Legit Johnlock Scenes

First date.

(via littlemisshamish)


So, i’m in London rn, and my friends and I decided to watch Richard III in Trafalgar studios tonight. Martin Freeman was awesome and everything, but it turned out, Benedict Cumberbatch, and Andrew Scott were sitting just in front of us.. And then, i also got to see the lovely Louise Brealey, and Amanda Abbington. They’re all sooo lovely and nice and sexy i can’t believe it. I think i’m even more in love with Benedict Cumerbatch now, if that’s even possible. I believe i can die in peace now. )’:

(via johnlockedness)

(via this-isnotawkward)


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Visit for the sources and new articles.

(via this-isnotawkward)

(via this-isnotawkward)




you know what i noticed?

sherlock is *less* rude to his father than he is to his mother.

when mummy displayed the slightest bit of affection for sherlock (in the form of a caress to the cheek) he immediately sought to remove himself from the interaction, as opposed to when his father displayed affection through his concern for Sherlock’s friends, sherlock simply acknowledges daddy’s sentiment without so much as a second thought.

this observation leads me to believe that sherlock may have spent more time around his father as opposed to his mother, alluding to how he ought to interact with the world given that his father seems to lack social skills as well.

just a thought

it could also lend to the fact that, when his mother was giving affection, it was to him, both times that we see her do it — the one time at 221B and the second time when she threatens to become “absolutely monstrous” towards whomever shot him. But when it’s Sherlock’s father, he’s giving concern to Sherlock’s friends, to John and to Mary, to people that he connects with and relates to. He cares about them, and so anyone who reflects that care towards them, he will accept the sentiment because he feels it too

Now I’m just imagining the Holmeses as young parents:

Mummy - genius, but not very good with kids, so she reads tons of parenting books because she really wants to do a good job (no matter how often Daddy Holmes tells her she’ll do just fine), and the books say that if a child isn’t shown affection by their mother, it gives them all sort of complexes, so she makes a deliberate effort to be affectionate to her children every day…even though she’s a bit rubbish at it, she keeps trying because she believes it’s important.

Whereas, Daddy Holmes simply notices that Sherlock doesn’t like physical affection (witness his cringe when Angelo grabs and hugs him in the restaurant), so he shows his love by verbal compliments instead. (“Well done, Sherlock.” “How extraordinary. Did you do that all by yourself?”)

What I think is even more interesting is how this plays itself out when Sherlock grows up. I reckon Sherlock is much more like his mum temperamentally, which we can see in his awkwardness when Archie and Anderson hug him: “OMG physical contact is expected of me in this situation I have to do something there I patted them that counts right?”

Whereas John, upon hearing Sherlock’s deducing skills for the very first time, responds with a verbal compliment, exactly like Daddy Holmes: “that’s extraordinary.” And Sherlock lights up like a candle.

(Source: ohgodbenny, via littlemisshamish)


New Dunlop ad with another alternative ending - [x] 

"Why does the teddy always have to come?"

(via cumberbuddy)




Source for more facts follow NowYouKno






Source for more facts follow NowYouKno




But I mean like what if the cast wasn’t reduced to sad tears. What if they were reduced to like happy laughing tears because they were told TJLC is real and they all imagined Ben and Martin kissing and they just couldn’t suppress their laughter because we all know, no matter how serious the kiss, it’d probably be the goofiest day on set because Martin would be winking at Ben from a distance and Ben would be making smooching noises in Martin’s ear.

(via johnstached)

The Case Against John and Mary



So once again, my Long Meta is unfinished and I’m itching to publish something. It’s been bothering me that a considerable portion of the ‘romantic’ chapter of my meta has been devoted to yammering on incredulously about the way John and Mary’s relationship was written, so perhaps it makes sense to pull that out and post it separately, anyway. After, y’know, completely re-writing. Without further ado, here is my opinion on John and Mary’s romance in the show.

It doesn’t exist.

Now, this might seem harsh, so let me word it another way: John and Mary have precisely enough romance for the viewer to assume, upon introduction, that she is meant to be John’s long-term romantic partner, but that the writers don’t care about romance (it’s a detective show! they think) and therefore didn’t bother with it beyond the bare essentials. The problem with this point-of-view, even ignoring the events of His Last Vow, is that the writers have beenvery much interested in writing John and Sherlock as a romance. A score sheet of romantic tropes should help illuminate this. Clarification: for unidirectional tropes (e.g. jealousy, rescue) the possible score is one per person for a total of 2. For bidirectional tropes (requiring both partners’ active involvement, e.g. meeting, kissing) the total possible is 1.

Romantic Trope Score Sheet

The ‘meet cute’ is almost obligatory to romance, and certainly helps the audience latch on to their relationship quickly. It’s that scene where the characters meet for the first time and we get to see how much chemistry they have from the very first moment. 

❤︎  John and Mary: 0        John and Sherlock: 1    

Domestic scenes always help reinforce romantic relationships, as they allow us to see how comfortable the characters are with each other even when tripping over each other’s socks. Personally I believe that John and Sherlock’s home life — and bickering — were more comfortable than John and Mary’s, but I’m going for relative objectivity here, so:

❤︎  John and Mary: 1        John and Sherlock: 1

I’ll go ahead and give John and Mary a freebie: kissing!

❤︎  John and Mary: 1        John and Sherlock: 0

Dancing is always romantic. Especially ballroom dancing.

❤︎  John and Mary: 1        John and Sherlock: 1/2 for being explicitly mentioned but not seen.

Shared interests! What do our happy couple do or talk about outside of work and/or Sherlock? No, seriously. What do John and Mary have in common besides the clinic and drinking? We don’t know. Meanwhile, we have references to and entire montages of John and Sherlock pestering each other about their blogs, eating together, reading together, playing board games together and generally just being happy around each other.

❤︎  John and Mary: 0        John and Sherlock: 1    

The dragon slayer and the damsel in distress. Rescue is very romantic. 

❤︎  John and Mary: 1/2        John and Sherlock: 2  Mary gets half credit for her involvement in the bonfire rescue, but that’s being generous.

The marriage proposal!

❤︎  John and Mary: 1        John and Sherlock: 0 if we’re being conservative, but the best man scene is very suggestive.

Exchange of vows. Almost obligatory for a wedding episode. 

❤︎  John and Mary: 0        John and Sherlock: 1  Wait, what?

Jealousy. Clearly not a healthy thing to act on in a real relationship, but a popular romantic trope nonetheless, as it allows romantic interest to be expressed implicitly in the narrative.

❤︎  John and Mary: 0        John and Sherlock: Hahahaha 2

Finishing each other’s sentences. A good sign of intellectual intimacy.

❤︎  John and Mary: 0        John and Sherlock: 1

Declarations of love in each other’s presence (and on screen), i.e. not described to another person.

❤︎  John and Mary: 0        John and Sherlock: 2

Descriptions of each other’s good qualities (not just their vague positive roles).

❤︎  John and Mary: 0        John and Sherlock: 2

Shared understandings (e.g. John helping control Sherlock’s addictions, John helping Sherlock socially). Again, a sign of emotional/intellectual intimacy.

❤︎  John and Mary: 0        John and Sherlock: 1

Playing music for / singing for each other.

❤︎  John and Mary: 0        John and Sherlock: 1 

Meeting the family.

❤︎  John and Mary: 0        John and Sherlock: 1 Harry didn’t even make it to the wedding!

Overcoming impossible odds (e.g. death) to save the other. This is incredibly romantic as a trope, but these scores are unweighted, so…

❤︎  John and Mary: 0        John and Sherlock: 1

This is by no means an exhaustive list, but I’ve always felt it was unsportsmanlike to keep scoring in a blow-out, and the majority of the remainder are not in Mary’s favor. The total score of this brief list? 

❤︎  John and Mary: 4.5         John and Sherlock: 17.5

Now, some of this difference might be excused by the fact that John and Sherlock have simply had more screen time together, but several occurred during what should have beenMary’s time to shine, e.g.  the exchange of vows. In fact, Sherlock and Mary are set against each other by the narrative several times, allowing us to make direct comparisons. Some are short: Mary doesn’t give John her real name, but Sherlock does. Sherlock apologizes to John even though he doesn’t understand what he’s done. Mary refuses to apologize even though she does. Mary is willing to make John miserable to keep him (shooting Sherlock). Sherlock gives up John to make him happy. Others are longer, but still very clear: both Mary and Sherlock are involved in the bonfire rescue, but Sherlock does most of the work and he’s the only one to actually risk catching fire. It wouldn’t have been difficult to show both of them pulling John out, so that they could be more ‘equal’. In fact, her failure to get unduly close to the fire puts her behind Sarah, who helped fight off Sherlock’s attacker despite barely having met him or John and presumably having no experience with a weapon. Other comparisons are more complex and tap into a broader story: Sherlock is the dragon slayer, John is his damsel in distress (at least for now: it’s been the other way around before). Mary is neither. Some are subtler: Mary shows how far she’ll go for John by shooting his best friend. Sherlock does so by shooting the man who’s threatening him and, more importantly, by dragging himself back to life.

John himself always places Mary on the same level as Sherlock when speaking of his love for her. This starts with Mrs. Hudson when he accepts her equation of his relationship to Mary with ‘moving on’ from Sherlock. It continues when he asks Sherlock to be his best man and describes them as ‘the two people I love and care about most’, conveniently failing to actually say he loved Mary more. There was absolutely no reason for the ambiguity, either from John’s perspective or the writers’, unless it’s meant to conceal something. It would have been very easy for him to describe Sherlock as the person he loved second only to Mary. After all, it’s culturally expected that one’s spouse is the person one loves above all others. To be loved second only to a fiancee or spouse is tremendously flattering. And yet John uses an ambiguous phrase that allows Sherlock to infer the culturally acceptable ranking without forcing John to lie if it’s not true. This happens again when John describes Mary ‘turn[ing his] life around’, then goes on to say she’s not the only one to do that. These conversations in which John triangulates his feelings for Sherlock with Mary as cultural buffer are the only ones on the show in which John openly and willingly addresses his emotions without drinking alcohol first. (Aside from the reconciliation scene: and isn’t that interesting?)

For another simple comparison, have a look at the following picture.


Show this to someone who’s never seen Series 3 and ask them which faces — there are four, if you’d like to make it easier — are for John’s wife/girlfriend. Did they get them all right? Here’s the key:

1. John about to propose to Mary. He downed a glass of wine first. ✓
2. John hugging Mary, but only smiling like this when he starts talking about how ‘it’s always the unexpected’ with Sherlock.
3. John about to propose ask Sherlock to be his best man. He just walked in on Sherlock torching an eyeball.
4. John dancing with Mary while Sherlock plays violin. At least one glass of champagne was involved. ✓
5. John reacting to Sherlock inviting him on a case.
6. John’s face as he’s about to talk to Mary about the flash drive. ✓
7. John reacts to Sherlock’s best man speech. At least one glass of champagne was involved.
8. John seeing Sherlock walk out of his bedroom at the end of The Empty Hearse. The champagne hasn’t been opened yet.
9. John dancing with Mary. Yes, I had to use the same scene twice to get enough good pictures of John looking happy with Mary. Again: champagne. ✓

Bonus drunk round:

imageJohn smiling at Sherlock after telling him he’s important ‘to some people’. 

Another extremely important element to a romantic story is that of ‘romantic obstacles’, situations which must be overcome for the couple to come together or to stay together, thus proving the strength of their regard and the narrative importance of their love. Aside from the reconciliation after shooting Sherlock — which Mary did nothing to contribute to, and which may not even be real — Mary faced no obstacles. In fact, she was given quite the opposite: a playing field skewed heavily in her favor from the very beginning. She starts by dating an emotionally compromised, grieving man who has isolated himself from at least some of his friends to avoid the reminder of Sherlock. She then distracts him from his grief with dating and (going by the blog posts) drinking, thus earning his gratitude and a potential source of emotional blackmail. When Sherlock returns, she alternates between taking John’s side and taking his, verbally reinforces her superiority to Sherlock when John is not around (‘I’ll talk him round’ implies that she has more emotional power over John than Sherlock does, though we have absolutely no evidence this is true) while simultaneously positioning herself as ally. This encourages Sherlock to see her as the gatekeeper to his relationship with John, thus also encouraging him to support their relationship. She is now the only romantic partner John has had whom Sherlock has actively supported, and she has the single greatest potential obstacle to their relationship on her side. She plays up her suitability as a partner by claiming to like Sherlock — something rendered dubious by her later shooting of him. At the wedding she further diminishes Sherlock (again when John is not around) by suggesting that he is not special, and later implying that he is holding back on saving Sholto because he’s a ‘drama queen’ (John’s words, but Mary’s suggestion), thereby further implying that Sherlock is incapable of understanding John’s feelings the way she does. She only starts openly showing her antipathy toward Sherlock to John after they’re married and she’s pregnant and he has a cultural obligation to make an extra effort for her (in addition to needing to support her so he can maintain his rights to the purported child). In short, she takes or is given every possible cultural bulwark against John leaving her. She faces the exact opposite of romantic obstacles.

In fact, Mary never wins against SherlockEver. There are two instances that are generally cited as John choosing Mary over Sherlock: the marriage, and his reconciliation with Mary at the end of HLV. Even if we accept the reconciliation as real, however, this is objectively untrue for one simple reason: Sherlock isn’t competing with Mary, he’s supporting her. He supported John’s engagement to Mary both verbally and in the form of planning their wedding, and (if the forgiveness is real), supported their reconciliation using the confrontation scene in 221b. If you score a goal in a game, the person cheering you from the stands doesn’t lose. It doesn’t matter if they want to play the game, they’re still not in it. Subjectively (in my interpretation), John only chooses Mary in the first case because he believes Sherlock is unavailable, and because she is the only love interest he’s had that has not clashed with Sherlock. It is, from his perspective, his best chance at happiness with both Sherlock and romance. Sherlock, likewise believing John available, also supports the marriage because he thinks it’s the best thing for John’s happiness and their continued friendship. In case you haven’t noticed, miscommunication is a major theme in their relationship. In the second case, I believe the forgiveness isn’t real. However, if it is, then it is done under duress by a man who’s suffered severe psychological trauma and betrayal and who has been told by the two people he loves most, including Sherlock, that it’s what he wants. Again, I don’t think Sherlock truly trusts Mary, but if he did it would again be based on his flawed understanding of both John’s feelings and his own worthiness of them (relative to Mary). 

One of the better arguments in John and Mary’s favor is that for ‘realism’. In other words, it’s entirely normal for people of John and Mary’s age to lack to the same level of passion and flirtatiousness we expect from younger people (or romantic fiction). It’s also normal for reconciliations to be slow and awkward rather than eager or ‘Hollywood’ dramatic. And if this were a quiet drama, or a naturalistic love story focused on John and Mary and covering their whole lives together, then that would be a strong argument. Unfortunately for Mary, this isn’t a quiet drama and in the context of the actual show it falls flat. Sherlock, for the last three seasons, has been a show about ‘two men and their frankly ridiculous adventures’. It’s a genre show, a bit pulpy and styled with ‘heightened’ reality. There are no emotional conversations, not really. Aborted attempts and dramatic confessions fit, but none of the sort of rational, adult heart-to-hearts that always look so out-of-character in fan fiction. John and Sherlock’s relationship is fraught with miscommunication and reticence, their progress written mostly between the lines. That’s not to say it’s hidden — not at all — but it lacks the foreground it would be getting in a true relationship drama (think Downton Abbey). It’s also the central relationship in the show, regardless of whether it’s interpreted as romantic or platonic or something in between. In other words, John and Mary’s relationship is having to stand up against John and Sherlock’s — and John and Sherlock’s relationship has all the drama and passion and romantic iconography that John and Mary’s lacks. The writers will certainly not have missed this. So, had they wished to convey a sense of truly deep love between John and Mary, they would have let it win against John and Sherlock’s in some meaningful way. And they haven’t.

In short, Mary was introduced as a comfortable, loving partner, a seemingly insurmountable obstacle to John and Sherlock being together. She’s given no particularly unusual compatible traits for John (claims of him loving psychopaths notwithstanding), but made to seem too kind and charming and comfortable with Sherlock for John to ever want to leave her. Then, slowly, this characterization is dismantled. Little negative traits are allowed to seep through, though perhaps not obviously at first. She takes Sherlock’s side against John when it’s clear she shouldn’t. She makes little digs at Sherlock that slowly dismantle his self-image in his relationship with John. Then, finally, we get to see the ‘real’ Mary: a woman who is irritated by her husband’s attachment to Sherlock, and who would — at the very least — rather risk Sherlock’s life than her marriage, proof that she is ‘unworthy’ of John’s love (or it would be in almost any story). This is not the characterization of a romantic lead. This is, in fact, a classicromantic false lead. Which implies rather strongly that there is a true romantic lead. Hello, Sherlock.

None of this is meant to suggest that John didn’t truly love Mary, or that he didn’t feel that marrying her was the right decision for everyone involved. It is meant to suggest that Mary wouldn’t have been his first choice, or even a serious challenger, if he’d thought Sherlock were available. In my opinion, Sherlock, to John, was the great love of his life, but also the aromantic, asexual, possibly even sociopathic best friend who would never want a romantic relationship. Mary seemed like a gift: someone he loved who also loved Sherlock, allowing John to have the best of both worlds: a stable, loving home life and adventure with his best friend. No doubt he thought he would grow to love her as deeply as he loved Sherlock, perhaps more so as the flame of passion dwindled. But John was wrong. He and Sherlock are binary stars, orbiting each other as inexorably as gravity, and Mary was only ever a satellite. John tried, but in the end his wedding wasn’t the magic bullet both he and Mary seemed to expect. Sherlock is crucial to John’s complete happiness in a way Mary simply isn’t. Their marriage, and relationship in general, only works when it revolves, in some way,around Sherlock. So while John and Sherlock have been set up for a great love story, the kind we’re meant to root for even when they screw up or hurt each other, John and Mary have not. Sherlock is simply in a league of his own, and the show runners told us this by minimizing John and Mary’s romance.

I’ll let the show sum it all up: when Sherlock and John dance, it’s alone, at home, workingagainst social pressure rather than with it. When John and Mary dance, it’s to the tune of Sherlock’s violin.

/sign! your last sentence <3

"her failure to get unduly close to the fire puts her behind Sarah”

ha, yep! (i miss Sarah (John is an awful boyfriend (except for Sherlock)))

Mary/John is Mofftiss’ NOTP, sorry, i don’t make the rules.

(via jonnyluvssherlock)