XistentialAngst's Blog, page 213
August 31, 2015
silentauroriamthereal:
loudest-subtext-in-television:
just-sort...
loudest-subtext-in-television:
One of the ways that Sherlock deduces that David still has romantic feelings for Mary is that in all his Facebook pictures of John and Mary, John is, ‘always partly or entirely excluded’. This shows that he wants John, ‘out of the picture’, so to speak.
Then we see director Colm McCarthy’s approach to framing his shots during the best man speech. During Sherlock’s speech, Mary is, ‘always partly or entirely excluded’, in any shot that also includes Sherlock. Janine, a character we’ve only just met, and of much less importance to the proceedings, seems to have plenty of room to fit in shots that exclude Mary.
If excluding half of a couple is a sign that someone wants them to not be a couple, then, here, the show is explicitly telling us that John and Mary are not the right couple. The compositions escalate from merely cutting Mary out to having Sherlock actually physically block her from the audience’s view. We are meant to not see John in relation to Mary but Sherlock. It’s always Sherlock.
(Thank you to obliquely-related for their comment that reminded me to write about this.)
i love this more than anything
Ooo, nice catch!
Yup.
August 29, 2015
silentauroriamthereal:
stitchedopen:
constancecream:
[x]
...
[x]
[x]
[x]
[x]
[x]
[x]
[x]
[x]
[x]
[x]
[x]
[x]
The company you keep…
silentauroriamthereal just gonna leave this here….
Holy crap, what is all this? Who the hell is Tim Roberts? Security guard is something??
So she shows her support for someone who called the fans neo Nazis and said they should all commit mass suicide? Nice. Oh, Amanda. Where would your family’s finances be without the Mr’s fans? You sure know how to put your foot in it.
August 24, 2015
anotherwellkeptsecret:
esterbrook:
ivyblossom:
cupidford:
(x)...
(x)
Well, yes.
Oooh, does this mean she’s starting to get info on S4?
Her following tweet seems to confirm that. Or something like it. One can hope!
(x)
Yes, it sure sounds like she’s hearing story stuff and Mary is even more of a fucking psychopath in S4? Cool! The nastier she is, the better it will be when she goes down.
XA
thexth:
i can’t believe amanda abbington just made mary stans irrelevant and illegal
I know about...
i can’t believe amanda abbington just made mary stans irrelevant and illegal
I know about the AA tweet, but can someone tell me what “Mary stans” means?
Obviously, I’m slipping up in my old age.
XA
August 23, 2015
mathildalocks:
mathildalocks:
The Wilde Connections Part 3 -...
The Wilde Connections Part 3 - Each Man Kills the Thing He Loves
This is a post about the connection between Wilde’s cellmate Wooldridge and Sherlock’s Two Clients
After the prosecution, Wilde went to Pentonville and then to Reading prison for two years of hard labour. In Reading, his name was C.3.3, they didn’t use real names. ( C Block, third floor, third cell - basically the sign of three and later he published the ballad which I quoted from above, under the pen name C.3.3)
When he was C.3.3, he met another prisoner sentenced to death for killing his wife, Charles Thomas Wooldridge. Wooldridge, was a trooper in the Royal Horse Guards. He was 30 years old and was the first hanging in the prison for the past 18 years.
His brief acquaintance with Wooldridge deeply affected Wilde, who ended up writing the famous ballad of Reading Gaol under the pen name C.3.3. Some think, he subtextually included himself in the verses as well, I would say possibly under the flattering word or the kiss knowing his letters to A. Douglas.
famous excerpt
“Yet each man kills the thing he loves
By each let this be heard.
Some do it with a bitter look,
Some with a flattering word.
The coward does it with a kiss,
The brave man with a sword!” Wilde
Source (Again, I don’t know if there is another meta on this connection, since the fandom is basically a universe, but for those who saw the connections now, like myself, enjoy!)
twocandles thank you for reminding that Magnussen in the deleted scene, mentioned that prisoners of C block in Pentonville sent Sherlock flowers. I completely forgot that, that’s a brilliant addition. Sherlock really is partially Wilde for Moftisson and I am looking forward to the special to see what else will be buried there. There are endless references that one picks up when they get into Wilde and his life. The buttonhole, the love that dare not speak its name, the prison days, john sholto douglas….
August 17, 2015
anotherwellkeptsecret:
thealogie:
WHAT THE FUCKENING
WHAT IS...
WHAT THE FUCKENING
WHAT IS THIS MADNESS?
Too funny. Oh, BBC Three!
August 14, 2015
mathildalocks:
just-sort-of-happened:
elizabeth-twist:
just-so...
We see John’s empty chair, out of focus. It has a union jack pillow symbolic of the UK on it. It is a chair with status in their home, it is the heart chair, it is red and rounded and the man Sherlock shares his life with sits there. As Moriarty will say in TRF, ‘the man with the key is king’. In ASiB, after John askes Mrs Hudson if Sherlock’s ever had a boyfriend, girlfriend, he decides that he doesn’t know and throws his keys up in the air. He is the man with the keys. John is king. He is the King of Sherlock’s heart. To really drive this home we have Sherlock’s phone (symbolic of his heart) first in focus in the foreground and secondly pointing at John’s chair and later at John, himself.
Then there is Moriarty trying to get to a precious chair and a crown. This is a King’s red chair and a King’s crown, his septre, representing John’s erection is also there.
Before breaking the glass, Moriarty writes, ‘Get Sherlock’, on it. He, very meaningfully, adds a happy face to the, ‘o’, in, ‘Sherlock’. This is the cypher Sherlock put on the wall of their flat after spending a night rejected, jealous, waiting for John to come home from Sarah’s. Moriarty is going to, ‘get Sherlock’, and he’s going to destroy the happy face (symbol of his love for John) in the process.
But, how? It’s not possible to break through this tempered glass and dethrone John. Except with a diamond. A round cut diamond just like the ones on the ring that he will propose to Mary with. In the background, the bokeh is not circular but hexagonal. On the show, I believe, that circles represent feelings and here because the diamond may not represent true feelings, the bokeh is not circular but a different shape.
Moriarty will take something precious, something that should be a symbol of love and stick it to the glass with something common and covered in saliva, something that he’s been chewing: a piece of gum. Could the love represented by this diamond be real when it’s embedded in such a crass substance, something that might stick to the bottom of one’s shoe causing an incredible upset? No. The gum debases the ring’s beauty. This contrast may be showing us that Mary’s role in John’s life is not real.
Notice Moriarty’s extremely pronounced grimance/fake smile as he places the diamond in the gum. To me, this signifies false niceness, falsehood, this is Moriarty inserting Mary into John’s life. This is symbolic of her, with a friendly, smiling façade.
This is the only way that Moriarty can, ‘get Sherlock’, with this diamond. In order to truly get between John and Sherlock he must put Mary in their way. Notice that he literally, ‘waltzes’, up to break the glass. This is more foreshadowing that the wedding is Moriarty’s plan to take John away from Sherlock. The waltz occurs right before the glass breaks, in TSoT, the waltz occurs right before Sherlock realises he has lost John on the dance floor.
Once Mary has married John, he has successfully taken John off his chair at Baker St: it literally disappears from the flat after he marries her. After that Moriarty can sit in it. This is the total metaphor for Moriarty as romantic false lead, trying to usurp the place of the romantic lead. It’s only after Sherlock has removed the chair (even though he returns it) that Moriarty comes back. This symbolism is like a beacon to Moriarty. It’s as if somewhere out there Moriarty just knows that his plan to dethrone John has fully worked. In fact, by the end of HLV, as the chair returns, the plan is starting to fail: Sherlock is realising who was really, ‘the king’, of his heart and he must begin to fight for his love, not just for John’s survival.
Back in TRF John will get a call on Sherlock’s phone (heart) and bring it to him. They will both go and watch the video of Moriarty breaking the glass, again. But, this time the POV is different: it includes an unconscious security guard. In TGG, Sherlock dons the disguise of security guard to break into the gallery and talk to Ms Wenceslas. This security guard could be representative of Sherlock, unconscious, not there. While Sherlock is not watching, aka away being, ‘dead’, Moriarty will set up a situation where Mary can come between John and Sherlock.
After watching this scene together, John and Sherlock will then dress for court, putting the finishing touches on their suits together in their living room. We will see them share a meaningful look while looking in the mirror. This image of them inside this piece of glass with the happy face behind them represents their bond: their love on a piece of glass that will soon be broken by Moriarty.
This is such a beautiful reading. In your last still shot John appears to hold a sceptre in his hand–the lamp in the background aligning with the hand clutching his jacket. Or, because it’s circular / spherical in shape, the lamp could represent what Moriarty is missing in his “crowning”: the ampulla or sovereign’s orb that represents the king’s status as “defender of the faith.”
Nice! love this! ^
Great reading! And such a pity, that their domestic bliss was shattered at a time when John was so comfortable in his bath robe, parading around fresh showered.
Very subtle and interesting interpretation. Reblogging to save!
August 12, 2015
bakerstreetbabes:
aconsultingdetective:
aconsultingdetective:
L...
Legit Johnlock Scenes
The Purple Shirt does things to John… and Sherlock knows.
This is pretty much just canon.
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