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Err... Just ask "gently".
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*giggle*
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Gently, where are you? Your opinion is needed.
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And while we wait for her, let's have a look at this lovely idea... so simple and yet sooooo convincing!
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Brilliant. Although I would also go for a hyphenated solution.
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Sherlock Watson-Holmes has a rather nice ring to it.
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Yes. Lovely. And we would have something in common.
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diva wrote:
Well, I really have to stretch my imagination but I'm starting to understand what you're talking about, Tonnaree.
If you love to read fiction, read some good johnlock fan fic, and your "imagination" will be kick-started up to the moon and back. A couple of times. There's a good johnlock fic rec thread here on the forum with 100s of recs of our favorites. Happy reading!
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So the scene where John asks Sherlock to be his best man was voted in the top ten best TV scenes of the past year by Entertainment Weekly and the blurb that accompanied why it was one of the best said this:
WHY: It’s not just that, when Sherlock raises his glass, he makes the wedding guests laugh (“big, squishy cuddles!”) and blink back big, squishy tears (“I never expected to be anybody’s best friend.”) It’s not just that he solves one mind-bending mystery in the process, and recounts a few others, including one that involves a poison-dart-blowing dwarf. It’s that he delivers a genuinely poignant tribute to one of the all-time great loves—not the one between the bride and groom, but the one between Sherlock and Watson, a friendship so intimate, its kind is rarely seen between men on TV. All of this, plus Sherlock somehow manages to use the words “doom of… our entire species” without ruining the wedding. Best men everywhere, take notes. —Maerz
More Johnlock proof from an independent source it seems. The whole world is taking notice.
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This is so well deserved. Beautifull written and acted, just perfect.
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Yes, that is a very moving description.
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It's hard to imagine there should be another scene nominated that could as brilliant as this one... Johnlock is everywhere.
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And it is also in the music. Maybe we had this already in the soundtrack thread but here is a quote from an interview with composer Michael Price (
"And you’ll hear… the instrumentation hadn’t changed very much for season three for Watson’s chords (plays them)… there’s a G minor in that one… but this time there was an element in what’s called on the soundtrack album… basically in act three of season three where Sherlock is (looks at something off screen) “Forwards and Backwards?” I’m just referring to… (plays recorded music until he finds what he’s looking for) Oh yeah, here we go. So in “Redbeard,” as it’s formed on the soundtrack album, you actually hear in the distance the Watson chords on brass as Sherlock is ascending the staircase because it’s really John… it’s the connection with John that’s giving him the motivation to recover from that situation, so that’s one of the first times really that I can remember, I’m sure I’ll be wrong, where we’ve actively been using the Watson’s chords in a different orchestration."
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Oh yes, music can do so much, and so much thought goes into it...
Although it's interesting... a while ago someone posted the 221B scene in HLV with John, Sherlock and Mary without the music on tumblr (I think I posted as link somewhere), and it's amazing how brilliantly that scene works even without the music... maybe even a bit better. Which would only prove of course that the music helps to make a scene which already is full of emotions anyway even more emotional.
Oh, and of course: Reading about John's music being integrated into a scene that at first sight is about Sherlock... aahh, that made me shiver a bit...
Last edited by SolarSystem (June 23, 2014 7:54 am)
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Yes, I watched that scene. To me it seemed more distant and matter-of-fact without the music. I think the music is crucial in giving us the idea that Sherlock is lying here in order to keep John safe.
It is possibly the most emotional piece on the soundtrack but whose emotion is stressed by this? Sherlock's and John's. Mary remains a sort of outsider in the scene, the client, the person coming from outside to present her problem and to be judged.
More than everything it is the music that makes this scene a thing between Sherlock and John.
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Interestingly enough, I thought it worked even a bit better without the music. The scene and the acting itself is so strong and so full of emotion... I had the feeling that without the music I was even a bit closer to the situation, because I was totally concentrating on those three people and what's going on between them, without any kind if distraction or other influences.
Of course the question is how it would work without the music if I hadn't seen it with music before. Could be that I was already influenced by the experience I had made with that scene before.
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And another lovely quite from Michael Price:
"But what Sherlock is about mostly for us, in character and musical terms, is Sherlock and Watson."
Yes. Just yes.
Last edited by SusiGo (June 23, 2014 3:06 pm)
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Oh, I had some lovely moments catching up on all the love and feeeelz that were spread around here the last days... I read a lovely meta on tumble lately discussing Sherlock giving away his name to John begging him to name his baby after him in contrast to ...well...someone not giving away his true name. I wanted to share it with you but can't find it anymore. Anyone stumbled across it, too?
Last edited by mrshouse (June 23, 2014 3:07 pm)