I purchased "Irene's Theme" from the Amazon store the other day...shrunk it down and installed it as a custom ringtone for my phone...

And this morning my phone "rings" for the first time since I did it. Lovely. This sweet solo violin soaring out into the house...

Made my day. Best $.99 I've ever spent. :-)

besleybean wrote:

Tho a bit of human realism would be nice.
Real life male friends are much more demonstrably affectionate towards each other, than Sherlock and John  are.
Canon Holmes and Watson are much more physically affectionate with each other than our boys.

Yeah, but--remember this series takes place as they are younger; the events even of Series 2, and certainly it appears of Series 3, are the kinds of things which I can see bringing them forward into time and becoming the middle-aged guys we know from the stories.

MY worry, if I have one, is that our younger guys are (to me) much more interesting and fun than the grownup Holmes and Watson in the books, whom I sometimes find sort of insuffrable. I hope they are able to keep the edge.

(BTW, re the audio, y'all know the hug thing has been debunked, right? There is no hug. Knowing that made it MUCH better for me.)

KeepersPrice wrote:

For those who don't know, the background music to this "Ode" clip is the 4th movement from Mahler's Symphony No.5 -'Adagietto'. It's so beautiful and nostalgic. That music combined with Ben's voice is to die for!

***facepalm***

I knew I recognized it, feel like an idiot.

I don't know if I like it with this poem, though...I'd rather let both Keats and Mahler each stand on their own. (And as I think I said--this poem was incredible with one of the sad pieces from the Sherlock soundtrack behind it, oddly anachronistic as that should have been.)

https://www.youtube.com/watch?v=TdphtMWjies

Oh my holy sweet loving God. 

(I happened to put this on while "Grimm Fairy Tales" from the soundtrack was playing in the background in Spotify...although I discovered later that there is a very subtle musical soundtrack to the reading itself...)

Okay, need to go scrape my puddled self out of the upholstery.

I love Belgravia and Reichenbach--I voted Scandal because I consistently love all of it; the music is so rhapsodic, in such contrast with the heady Sherlockiness of what we see onscreen most of the time, it's so cool.

But I will also say, it was the "Blood on the Pavement" music from Reichenbach that drew my attention first; it's brilliant and lovely and absolutely perfect.  This is a marvellous piece of work!

sj4iy wrote:

Gretel wrote:

They hug? They HUG?

Color me skeptical.

Like I said, I've only heard the audio, so I'm going by what others have said about what happened in the scene.  The audience was just about screaming "OH MY GOD" at that point, so I can believe it.  

Oh, it's not that I disbelieve that they do it, I'm just fairly uncertain about how well it will work. But Moffniss have surprised me before, so I'm keeping an open mind. :-)

Have you all seen this one?

http://insidetv.ew.com/2013/07/18/sherlock-comic-con-benedict-cumberbatch/

Okay, this is so far my favorite "long shot" theory...I'll be shocked if it turns out to be true, but I sort of love it anyway...

Any chance Sherlock found a way to administer some of the Baskerville drug--we know he obtained some an episode ago, and him being him he might well have hung onto some--not to John but to Moriarty on the roof? The drug we've already encountered that makes one paranoid, fearful, extremely succestible to suggestion, and prone to hallucination?

I read someone's post suggesting that he'd injected the rubber ball with the stuff and taken that moment when he sort of oddly grabbed Moriarty's lapels and sort of shook him to squeeze the drug out of the ball onto JM's clothes. I agree that that grab-and-shake (followed by one of the more inane Sherlock lines of all time, "You're insane"--though I loved JM's puzzled, "you're just now getting that?" rejoinder) is extremely out of character for Sherlock, and I haven't seen it often mentioned among the "Sherlock did something very out of character" suggestions. What was that supposed to accomplish?

Anyway, following that moment, a couple of things happened...we saw a lot more of Sherlock sort of panting and breathing hard when not close to JM. And then, after the almost-jump-I-don't-have-to-die-if-i've-got-you bit, JM sort of starts losing it...in the end there, it really kind of looks like he's having visions or something--notice his sort of weird blinking, and saying, "You're me"--it could be just a realization thing, of course, but what if he's actually seeing himself in Sherlock through his own eyes, after Sherlock has just told him again and again, "I'm you. We are the same."

Yeah, I know--TOTAL long shot, explains very little, and really would give Sherlock only the smallest advantage, but maybe he thought that might be all he needed?

(This also addresses Sherlock's unwonted emotionalism at the end in his conversation with John--if JM had the stuff on his clothes and

Wow. what a long post . I like your ideas because they are not so complicated - it´s more the style Moffat and Gatiss use in my eyes. It summarizes exactly what I thought some months ago.
The only thing I have problems with is the name changing thing: Moriarty is Richard Brook. Simply, because in the foreground story Moriarty has chosen that name because the case of Turner´s painture made Sherlock famous. The other way around it makes no sense to me.

You're right, I wasn't clear...it's not so much that I think Brook was the name the guy was born with, maybe he changed it along the way, maybe, hell, he dreamed up the name for the hell of it based on visiting the actual falls when skulking around Europe--the Falls are real, and the paintings were around for a long time. So yeah, I'm sure that wasn't the name he was born with--I'm just saying that Richard Brook the actor probably really was Richard Brook the actor, doing a lot of kiddie-work (which our heroes would never really have seen) and there was just that one mention of a medical drama...Rich Brooks was Clark Kent, and Moriarty was his supervillain alter-ego, if you like. I mean, as idiotic as Kitty was, you've gotta assume that she did at least a little checking up on this actor guy. If he were a famous actor, he couldn't've done it, but his story was based on his being an out-of-work actor, so he wouldn't be all that likely to be recognized. Remember, we don't even have anything concrete saying that he did join the cast of that medical drama, just that he was slated to.  (And remember the only reason Sherlock became famous due to the painting being recovered was Moriarty's causing--in whatever way--its being stolen to begin with. With all the paintings in the world...why that one?)

It just makes more sense on a lot of levels...it would take a lot more work to create a working actor's portfolio than to simply have that life to begin with and take it from there. 

nicbooful wrote:

I reckon he borrowed Mycroft's umbrella and floated down like Mary Poppins x

ZOMG!!! Spoilers! Benedict was filmed with an umbrella in Season 3! 
;-)