Me When I Watched The Matrix And Was Fooled By The Very Niche Indie-film-looking Opening Scene Of A Green

Analysing TGG The Pool Scene PART 3:

“Is that a British army browning L9A1 in your pocket, or are you just pleased to see me?”

“Both”

Sherlock is clearly pleased to meet him and Moriarty is glad Sherlock is putting in effort. Let’s not forget the intimacy. If he shoots, they both go down. Sherlock is aware it couldn’t be this easy, nor would he ever want to kill Moriarty anyway. It’s once again the Shakespearian notion that they’re forever connected, intertwined in an intellectual romance, even in death, which makes sense considering their passively suicidal tendencies.

“I’ve given you a glimpse, Sherlock, just a teensy glimpse of what I’ve got going on out there in the big bad world. I’m a specialist, you see”“Like you” 

S: “Consulting criminal. brilliant.” A moment of pure admiration from Sherlock.

M: “isn’t it?” 

Another parallel. Of course, many of which are the products of Moriarty’s life long obsession with Sherlock. 

*John looks at Sherlock* He’s searching to decode whether Sherlock is with him or if he’s aligning with Moriarty on some deeper and more unsettling level. John wants reassurance that Sherlock isn’t crossing into Moriarty’s territory, where morality and loyalty are fluid.

*Moriarty looks at John looking at Sherlock* Moriarty of course notices that, he understands what an influence John is to Sherlock even if it’s subconscious. So he decides to play along, to be the villain everyone wants him to be, thus allowing Sherlock to become the hero, making this moment more comfortable for Sherlock. Ultimately, as I've stated before, Moriarty longs to free Sherlock from the chains of responsibility that don't reflect his true values, thus freeing himself (mostly from the loneliness, by having someone who's on the same page), but to do so he can't risk scaring Sherlock off.

"*Moriarty smiling* No one ever gets to me, *face darkens* and no one ever will”

The singsong tone is followed by a voice drop. It’s not hard to notice that the charisma is an act, it is a part of the Moriarty, "The Criminal Mastermind" persona. So here that first half of the line in singsong is a way to trick John into thinking that this is just a normal “crazy funny villain and the serious hero” situation. Which of course it is not. Then the second part of the line is a very cold “ and no one ever will”. Now that was said directly to Sherlock.

(Let me explain how to understand most of these lines with this example:

Moriarty says something that is such a basic villain line that “villain: 101” should sue. But what he says doesn’t matter in the context of “the game”, if we think of this line literally, the only thing it's adding to the tension of their rivalry is the challenge of unattainability. But it’s not about the game anymore. Nothing in The Pool scene actually is. Such basic villain lines don't matter in their content. All that matters is HOW Moriarty says them. The words were basically said to John, but the intention behind them was bluetoothed directly to Sherlock.)

He says it so calmly and yet with a note of despair, this hopeless level of indifference and emotional resignation that he couldn’t hide, that his fun act can’t cover. 

This line has more significance than it seems so on the surface. A theory is that with this line Moriarty admits to his loneliness, he jokes about it first, concealing the meaning behind with the very literal unapproachability that comes with his job, but ultimately no one gets (to) him, because no one understand/reaches him personally and emotionally. He might even be sceptical that Sherlock actually could, maybe he’s Moriarty’s only chance, which considering what happens in the Reichenbach fall, seems to become a reason for his suicide (with calling Sherlock "ordinary"). He’s been disappointed all his life, he’s so used to the isolation, so it seems natural to doubt the possibility of happiness. And so he communicates that with Sherlock, his only chance, he reaches out, because he knows Sherlock understands that feeling, that untreatable loneliness of unreachable ideals, which in a way makes it all even more heartbreaking. This glimpse of hope, Sherlock, in front of him and a painful crumb of realisation (“and no one ever will”) that the connection he seeks may be impossible after all…

*cocks gun* “I did” Sherlock doesn’t let the moment linger for too long and answers back with confidence. 

Sherlock truly is the first person to really meet him. Moriarty is a puppet master which means everything is done remotely, he “knows people”. But Sherlock is the only person who was actually allowed to see him, whether literally or figuratively.

Now… I would normally leave it at that, but something about this moment hooked me. I must warn you that this is some deep water, bottom-of-iceberg shit that you’re about to read.

REGARDING THE *cocks gun*:

I did some mild research and cocking a gun usually means “establishing control, authority”, I think everyone knew that. But what’s interesting is that the gun useless here in a traditional sense. It isn’t a threat, as NO ONE HERE CARES ABOUT THEIR LIVES. Which then means that it’s symbolic.

I WON’T BE ANALYSING THE GUN SYMBOLISM HERE. PLEASE I’VE BEEN IN THE DUNGEON WRITING 20 PAGES OF THIS ALREADY (I want to do it someday though, I think it's very interesting and GAY)

What will do though is walk you through everything that this moment could mean. Which is a lot.

1. Playing the Hero for John  

 The *cocks gun* moment is, above all, for John. Sherlock knows that John needs reassurance, not just of his safety but of Sherlock’s allegiance to morality and goodness.  The cocked gun signals that Sherlock isn’t on Moriarty’s side, that Sherlock hasn’t been seduced by the villainous allure of Moriarty’s chaotic world. It’s a signal to John that, at least in this moment, Sherlock chooses him. 

2. Sherlock’s fear of vulnerability and threatened identity

It’s also important what that gesture means to Sherlock himself. He’s in the middle of this intense intellectual and emotional push-and-pull with Moriarty, someone who fascinates him, understands him, and yet challenges him in ways John can’t. 

Sherlock is so invested in maintaining the illusion of invulnerability, not just for Moriarty or John but for himself. Acknowledging fully that he loves and needs this connection would shatter the way he defines himself. 

Sherlock’s fear of vulnerability runs deep, and it often manifests as denial—of feelings, of needs, even of his own humanity. With Moriarty, the connection is so raw, so intense, that it’s almost impossible for Sherlock to face without losing the carefully constructed emotional distance he clings to.

Cocking the gun could be a way for Sherlock to reassert his own identity, to remind himself and everyone else that he isn’t like Moriarty, that he has lines he won’t cross. The gun becomes a tool of self-protection, not physically, but emotionally. He’s essentially saying, “I’m not like you. I’m not drawn to you. I don’t feel this.” But the very intensity of his reaction suggests the opposite. He does feel it, profoundly, and that terrifies him more than any bomb or bullet ever could. 

3. Emotional Deflection through aggression

Sherlock is creating a barrier between them by cocking the gun, a way to avoid confronting the depth of their connection. 

And then there’s Moriarty, who seems to recognize this instinctive defense for what it is. He doesn’t flinch, he just watches with this almost knowing, dark amusement, suggesting that he sees right through it. Moriarty understands that Sherlock’s aggression is rooted in fear, and maybe even hurt, at the prospect of what their connection means. Moriarty doesn’t flinch because he knows the gun isn’t the real weapon here, it’s Sherlock’s emotional avoidance. Moriarty’s indifference to his life in that moment reinforces this. He’s not afraid of dying, what wounds him is Sherlock’s inability (or refusal) to meet him on that emotional plane, even though it’s what they both crave deep down. And to be fair threatening with a gun is such a "normie" move. Not only isn't it a threat, but Moriarty probably likes it. Ignoring the emotional connotations of this moment, this was flirting more than it was ever tactical.

In a way, both of them are locked in this tragic dance, afraid to admit they want the same thing: to be understood, to be gotten. But while Moriarty expresses his fear as defiance, Sherlock buries his in shame and instinctual rejection.

It’s also ironic that he hates the idea of being a hero, of being boxed into John’s moral framework, but he uses it here because it’s convenient. It gives him an excuse to push Moriarty away under the guise of righteousness. 

4. Returning to the Game to Avoid the Emotion: 

Sherlock’s inner conflict: He needs to say something to continue the game (which they both love), but the truth behind his words is dangerously real: “I see you. I understand you.” It’s a confession disguised as a taunt. 

The *cocks gun* and “I did” together are Sherlock’s attempt to drag the moment back into the comfort of their shared game, away from the messy, vulnerable reality beneath. Let's not forget the line before this "No one ever gets to me, and no one ever will". Sherlock's smug answer is almost like saying "yo, what are you talking about, can we just like, be normal?".

The line is textbook intellectual sparring, a move in their game, where Sherlock is claiming a small win over Moriarty. But beneath the surface, this line is charged with raw emotion. It’s Sherlock’s way of acknowledging Moriarty’s vulnerability while hiding his own. The cocky delivery is Sherlock’s shield, a way to keep things “in the game” rather than letting them spiral into the emotional realm that terrifies him.  

This is classic Sherlock. He frames everything as intellectual so he doesn’t have to confront the emotional. But the irony, is that his response betrays his emotions more than he realizes. By adopting the “hero” role here, Sherlock not only reassures John but also deflects attention from the growing tension between himself and Moriarty.

Yet Moriarty hears the disguised confession in “I did,” even if Sherlock is trying to drown it out with smugness. It’s like he’s patiently waiting for Sherlock to catch up emotionally, to stop hiding behind his role as the hero and see the truth of their dynamic for what it is. 

SUMMARY:

On the surface, it’s a simple game move: Sherlock reasserts control.  But beneath that, it’s profoundly emotional—two people who understand each other deeply, who see themselves reflected in the other, but who are too guarded to fully acknowledge it. It’s a moment of connection, disguised as competition, wrapped in deflection.  

M: “You’ve come the closest. Now you’re in my way”

Basically to translate: “you are truly remarkable, because you’ve gotten so close that now you’re capable of disrupting my plans, which no one before was able to do”.

The singing tone this time implies that his plans, his work don’t mean much to him. Sherlock is in his way and he doesn't mind one bit. It’s not really about all that, all his criminal work was the best high he could get when he couldn't have a connection with Sherlock. The real point here is that Sherlock cracked him, Sherlock passed the test. He saw through his villain behavior and found a lonely, tortured sould just like him. Sherlock was able to understand Jim and that intimacy is what Moriarty values more than anything. So yes, it is a compliment. but Moriarty says “closest” as if it’s still not close enough, that’s a hint for the hopelessness Moriarty feels. I don’t think at this point they’re fully aware of just how deeply they need one another, the feeling of being understood, valued and accepted, whilst being intellectually stimulated and entertained. “Thank you” Sherlock demonstrates their understanding and connection, even if here he's probably answering in the context of the game(aka: he's the first to come so close to an opponent of such class). And he genuinely appreciates the compliment, their mutual respect is apparent.

M: “I didn’t mean it as a compliment” was definitely teasing.

S: “yes you did”

M: “yeah, okay I did” (cutie :3)

^(MY FAV MOMENT EVER)

John literally has no personality after series 2

honestly, no one does (except for Mary, thank god)

also making him an alcoholic just because Harry was, was cheap as shit

like at this point let my boy do Sherlock’s coke, maybe it’ll wake him from his lowkey-giving-bigot-homophobia-fight-club slumber

series 1 John is my roman empire(later he becomes the embodiment of the wing-cutting society, which John and Sherlock’s friendship was supposed to defy. like he was supposed to be the one who got Sherlock, but instead he was just shoving his own morals down Sherlock’s throat)

anyone else found the “i’m a high functioning sociopath, MERRY CHRISTMAS *bang*” cringy as hell?

like i imagined Sherlock having a bit more class when it comes to murder :/

That would probably explain it best. I think considering how good of an actor he is and that no one did anything to change it means that the moment was real enough to be kept in. they probably saw the value in his real emotion while being so connected to the character.

Remember when Mary died (r.i.p. 🕊️) and then John did some weird angry grunts instead of crying like a normal person? Yeah, that’s my 13th reason (the 12th being Irene’s duck nails), i fucking hate that sound.

No cuz explain to me - why? Who was like “she dies in your arms, now act that you’re a dog who’s chew toy is being taken from it”

ok but can we talk about how did moriarty and sherlock arrange their tea date?

like, i bet it was just like “i’m coming for tea” and that’s it, but it’s also so interesting that that just happens. i know it’s common for heroes and villains to be friendly and have good manners, but picturing them just texting(like they always do) about it is so funny.

maybe i’m forgetting something, haven’t watched that ep in a while.

it’s a shame sherlock got cancelled after series 2 😕

but hey, good thing they didn’t completely butcher it by adding a few more seasons!! ☺️

okay, but saying “i owe you” is basically a wedding vow so…

guess who’s back. after a lengthy 2 or so months of static in my brain i decided to be of service and to post the full analysis of TGG. BUT i need someone to help me (although i now realise i could just google) with video clips. there is a limit of how many i can add and i think they’re important to illustrate my points. if anyone knows anything i would be extremely grateful, because i’m not going to be half-assing this one (i’m very proud of my yap :3 ) thank you!!

practical is boring. serve Cunt, endanger lives

LGN LOUIS GABRIEL NOUCHI Fall/Winter RTW 2025 if you want to support this blog consider donating to: ko-fi.com/fashionrunways

i’ve been obsessing over sheriarty as a unique twist on the traditional hero-villain dynamic and felt like “inflicting my opinions onto the world” (sherlock in TGG). so if anyone cares about this 10 years later let me know cuz i wrote a 4k word analysis of the pool scene 💀 also i’m new so feel free to throw rocks at me when i do something wrong 🥰

updates:

Part 1: https://www.tumblr.com/chesie-blog2/766523763704659968/tgg-analysis-part-1

Part 2: https://www.tumblr.com/chesie-blog2/772319748326342656/analysing-the-great-game-part-2-the-pool?source=share

Part 3: https://www.tumblr.com/chesie-blog2/772467761119117312/analysing-tgg-the-pool-scene-part-3-is-that-a?source=share