Benedict Cumberbatch and Martin Freeman with their stunt doubles
So I wanted to look for more theories on the elephant in the room case mentioned in Sherlock's The Sign of Three and stumbled across this Wikipedia entry:
Since English is not my mother tounge I had never heard of this saying before but now that I know what it means the…
So much more to say, suspended in the air between
Before you slip away, before you slip away from me
Please slow down.
Angry, bitter, spiteful people who believe they have a right to be rude, nasty, and horrible to people believe in tjlc
Because TJLC-ers have never been angry, bitter or spiteful to minor shippers amirite
I never said they weren’t, but the whole premise of tjlr is people who believe it’s idiotic to think John and Sherlock will end up together canonically and are viciously anti-johnlock.
The difference between tjlc and tjlr is the fact that tjlc was made out of love for a ship and tjlr was made out of hatred for the shippers.
I bolded that last bit because that’s the most accurate and succinct way of phrasing it.
sherlock and john are so beautiful and hot together, they compliment each others’ hotness like. the hotness of one increases the hotness of the other and vice ersa
'The elephant in the room' means 'an obvious fact that nobody is addressing'. It usually pertains to some kind of social taboo, e.g. abortion (see Ernest Hemingway's Hills Like White Elephants), suicide, mental illness, weight, gender, race, sex or sexuality.
This phrase appears in The Sign of Three as follows:
SHERLOCK: We’ve had some frustrating cases …
FLASHBACK. In 221B John sits down at the dining table with a mug of tea. He looks across to Sherlock sitting in his chair, who is running his finger across his top lip and frowning down thoughtfully at a matchbox held in his other hand.
JOHN: What is that?
(Sherlock looks at him.)
SHERLOCK: A French decathlete found completely out of his mind, surrounded by one thousand, eight hundred and twelve matchboxes – all empty except this one.
JOHN: And what’s in that one?
SHERLOCK (looking at the matchbox): The inexplicable.
(He slowly pushes the matchbox open. Whatever is inside glows brightly, illuminating Sherlock’s face. He grins with delight.)
SHERLOCK (rolling his eyes): … ‘touching’ cases …
FLASHBACK. John is standing at the window of 221B looking down into the street.
JOHN: She’s going to ring the doorbell.
(He’s looking at a young woman who is hovering outside Speedy’s and looking towards 221’s front door. She stops and then turns around.)
JOHN: Oh, no. She’s changed her mind.
(The woman walks away a few paces, then stops and turns around again.)
JOHN: No, she’s gonna do it … No, she’s leaving. She’s leaving. … Oh, she’s coming back.
(Sherlock is sprawled in his chair with his head raised towards the ceiling. His eyes are closed.)
SHERLOCK: She’s a client. She’s boring. I’ve seen those symptoms before.
SHERLOCK: Oscillation on the pavement always means there’s a love affair.
SHERLOCK: … and of course I have to mention the elephant in the room.
SHERLOCK: Why? Why would he date all of those women and not return their calls?
JOHN: You’re missing the obvious, mate.
SHERLOCK (turning to him): Am I?
JOHN: He’s a man.
SHERLOCK (slamming the lids down on each of the laptops by turn): But why would he change his identity?
JOHN: Maybe he’s married.
(Sherlock slowly straightens up as if realising something.)
SHERLOCK: Married. Obvious, really. Our Mayfly Man was trying to escape the suffocating chains of domesticity …
(John grimaces and shakes his head while Mary widens her eyes briefly and then smiles at him.)
SHERLOCK: … and instead of endless nights in, watching the telly, or going to barbecues with awful dreadful boring people he couldn’t stand, he used his wits, cleverness and powers of disguise … (he finally takes a breath, and smiles slightly) … to play the field. He was …
(He stops when he realises that he has lost his audience again. The guests look silently back at him. He looks down to his right to see John looking back at him straight-faced and Mary wrinkling her nose and shaking her head slightly.)
SHERLOCK: On second thoughts I probably should have told you about the Elephant in the Room. However, it does help to further illustrate how invaluable John is to me. I can read a crime scene the way he can understand a human being. I used to think that’s what made me special – quite frankly, I still do. But a word to the wise: should any of you require the services of either of us, I will solve your murder, but it takes John Watson to save your life. Trust me on that – I should know. He’s saved mine so many times, and in so many ways.
The ‘touching case' that Sherlock is referring to is about a woman who hopes to discover that her husband is having an affair so that she can divorce him, which she wishes to do due to the fact that she has fallen in love with another woman, and is afraid to reveal this openly out of fear for what her family will think. Until Sherlock realised that this is why she wants her husband's love life investigated, he displayed no interest in the case, ‘describing her marriage as being of ‘zero importance in the grand scheme of things”. Only when he realised that same sex desire was involved did he show an interest, of which John said that ‘I swear that my forthcoming wedding has softened Sherlock’.
While we’re discussing John’s blog, it’s also notable that John says of ‘The Elephant in the Room' that 'It was a typical suburban house in a typical suburban street. But inside that typical suburban house were two bodies. And an elephant. An actual elephant. Standing there in the middle of the room looking, well a bit bored, to be honest. And… sorry! It’s another one that I can’t actually blog about because of the Official Secrets Act! I’ve probably said too much as it is. Although I’m not as bad as Sherlock. The amount of times I’ve had to stop him telling people about it. I swear, I’m going to have to follow him at the wedding to stop him telling people!’
So, we’ve got something that is often used as a metaphor for repressed queer desire in connection with ‘two bodies’ that can’t be discussed (especially not at a wedding) mentioned right after a case of confirmed queer desire that the client in question felt couldn’t be discussed. Interesting.
Isn’t it also interesting that the phrase ‘the elephant in the room’ follows directly after the mention of that case, and again after implying that John regards infidelity to be natural and expected of married men?
And isn’t it doubly interesting that the usually calm, focussed, collected Sherlock who isn’t fazed by violent deaths and the stoic John who can kill a man without blinking an eyelid respond thus to ‘the elephant in the room’:
That seems rather like a visual representation of how you’d expect two people experiencing an unexpected sexual awakening late in life to respond, don’t you think? I may also mention here that Sherlock is surrounded by green, a colour symbolic of envy, while John is exempt from it (and that wall could have been painted any other colour - they completely destroyed an immaculate house in A Study in Pink to make it appear decrepit and afterwards returned it to its former state, for goodness’ sake). Seems like someone’s awakening came a little too late.
Tl;dr: when it comes to homoerotic and homoromantic subtext, the writers are further from subtle than the Sun is from Pluto.
Okay, guys. I think we’re ready to roll on the flowers and donation. The final total was $1416.29, which is 856.51 pounds. The flowers are 90.22, and I am putting in 10 pounds of my own. So that is every single cent donated or used for flowers.
The flowers in the bouquet symbolise love, devotion, and friendship.
I think our final card text is this, unless anyone has stringent objections:
To Sue and Beryl for ruling the roost. To Mark and Steven and Steve for loving John and Sherlock even more than we do (however that is possible). To Benedict and Martin for giving them the life they deserve. To the rest of the cast and crew for giving life, beauty, mystery, and love to their world. We love you all. Congratulations on the Emmys!
To the best of times, tumblr Sherlockians
A donation to the London Lesbian and Gay Switchboard in the amount of 776.29 pounds has been made on behalf of the Sherlock cast and crew from us. Thank you for all you do.
Branches of an Almond Tree in Blossom (Interpretation in Red), 1890, by Vincent van Gogh
"Johnlock will never happen because it’s not ACD canon" says the person who ships Sherlock with a woman who didn’t exist in ACD canon.
together and apart: one of the many fascinating things about a scandal in belgravia is the “choreography” between irene adler and sherlock holmes. in all their scenes, they are engaged in a dance — stepping forward, pulling back, going past, turning, following, encircling — locked in each other’s orbit, yet refusing to be bogged down by gravity. it’s an indication of what they are (mirrors), what they could be (partners), and what they can never have (constancy).