#sherlock's arc

[pikinanouart]

Twillight: Master Negociator, Dad of the year, also Hubby of the year.

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Spoilers for chap 94 below:

[noodles-and-tea]

Such a silly question but, I got into Sherlock recently and found your art through it and I need to know your opinions on the show’s adaptation of Moriarty. I hate him so much but like, he’s also lowkey fruity and I’m here for it lol

He’s silly idk. I like Andrew Scott and his dance he does makes me giggle.

[loosethreadsofyoursoul]

while i will always love and appreciate the bisexual dean winchester agenda, i truly believe that if he was raised differently—or maybe if he grew up today instead—that boy would have been gay. like his love for women in a romantic/sexual context was always such a caricature and was continuously used as a symbol of masculinity that played against the roles assigned to him by his father growing up for the sake of suppressing any queerness he might exhibit. now whether that suppression was purposely written into his character or was a reaction to the character they had created, i’m not sure, but it’s there regardless.

i don’t mean to dismiss the love he felt for cassie or lisa, but particularly with lisa, i’m not sure he was ever in love with her, despite the fact that he did care for both her and ben. i get so frustrated watching the end of s5 because him going to her house and his perfect “apple pie life” being with her in suburbia genuinely came out of nowhere and i’ve never understood a) why it had to happen, and b) why it had to be lisa. but thinking about it in this sense, she was the closest thing he had in his life to everything he was raised to believe he should want by one john winchester, who lost his perfect wife, perfect family, perfect apple pie life and sent all of them down this path in the first place. so of course to dean, his happy ending would be with someone like lisa. but that’s the important part. someone like lisa, not lisa herself. he may have had love for her and he may have been able to picture a life with her, but it wasn’t necessarily because she was everything he wanted; she was a symbol of the things that tore his family apart and so to be with her felt like he was finally able to put some of it back together. and that makes me so sad for him because all of that is a result of the sense of responsibility ingrained in him growing up by john, not something he wanted for himself.

but back to his general attitude towards women, there was an excellent post that said he only acts like the typical womanizer he has a reputation for being around women deemed “stereotypical” by the misogynistic perspective. otherwise, he tends to take on a fairly brotherly role; he doesn’t tend to pursue any women he can “take seriously,” and is more intimidated or impressed by them than anything else. with the exception of cassie (which was pre-series and we never got full context for in the first place), he only ever pursued women with whom he would have a definitive ending—by that i mean women who he knows he’ll never see again or who would have a clearly defined role during the time they’re together that wouldn’t threaten the status quo. and yes these could also be the traits of a commitment-phobe or someone chronically on the move, but for one, sam doesn’t tend to do the same thing (see ruby, amelia, and eileen), and for two, given the things i mentioned already, it makes me consider it more of a result of him not actually being interested in women romantically.

his reaction to women when not purposely used as the butt of a joke or to perpetuate the “womanizer dean winchester” agenda is often so innately fraternal, caring in a way that doesn’t have any expectations behind it. and when there is a romantic context, so much of the relationship can be attributed to the way john raised him and the beliefs he has as a direct result; it’s never simply been built on the foundation of love.

every time he is dismissed as this macho het guy, it also dismisses so much of what makes him a wonderful character, and yes a lot of that is his queerness. so in a world where he didn’t grow up with roles and responsibilities that shaped him into someone he knew his dad hated and forced him to create this character for himself in order to survive? i think he would have been gay and he would have been okay with that.

[magician-under-the-m00nlight]

aptx!kaito au in which Shinichi doesn't know aptx exists and feels insane that his leading theory is "a six year old is the mastermind behind Kaitou Kid"

[princessbutler1316]

I'm starting to think it's better we get a DNA test...

Really...

(btw I HATE crossover fanfiction BUT I'M temped to make one with them)

[ikarani]

Some quick yeehaw sherliam

[gladosluver]

grandma beaky is missing

dr3 character sprite cred

[superiorsturgeon]

Focus

Pyrrha: *preparing for a big 1v1 match*

Pyrrha’s opponent: *glaring and flexing* 😠

????: Go get ‘im, babe! We believe in you!

Pyrrha/Opponent: *look up in the stands*

Jaune: *waving an “Invincible Girl” flag in one hand while holding up Arkos baby with his other arm* 😘

Arkos kid: *waving at his mother* 👋😀

Pyrrha: Oh, look! My husband and son came to watch! 😊

Opponent: That dweeb is your husband? Pathetic. The kid’s not too cute, either.

Pyrrha:

Pyrrha: …this mustn’t register on an emotional level.

Pyrrha: First, distract target. Then, block his blind jab.

Pyrrha: Counter with cross to left cheek. Discombobulate.

Pyrrha: Dazed, he’ll attempt a wild haymaker. Elbow block, and body shot.

Pyrrha: Block feral left. Weaken right jaw, now fracture.

Pyrrha: Break cracked ribs. Traumatize solar plexus.

Pyrrha: Dislocate jaw entirely. Heel kick to diaphragm.

Pyrrha: In summary, ears ringing, jaw fractured, three ribs cracked, four broken, diaphragm hemorrhaging. Physical recovery: six weeks. Full psychological recovery: six months.

Pyrrha: Capacity to be rude to my wonderful husband and baby: neutralized!

Pyrrha: *zones back in and turns to her opponent*

Opponent: Hey, you in there Invincible Girl? It’s time to get ready for-*interrupted by savage beating*

[merobunns]

the america arc experience

[affectionatecorpse]

Okay fine I'll write the post that's been on my mind for days now.

Okay so I talk a lot about how Sherlock and Watson's story arc follows the EXACT same beats as the literal most romantic couple known to mankind. Or- at least the gnome versions. But it counts. Point is, the fact their story is in exact parallel to the greatest love story ever told (in most people's opinion) is gay as hell and I'm so very happy for them.

However. Sherlock is in direct parallel to another character. Outside of Watson, he also follows very similar story beats to Moriarty. Namely in how they're both so, so desperate for attention from the people around them.

Moriarty's thirst for attention comes from solitude. He's lonely by design as a truck decoration and he absolutely needs attention to thrive. He'll do absolutely anything to steal the spotlight and have all eyes on him, from petty little pranks to actual murder. Whatever works at the time. I also wonder if it comes from who he actually IS. Sherlock Holmes is a real thing in this universe, and thus, so is James Moriarty. A common criticism in real life is the appearance and personality of OUR Moriarty, and I do wonder if Moriarty knows that. Does he act the way he does because that's just who he is, or is he purposely taking inspiration from who he was named after? I actually REALLY don't think so. His personality comes very naturally to him, and I don't think he's copying it from media.

Unlike, however, our dear Sherlock.

Sherlock's need for attention doesn't come from solitude. It comes from pressure. He knows for a fact who he's based on. He knows how great a detective he has to be. And he knows how difficult that is in a world where he can be destroyed by a single wrong move, a world where he can't let anyone see him. His intellect comes very naturally to him, in turn, but it doesn't stop him from being ignorant. Everything he does is for the attention of others. He wants to be a hero. He wants to live up to his name. He wants praise and recognition.

Even in the art book, when talking about Moriarty, he doesn't even mention the fact Moriarty is a serial killer. That doesn't even seem to be what bothers him. What bugs him most is how Moriarty is equally as clever as him. He can't STAND how they're on the exact same level of intellect.

While Moriarty finds genuine love in what he does, Sherlock does it to prove a point. Hypothetically, ceramic ornaments are at the bottom of this 'food chain'. They're the weakest, and most underestimated ornaments. Considering that, and the fact Sherlock is supposed to be this grand main hero, I'm not surprised he feels so pressured to constantly impress everyone around him, to the point where he forgets other people exist too. He has main character syndrome, blatantly, because he IS technically the main character of a story. But he fails to realise being a main character doesn't mean being perfect.

There's so many points where he's obviously looking for a reaction and is mad when he doesn't get the one he wants. When he's first investigating the empty garden, for example. He seems kinda peeved when Watson isn't impressed by his deduction. Or in the sewer, when he neglects to acknowledge the fact he slipped and had to be saved, not even thanking Watson or the other two for helping get them to safety. It's like he's mad he wasn't the one who got them out of it. Also, in the art gallery, when he just forces himself to continue with the case instead of acknowledging Watson's death, only to immediately break and allow his emotions to flow the second Juliet leaves, as though he didn't want her to see him, this great detective, show genuine remorse and grief over what just happened thanks to HIS case.

He shows blatant expectation for awe in the park, after escaping Toby the dog. The way he just suddenly starts to demonstrate to Juliet what to do, then the dramatic way he says "Very well. If he wants to dance, then dance we shall!". You can actually SEE him look to Juliet for her reaction to that dramatic little act, and he looks genuinely wounded when she doesn't care. And final example, because otherwise this'll go on forever, but when Juliet was allowed back into the dollhouse, and he wasn't. He looks like a wounded puppy, the way he just goes "... oh..." and looks around awkwardly, like he's not sure what to do or what to think about the fact she got in, and he didn't. This is immediately acknowledged by Juliet herself telling Irene how little she cares about Sherlock or what he thinks, because while he wants to be the hero everyone looks up to, she sees behind the scenes. Much like Watson, she's not impressed, because she can see he's not some immortal champion, he's a pathetic, anxious mess of an attention whore.

Much like his own arch nemesis.

It's not until Sherlock is finally knocked off his pedestal that he realises the far bigger picture. His negligence caused Watson to rebel against him, and beat him. Watson expresses in great detail how NO, he's NOT the main character, and he WON'T win every battle. He's not better than everyone else and he never will be. He will make mistakes, but time will carry on. Instead of trying so hard to be a perfectionist, he should actually try caring more about the case itself, not the end result where he gets rewarded, as well as caring about the people around him, who don't see him as the famous king of detectives, but for who HE really is; a desperate man who never stops seeking approval.

And this defeat rattles him. He doesn't know what else to do. So he just stands there. Silently. Awkwardly. Because the real Sherlock would never let himself be so easily fooled by WATSON of all people. With no script to follow, what will he do?

It also makes me wonder if Watson himself wasn't even brought aboard because Sherlock liked him as a person, but because he's Watson. Sherlock needs to be a detective, and he needs his assistant. Who better than Watson? But Watson's rebellion finally snaps him back into the reality that he's not a prop, he's his own separate person who won't follow the script Sherlock made for him, and that Sherlock messed up by expecting as such. It's not until Sherlock acknowledges Watson as a separate person with real emotions that Watson gives Sherlock the affection he so desperately craves. Because respect is a two way street. Which is why Watson looks so genuinely stunned and flattered when Sherlock tells HIM to save the gnomes. He's prioritising their safety over his reputation as the hero.

You can even see this reflection in Sherlock's final battle with Moriarty. Moriarty KNOWS Sherlock. He knows how desperate he is to win. How he needs to be that knight in shining armour. Which is why he teases him, saying he doesn't matter, that Moriarty has plenty of people who want him as an arch nemesis. Of course, this directly parallels my other theory that Moriarty is terrified of death and being forgotten or replaced. It feels like projection. But he's right. Sherlock and him have the same fear, and that's why Sherlock is says "you know, you're very needy for a villain..." so hesitantly, instead of spitting it like a venomous insult. Because it's more of an observation, and a reflection on how he himself acted exactly like this.

And in the end, Sherlock finally did something selfless. Something he wouldn't get praise for. He was willing to give his LIFE for Watson, and he can't be praised if he ceases to exist. Instead, Watson would get that attention and pity. He could've easily taken Moriarty down after Watson fell, and gotten praise and sympathy just like earlier. But he's past that point now. He no longer cares about the attention, he instead prioritises Watson as a person and his friend, risking his own life just to save him. That is the difference between him and Moriarty. Sherlock learns to see gnomes as people. While Moriarty just sees them as an accessory to his game. Something to break when he's bored. And that's why he has no one to accompany him or save him when he falls.

In the last scene, we finally see the extent of Sherlock's arc. Where before he would take very visible offence to any slight bit of criticism, when Irene insults him, he just chuckles, and admits that yeah, he deserves that. He doesn't try defending himself or trying to win her affection, he just accepts that she doesn't like him, and probably won't ever again. And the way he asks for Watson's input on the relationship between Gnomeo and Juliet, instead of just stating his thoughts, shows he's actively trying to partake in conversation. It even shows visually, the way he needs to physically lean on Watson now, but even then, still offered to let him go first, which just shows how far he's come.

Sherlock has such a genuinely nice character arc. I see a ton of people criticising the film because he's a jerk, but that's kinda the point. It's a story about people in the purest way. A story about respect and empathy towards others, and how you shouldn't put others down to push yourself up to the top, because otherwise, you'll fall back down twice as hard when they disappear. We need more characters like this in media. Characters who are genuinely in the wrong, but their wrongs are acknowledged and criticized until they're forced to change for the better. It adds depth to their personality and makes it that much more satisfying to watch them grow, as opposed to watching someone who can do no wrong.

[jils-things]

HAPPY MEMORY DAY . STEVEN'S ANNIVERSARY SUIT CAME HOME WHAT FUN TIMING

[catteries]

I think it'd be remiss if I do not highlight the fact that, being both an ACD canon and Granada adaptation enjoyer, and also a member of one of the British Empire's ex-colonies, that I'd like to be in a comfortable enough headspace to share a perspective on this text site on how a Straits Settlement person views the works.

There's enough references to the Crown Colonies to make it interesting for me, so I just need to sit down and type it out, I guess? Just off the top of my head:

- The Penang lawyer cane reference

- The Haj pilgrims boat that departed from Singapore (presumably from Kampong Bugis)

- Lascars and Malays being explicitly referenced as part of certain subset and communities

- References to opium, which the Straits Settlements were one of the largest port of call for the Empire's supply

- Anything Sumatra region, given proximity

There's also a lot to be said about Granada's The Last Vampyre episode, which is such a profound piece of work about the othering of 'different' people by society, as well as the criticism and calling out of the quintissential brand of British racism that remained in ex-Straits Settlements' mentality today and how the general British public still practices it, that more expert people that is Not Me should talk about it.

But then again, how many would be able to reflect on this from a Malay peninsular residents' perspective?

[i-3at-s0ap]

Someone has GOT to take my printer privileges away

[sickficideas]

NYC sherliam recovery headcanons :) manga spoilers below!

- poor William is sick all the time. his body has gotten so much weaker after the coma that he can't fight off much of anything and Sherlock extra careful to not bring anything home to him

- quiet "i don't feel well, sherly" with red cheeks and glassy eyes when he's really struggling and feeling awful and weak and wants someone to help him 💔 it breaks Sherlock's heart

- Sherlock has to keep windows open when he cooks because William gets very easily nauseous with smells that he's no longer used to. the smell of meat cooking makes him feel miserable

- in general his stomach is super sensitive now and he can't handle too much food...in the beginning Sherlock insisted he try to eat more to gain some weight back, and William didn't want to tell him he couldn't eat too much it because he didn't want Sherlock to worry...cue a few sporadic nights of Sherlock waking up to hearing William throwing up in the bathroom because his stomach couldn't handle dinner, Sherlock realizing the pattern after a few times of it happening 💔

- Sherlock staying with him in the bathroom and rubbing his back and trying to convince him to go back to bed so he can be more comfortable 💔

- Sherlock learning how to make tea for him too, ginger tea when his stomach is bothering him...William crying the first time he does it, Sherlock thinking it's because he's horrible at it, but it's because it reminds him of Louis and he misses his brothers💔💔

- the fainting spells have gotten worse and Sherlock is always secretly terrified that he's slipped back into a coma, especially after witnessing the first time it happened 💔 he definitely cried when William finally woke up and William was like ????

- Losing vision in one eye has destroyed his depth perception and he struggles getting used to it. Stairs take him quite a long time to figure out but he's embarassed by it and doesn't let Sherlock help him. He gets bad headaches when he focuses too long or pushes through it 💔

- William is dizzy all the time and clings to Sherlock's arm to steady himself most of the time

- Sherlock dealing with chronic pain from the arm/shoulder he injured and not having the heart to tell William it hurts when he holds on too long 💔 one day when they're laying together and William is laying over his arm and a shift makes Sherlock wince...William suddenly "did I hurt you? what's wrong?", Sherlock insisting it's nothing but William quickly figures it out. "you're still in pain there, aren't you?"

- William playing with Sherlock's hair while he's sleeping 😭😭😭

[47gaslamps]

Absolutely deathless conclusion.

[brilliantorinsane]

14.00: Holme’s tiny nod when Watson goes to comfort the bereaved and falsely accused widow. They’re not in frame together, so when Watson kneels next to her the shot has deliberately cut away to show Lestrade’s skeptical expression and Holmes’ grave nod, before returning to Watson offering comfort. You have to assume that at this stage Holmes is assessing Watson as a potential work partner, and the shot highlights Holmes taking note of Watson’s first instinct being care and compassion. It also contrasts Holmes' and Watson's empathy to the way Lestrade seems to relish wielding power over the woman.