So I mentioned in my video on shipping that Sherlock utilises a lot of the conventions and narrative devices of the romance genre, as well as developing layers of eroticism and romance within the text, in such a way that subliminally encourages the audience to view the relationship between Sherlock & John in a romantic light. This is an attempt at laying some of these out, illustrating what these techniques and layers are and the effect they have on audiences.
Benedict Cumberbatch (via admiralsushishin)
"There are lots of doors in my mind palace marked ‘not for public consumption’."
and yes, there is a difference. I understand that things get misheard in the heat of the moment, so I’d just like to point out the actual quote, adhering to BC’s dislike of being misquoted (which he also made a point of this weekend)
Benedict dancing to Daft Punk at Oz Comic Con (X)
He really knows how to explain these sort of uncomfortable/illegal clips that affect his personal life… QQ
"Being an examination of the homoerotic subtext contained within the Sherlock Holmes Canon"
Okay, I don’t know how many people have read all these, but basically they examine the ACD stories for Johnlock subtext. Every one. They manage to get it into one coherent story and everything, basically if you’re interested in the ACD stories and Johnlock you should read them.
What’s interesting though is how many parallels we’ve found in our BBC Sherlock in terms of subtext. The way the characters feel, how they react to it, a lot of it’s… eerily similar. I reread them the other day and wondered if perhaps Gatiss and/or Moffat had read them? They seem like something that Gatiss, at least, would be interested in, as a Holmes fanboy with an apparent liking for subtext. And if they set out to make Johnlock a thing, it makes sense that they’d see what they could find as far as subtext in the original books.
Anyway. Would highly recommend these essays. Might take a few days/weeks, but very cool and possibly relevant to TJLC.