keeps it handy. So, what if the message inside the book is written in invisible ink, just like the message on the wall in the boy’s room? (Not the linseed oil – it has too strong of a smell. But there are many non-volatile invisible inks out there.)      

Grimm’s Fairy Tales is a thick book, but Moriarty tells Sherlock what fairy tales to look at – “I.O.U.” The pages of these three fairy tales will have to be treated with something (iodine, heat, ultraviolet light, etc.) to make the message visible. The message itself can be anything – underlined text, highlighted words or letters, circled passages, or even marked illustrations (e.g., Snow White in the coffin on page 257). It can be just a message written on the margins or between the lines, but I like to think that Moriarty uses something in the actual fairy tales (because you’ve got to admit, that’s sexier).  

 

So, here’s my crazy crackpot theory: Sherlock knows Moriarty’s plans because he has solved Moriarty’s IOU riddle, but he doesn’t let Moriarty in on it. Sherlock is used to risking his life to prove he’s clever, but now that his friends’ lives are at stake, now that he actually has friends, he’s risking his life to play “ordinary Sherlock” for their sake.    

We can’t know for sure what exactly Moriarty’s message says, as Sherlock is the only one with the marked copy of the book. But let’s speculate, shall we? The most obvious guess is that Moriarty reveals he’s more than willing to end his own life if that is what it takes to ensure Sherlock’s death. That would explain why Sherlock has planned to fake his suicide on St. Bart’s rooftop despite knowing that Moriarty will be standing right next to him – he is counting on Moriarty being already dead by the time he jumps. I’d even go as far as to say Sherlock is purposefully driving Moriarty to suicide: “I don’t have to die if I’ve got you.”  

Here’s the simplest example of what Moriarty’s message could look like:  

But again, it could be anything in any of these fairy tales. There could be something in each of the three fairy tales that makes up a message when put together in the right order. Moriarty says that “every fairy tale needs a good old-fashioned villain,” so it could also be something a villain utters in each of the three fairy tales. Moriarty’s message could even give clues about “three bullets, three gunmen, three victims,” which would explain how Sherlock knows who will be targeted and that only three people will be targeted (he doesn’t name Mycroft, Molly, or Irene, for example). Each “IOU” fairy tale has something that comes in threes – three drops of blood on the snow and three birds weeping at Snow White’s coffin in the “I” fairy tale; three wild beasts who try to kill the strange violinist in the “O” fairy tale; three giants and three nights of torture (after which the hero dies only to “come to life again and be as healthy as before”) in the “U” fairy tale. For example, the three birds weeping for Snow White – an owl, a raven, and a dove – could stand for Lestrade, John (notice the black wings graffiti outside 221B), and Mrs. Hudson. But it could be anything. I’ve created several “secret messages” out of these fairy tales just to see if it can be done, and the possibilities are practically endless. It’s also lots of fun. Try it.   

 

Sherlock knows that Moriarty’s people may be watching him, so he pretends to be shocked when the consulting criminal shoots himself. I don’t think his crying is caused by any kind of narcotic or anesthetic, as it would be an extremely stupid move to take drugs right before making a precise life-or-death jump. I believe that Sherlock’s show of distress is just that: a show. After all, “the stage lost a fine actor” when Sherlock became a specialist in crime. 

When Sherlock reaches out his hand – seemingly to John – he is actually giving a signal to his and/or Mycroft’s people that he’s going to jump soon. 

The rubbish truck, the rubber ball, and the bicyclist were already explained a gazillion times by brilliant people on the Internet, so I’m not going to repeat it. We all pretty much know how he faked his death. My only problem with Sherlock’s fall sequence is that there’s barely enough time to remove whatever contraption broke his fall, let alone for a make-up artist to get out of the truck, apply fake blood to Sherlock’s face – very realistically! – and get back in the truck unseen. 

Now, watch what he’s doing with his hands. 

It looks like he’s just having a major freak-out, but we’ve already decided that this is not the case. The camera is circling around Sherlock, and we can’t get a good look at what exactly he’s doing, but he is definitely doing something to his head. We see him touch his hair and then his nose and mouth. It seems unlikely, but in the absence of any other explanation, I’m going to assume that he strategically attaches little fake blood packets behind his ears and inside his nostrils (hey, I told you it was a crackpot theory XD). When he falls from a gigantic pillow (or a mattress, or a net, or a rubber ducky) onto the pavement, the fake blood packets burst open. Notice how he’s only “bleeding” from his ears and nose (the little bit of blood on the side of his mouth could also come from his nasal cavity area). He has no visible wounds or gashes, but it still looks realistic and not like someone just poured a bucket of fake blood on his face. The blood stain on the right side of his forehead is the result of him lying on his side in the pool of blood before his body is turned over. 

I also have no doubt that Mycroft helps Sherlock fake his death. XD The original Sherlock Holmes enlists Mycroft’s help in “The Final Problem” and “The Adventure of the Empty House,” so it makes sense for this version of Sherlock to do the same. 

 

All the screencaps are from this amazing site. The close-up  of Moriarty’s fox pin is from charmmakers, which I found through wearsherlock. 

 

Holy hell.

Who has the deeper voice, Benedict Cumberbatch or Jeremy Brett.

I say the former, my younger brother the latter. I know it’s kinda subjective, but come on…help a girl prove her brother wrong?

vulcanized:thebakerstreetirregular:

Looking for something Sherlock Holmes to pass your time while waiting for the new season of Sherlock? Take a trip back to the 80s when Watson wore a fez that one time, Holmes used his trusty syringe and dismissed people’s intelligence with just as much sass as ever.

Jeremy Brett stars as Sherlock Holmes in The Adventures of Sherlock Holmes, The Sign of Four, The Return of Sherlock Holmes, The Hound of the Baskervilles, The Memoirs of Sherlock Holmes, and The Case-Book of Sherlock Holmes.

THE ADVENTURES OF SHERLOCK HOLMES

Season 1

A Scandal in Bohemia (S01x01) Youtube
The Dancing Men (S01x02) Youtube
The Naval Treaty (S01x03) Youtube
The Solitary Cyclist (S01x04) Youtube
The Crooked Man (S01x05) Youtube
The Speckled Band (S01x06) Youtube
The Blue Carbuncle (S01x07) Youtube: |1|2|3|4|

Season 2

The Copper Beeches (S02x01) Youtube
The Greek Interpreter (S02x02) Youtube
The Norwood Builder (S02x03) Yotube
The Resident Patient (S02x04) Youtube
The Red Headed League (S02x05) Youtube
The Final Problem (S02x06) Youtube

THE RETURN OF SHERLOCK HOLMES

Season 1

The Empty House (S01x01) Youtube
The Abbey Grange (S01x02) Youtube
The Musgrave Ritual (S01x03) Youtube
The Second Stain (S01x04) Youtube
The Man With the Twisted Lip (S01x05) Youtube
The Priory School (S01x06) Youtube
The Six Napoleons (S01x07) Youtube

Season 2

The Devil’s Foot (S02x01) Youtube
Silver Blaze (S02x02) Youtube
Wisteria Lodge (S02x03) Youtube
The Bruce Partington Plans (S02x04) Youtube

THE CASE-BOOK OF SHERLOCK HOLMES

Season 1

The Disappearance of Lady Frances Carafax (S01x01) Youtube
The Problem of Thor Bridge (S01x02) Youtube
Shoscombe Old Place (S01x03) Youtube
The Boscombe Valley Mystery (S01x04) Youtube
The Illustrious Client (S01x05) Youtube
The Creeping Man (S01x06) Youtube
The Master Blackmailer (S01x07) Youtube
The Last Vampire (S01x08) Youtube
The Eligible Bachelor (S01x09) Youtube

THE MEMOIRS OF SHERLOCK HOLMES

Season 1

The Three Gables (S01x01) Youtube
The Case of the Dying Detective (S01x02) Youtube
The Golden Pince-Nez (S01x03) Youtube
The Red Circle (S01x04) Youtube
The Mazarin Stone (S01x05) Youtube
The Cardboard Box (S01x06) Youtube

FILMS

The Sign of Four (chronologically after Adventures series) Youtube

The Hound of the Baskervilles (chronologically after Return series) Youtube:|1|2|3|4|5|6|7|8|9|10|

YES YES YES YES THANK YOU!!!

Not sure if I already reblogged this, but this is how I’m spending my Sunday afternoon. Because Sundays are now Sherlock Sundays. Only on the second episode, but Jeremy Brett is already amazing. So. You guys wanna get in on this?

“You can’t kill an idea, can you? Not once it’s made a home in there.”

Read More

This has nothing to do with the ending, but that bit where Sherlock’s all “he planted that idea, right in [your head]” talking to Lestrade about Moriarty…

Why has no one in the Inception fandom latched onto this like it’s a goddamn life-raft??? I know there are those of you out there, come on.

Now I want to write something where Moriarty is an extractor, or something to that effect (point man? Oooh, or a forger! He’d make a great forger!!) and he’s literally performing inception on the police force and the press. Kitty Riley! Sally Donovan! That one higher up who sucked so bad! All easily influenced by inception due to their own vendettas, and pushed into slandering and suspecting Sherlock.

Come on, guys! This shit is golden!

youspinthesunaround:

lappeldu-vide:

I want to be clear why I don’t really get angry when people say ignorant things about asexuality.

First of all, I currently identify as a homoflexibleromantic asexual. (Which just goes to show how fucking ridiculous labels can be, but that’s beside the point.) However, I didn’t know that asexuality was even a thing until I’d spent several months on tumblr and had started following one specific person, who explained it to me. It was me to a T, everything. I was already a HUGE internet geek; I was on xanga when it was big, reddit, lj, even 4chan sometimes. But I had no previous knowledge about it. And honestly, I still don’t see anything about asexuality on the web except for on tumblr and in the Sherlock LJ community, unless I go looking for it.

In the little corner of the internet that I frequent, asexuality is quite visible. But I understand that it isn’t visible everywhere. It doesn’t bother me when people are ignorant about asexuality. I see it as an opportunity to educate rather than get angry.

Seriously. To get angry at someone for being ignorant of something that is not very visible in the first place is ridiculous.

I spend so much time in my little corner of the internet (a part where everyone is super informed and full of knowledge about sexuality and gender and orientation in general) that it’s almost shocking when the outside world displays such blinding ignorance. I understand that not everybody can be so well informed, so well connected, but it still angers and saddens me.

I mean, sometimes it’s just good-natured confusion, someone bewildered by all of the labels. For example, my therapist, who has trans* clients and is an avid LGBT ally, but didn’t understand what asexuality and aromanticism were. In that instance, I was happy to educate her, show her articles and scientific evidence, and she was happy to learn. I’ve been in that position myself, asking the internet to help explain something to me.

However, when one works with a series that has a character that is “uninterested” in sex and sexuality, a character that’s so beloved by many, a character that has become over the years a sort of representative of asexuality…well honestly, what excuse can one come up with? Not to mention when you blatantly address the homoromantic undertones between said character and his questionably close partner—almost to the point where it can be said that such undertones have become explicit within the work—only to brutally shoot any interpretation of homosexuality out of the water.

Let’s just cut the crap. Moffat and Gatiss are trying to modernize Sherlock Holmes. They’re trying to bring to life a very enigmatic character, one that can be interpreted in many ways. They are taking him out of an era when homosexuality was punishable by law, an era where straight was the only “proper” sexuality, an era when an asexual man would have been looked upon as either simply disinterested…or something deviant. Holmes fans for years have been trying to sleuth out the mysteries of the main character himself, and there is a lot of text within the canon stories that can be interpreted in a myriad of ways.

To take a character like that, to declare outright that he was just a straight man that was unwilling to be sidetracked, well, it steps on a lot of toes. Especially since this version of Sherlock is taking place in an era where we have so much more knowledge about sexuality. In this version, Sherlock could look John right in the eye and tell him “I’m gay,” and John, though surprised, would be accepting. Hell, he could say that the idea of sex repelled him, and John would be fine with it. It’s all fine, remember? It’s a more accepting time, and of course people will talk, but then again, people do little else.

Remember when there was this huge fuss because JK Rowling said that Dumbledore was gay? And everyone was shocked but most people got over it? Dumbledore’s sexuality doesn’t hurt his character, or make it reprehensible. Instead, we get a little insight into his personality, and gay fans the world over can proudly say “Dumbledore’s gay, like me!”

Moffat can’t claim that he doesn’t know about Holmes fans and their interpretations, he can’t claim that he doesn’t at least know about the term asexuality. He can’t get away with being uneducated. And really, for a show determined to modernize Sherlock in every way, it practically hurts to have Sherlock’s sexuality shoved into the same compartment it would have been shoved into back in the 1800’s.

If Moffat wants to interpret Sherlock as straight, that’s his prerogative. But that doesn’t mean he can get away with his comments about asexuality and alternative sexualities. Not by a long shot.

h3rring:

makokitten:

mallamun:

-who think that Sherlock faked his death.

Take heed, because this is the only time I will push aside the fandom ethic that everyone should be given an undisturbed space for their opinion to flourish, and that everyone should feel free to post without being exposed to cruel language. I will take my scary-face out of the box this once, lose a couple dozen followers, and then never take it out again.

In short:

Fuck you and fuck off.

Sherlock did not fake his death.

He just happened to survive.

Don’t you dare invalidate this character’s magnum opus. Don’t you dare cheapen that moment when he flings himself to his death to protect his loved ones.

“Oh, he went to Molly to plan this whole thing!”

“Oh, he saw this whole thing coming, and planned out every little detail!”

No. He didn’t.

Don’t you get it? Clever, clever Sherlock, for once in his life, was completely helpless. He’s not a god. He doesn’t know everything. He’s not an unbreakable hero. He’s human. The most human human that John has ever known.

And he was defeated.

Our hero lost.

He was never even a hero, which he tried to tell us.

Not until today.

Not until he lept off that building.

That blood he spilled on the pavement? That was real. That was for John.

[…]

All right, this is a pretty inflammatory post, and I can see why you’d get a bit worked up about this, but I think Sherlock’s sacrifice is being looked at through the wrong lens.  Yes, Sherlock Holmes sacrificed something valuable to him when he fell off of the roof of Barts.  But no, it wasn’t his life.

It was his reputation, which has always meant more to him.

Sherlock’s behavior has always bordered on self-destructive.  Not suicidal (there is a difference), but everything from his old drug habits to his willingness to take the pill from the cabbie in “A Study in Pink” (and, please, when he says “Knew you’d turn up” to John that was the thinnest of excuses) demonstrates that he’s happy to risk his life for the thrill of the game.  So, Sherlock Holmes has played a living/dying game with himself before—if he jumped off the roof and survived, it would just be along the same lines, honestly.  That doesn’t add much character depth.

What does is that Sherlock can’t stand people thinking that he’s a fake.  John says it to him earlier in the episode—“You’d care if people thought you were stupid or wrong.”  And he would care, does care.  Cares so much.

Which is why that’s the angle that Moriarty goes for.  ”Kill you?  No, I will burn you.  I will burn the heart out of you.”  Sherlock’s death isn’t the important bit: it’s that he dies in disgrace.  Moriarty knows that Sherlock leaping off the roof will be taken as “the truth came out and he couldn’t handle everyone knowing about it.”  Sherlock knows that, too.  He’ll be seen as a fraud.  And he can’t stand being seen as a fraud.

And you know what?  Every single friendship he had will be ruined, too.  Everyone thinking he’s fake—he’d be cut off.  And he pushes for that, even though it hurts—it’s the only way to protect him.  With his last words, he tries to discredit himself to John.  John doesn’t buy it, of course, but that’s just how John is.

And then Sherlock falls anyway.

So, in the end, faked or un-faked, Sherlock dying wasn’t the important part.  It was the fact that he sacrificed his reputation for the sake of his friends.  He’s willing to be thought of as stupid to protect John, Mrs. Hudson, and Lestrade.  That tells you more about his growth than anything else ever could.

All of this.  Just all of this.  And given everything that happened in the episode, especially Moriarty telling Sherlock that “it’s going to start soon,” Sherlock had to know shit was going to hit the fan.  If he realized that only when Moriarty visited him, that still gave him two months to prepare for the worst-case scenario.  Plenty of time.  There’s your explanation behind why Molly says Sherlock looks so sad when he thinks John can’t see him.  Sherlock knows his time is running out.  Molly is the final component and of course she is willing to help him.  Sherlock doesn’t want to have to jump, but Moriarty forces him into it.

Personally, I think Sherlock has known he could die literally or metaphorically (or both) for a lot longer than that.  Just my gut feeling.  He does tend to play with his life, in general, and Moriarty threatened him initially at the pool.

As for how Sherlock faked his death, theories abound.  I’ve personally settled on this theory, for now, until I see something more compelling.  Sherlock did jump, he did use physics to make himself move horizontally, he landed in a truck of garbage, he rolled out and lied down on the pavement, the homeless network ran interference on John while dumping out blood, Sherlock used the rubber ball to hide his pulse, etc. etc. etc.

I’m sorry, I’m more worried by the fact that the original poster thinks Sherlock survived by luck. Throwing aside all prior knowledge that Sherlock definitely went to Molly for help, the fact that he knew for a good couple of months what was going to happen to him (and you know Sherlock of all people wouldn’t be idle over this Final Problem), and the lovely explanations that Seth and Chelsea and this wonderful fandom have been contributing…do you honestly think Moffat and Gatiss would cheapen Sherlock like that? Not the character, the show. That’s more like something out of a soap opera. “John, I am home!” “Sherlock, I saw you fall, I saw you dead!” “No John, you don’t understand! Even though I didn’t have a pulse and I looked pale as all get out and there was blood everywhere I MIRACULOUSLY SURVIVED A FALL FROM A HUGE BUILDING BASED ON SHEER LUCK AND NONE OF MY SMARTS AT ALL.” “Oh Sherlock, hold me!”

Yeah. Doesn’t make for good tv.

And, hi, yes, Sherlock knowing he was going to die and then making a plan to escape does not invalidate the fact that the man flung himself from a great height to save his friends. Something could have gone wrong. He could have actually hurt himself. Look at that face during that scene, he’s clearly afraid. And, though Seth has speculated that he lands in a truck full of garbage to soften the fall, garbage is not soft in and of itself, not by any means. Even a truck full of mattresses is going to have sharp, poky springs. In any case, a million things could have gone wrong, even with YEARS of planning, and Sherlock was willing to risk it. On top of all of that, Sherlock couldn’t just escape the fall and then let everyone know he lived, now could he? Even without the spider, there’s still a web of criminals, assassins, and just cold-blooded killers out there, chaotic in the wake of Moriarty’s absence. If he really is dead, and honestly, I wouldn’t be surprised if he isn’t. Because that’s how these things work, and like the character himself said, every story needs a good villain. But I digress—Sherlock has to leave his life behind. He has to hide, and hide well. I’ll bet he has to leave London, which is indisputably Sherlock’s city. He has to HURT John, hurt him badly, hurt him emotionally. He doesn’t know that John solved how Moriarty got Sherlock’s life story, he doesn’t know that John won’t believe his lies. All he knows is that he has to make John, a man that he knows loves and admires him, believe Sherlock is a fraud. He has to declare himself a fake and a liar to John, and he probably thinks that John will hate him, maybe even despise him utterly. Not to mention all of the people who ever liked him because of his talent, all of the people who will swallow Richard Brook’s lies. Like Chelsea said, he has to be reviled by all of London, to die in shame and disgrace, to fall in everyone’s eyes. And that hurts more than letting go and just dying. Liberty in death, remember?

I’ve turned this into one of my rants again, so sorry to all for stretching out your dash. But honestly OP, you think you can get away with calling my friends and fandom IDIOTS?

Shut up, before what you say lowers the IQ of the entire fandom.

timelordy-teganbreann:

inofthisworld:

tunaluka:

gamzeemakara:

oh-my-godtier:

consulting-douchebag:

textsfrombakerstreet:

Unaired Pilot

Youtube | Megavideo | Megaupload | Torrent | With subtitles

A Study in Pink

Megavideo | Megaupload | Torrent | With subtitles

The Blind Banker

Megavideo | Megaupload | Torrent | With subtitles

The Great Game

Megavideo | Megaupload | Torrent | With subtitles

A Scandal in Belgravia

Megavideo | Megaupload | Torrent | With subtitles

The Hounds of Baskerville

Megavideo | Megaupload | Torrent | With subtitles 

The Reichenbach Fall

Megavideo | Megaupload | Torrent | With subtitles

A Study in Pink with Commentary (Mark Gatiss, Steven Moffat, Sue Vertue)

Megaupload | Torrents

The Great Game with Commentary (Benedict Cumberbatch, Martin Freeman, Mark Gatiss)

Megavideo | Megaupload | Torrent

The Blind Banker Script

Right click and select save link as to download

The Hounds of Baskerville Transcript

A work in progress on Ariane DeVere’s livejournal

Unlocking Sherlock

Youtube | Megavideo | Megaupload | Torrent | With subtitles 

The Unofficial Soundtrack - Courtesy of johnhwatson-

Sherlock Theme | Sherlock Theme full
Sherlock Theme by the BBC Orchestra 
Sherlock Holmes’ Theme | John Watson’s Theme
221B Baker Street | The Chase
Sherlock Holmes and Doctor Watson
The Blind Banker | “I am on fire!”
Credits | Pilot Intro
Sherlock’s Composition
Irene’s Theme
(More tracks from series two will be posted as they are made available)

(The official soundtrack will be released on the 30th of January)

And a few extras

Irene’s text alert

Moriarty’s ringtone

If any of the links are broken, or if you would like others to be added, then please let me know. 

Everything I love in a single post~ <3

hOLY FUCK

oh no does this mean…i…have to waTCH IT NOW

JIOAGFK;DSGHCDUSKX;ZGFUEWK;SDGFDI;flgdsfgsuhgdhyigushnfjhure

OH GOG

THANK YOU

HFJKSAGFJDIAGFDUASUSALDHFUOFGDSAIFGDS;KFGYDSI;GFDSKLFGDYIS

;;;;;;;A;;;;;;;

—wait what am I even saying??

Anyway, just a few hours more, Sherlockians, we can do this. We can survive the Fall.

“John?” calls the Doctor urgently, only to see two heads turn around, one sandy-blonde, the other dark.

“Yes?” say two voices in unison. The much younger John giggles, while the older John twists his face into a wry smile.

“I meant Mister Watson, sorry.”

“Doctor,” corrects John automatically.

“Yeah?”

“No, I mean, not mister, doctor. Doctor Watson, Doctor.”

“Oh! Right! Sorry! Again.” The Doctor, for his part, is rather flustered, as Sherlock is passed out at his feet. John—that is to say, John the doctor—rushes over to examine his finally quiet flatmate. John the ectobiologist turns to the Doctor—the time lord one, not the army one—with curiosity in his big blue eyes.

“So, are you an alien too?” he asks, an excited grin breaking over his face like a wave. The Doctor mirrors his grin.

“Course I am. They haven’t made a human yet with two hearts, have they?”

“So, is this your spaceship?” John looks around with wonder. It’s one thing to meet an alien, but an alien with a blue box that’s bigger on the inside that can travel through time and space? Too cool. The police box on its own was interesting enough to a kid from Washington who’d never seen one.

“Yep! The SS Adventure, next destination: anywhere ever!” The Doctor spins around, his deerstalker falling off as he does so. John giggles yet again, as John—Doctor John, that is—stands up.

“Right, no concussion as far as I can tell, just a badly bruised temple. Should be coming to in a bit.” Even though his words are reassuring, John can’t keep the worry from his face as he gazes down at his silent partner.

“Really? Too bad, I was starting to like the quiet.” At the look from John the elder, the Doctor backtracks a bit. “Not that I’m not glad Sherly’s okay, but you know what they say: too many geniuses in the spaceship ruins the mood. Or rather gives me a headache.” The Doctor rubs at his forehead in annoyance.

“So why are we here, Doctor? I mean, I don’t wanna be rude or anything, but Jade and Davesprite will worry about me if I don’t tell them I left.”

“And Mrs. Hudson will probably call Scotland Yard if Sherlock and I are gone for too long.”

“Well, the reason I asked for you to come with me is simple.”

The Doctor promptly turns around and starts fiddling with the TARDIS controls.

Both Johns turn towards each other and exchange looks. Why on Earth did they agree to go with this madman?

John the doctor speaks up. “What reason was that then?”

“Oh! Almost forgot!” The Doctor spins around to face them again, his hair whipping around his face. “You two, well, three, once Sherly comes to, are on a mission.”

“What kind of a mission?” asks John the younger.

“You’ll both be sent back to the exact moment you left once the mission is over, and if you want to leave all you have to do is say the word. But I know you won’t.”

“What is it, Doctor? What is it you want us to do?” John (Watson)’s eyebrows scrunch together, and his forehead becomes a sea of wrinkles.

The Doctor smiles calmly at the both of them, looking so eager and worried and ready to help like they do, and lowers his voice dramatically.

“There’s an angel in trouble, and it’s up to us to save him.”

consulting-timelord:

I literally started crying last night because of this. Over a fictional character. Actually, I’m always crying over fictional characters, so this isn’t news, but never over Sherlock. I mean, we know he survives, he HAS to, it’s part of the original canon. But I just can’t help thinking…what is this going to do to both of them? I worry most about John, left in the dark, not knowing what really happened, thinking his friend is truly dead…but what about Sherlock? Sherlock will have to leave John, will have to hide and pretend to be dead. He’s going to leave his only friend behind to live alone. John at least has others to lean on…Sherlock’s going to be all alone, wanting to go back to John, but knowing he can’t. And then what about Mrs. Hudson? Molly? Lestrade? These people Sherlock relies on and has actually grown close to are going to be hurt as well. Molly I can picture taking it very hard, since she’s still in love with Sherlock, despite what he says to her. Of course, John’s reaction will be the worst, because he won’t cry in front of everyone else, he’ll act strong and do what he has to and try to carry on as best he can. But John will probably be devastated inside, and lord knows what new sort of nightmares he’ll have.

All and all, I’m terrified to see what Moffat and Gatiss do to my babbies, and I’m already half in grieving mode.

Roses are red

Violets are blue

Fuck you I won a BAFTA

the-batmans:

“Tell me where they are! Please!”

Can I just say something? One thing I particularly liked about Hound was that it showed Sherlock using “please” again, something he used at the end of Scandal. At the end of Scandal one gets the feeling that Sherlock hardly ever uses the word please, especially not around John, who he usually just orders around. We can tell from John’s expression, plus his giving in to Sherlock’s request, that this is out of character for Sherlock. John giving the phone over could mean at least three things: one, he’s rewarding Sherlock for his use of manners (somewhat unlikely, but possible); two, he’s recognizing that this is something important to Sherlock, important enough to resort to him begging (ironic echo, anyone?); and three, John himself is helpless against Sherlock actually asking him for something in such a plaintive manner.

Sherlock, having used please and gotten what he wanted, will obviously have noticed this. He now knows that using manners against John will get him what he wants when he’s exhausted all other options. So, when he’s desperate, he breaks out the please again. We still get the sense that it’s difficult for him to say, so perhaps he uses it sparingly, but he’s used it enough that John has built up a bit of resistance to its use. So when Sherlock uses it to ask for his cigarettes back, John can actually tell him no, and turn back to his paper.

…yes I just analyzed Sherlock’s use of one little word, what of it?