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@blameitontheillustrator-blog
you: mary whitney wasnât able to peel the apple in one piece and find out the first initial of her future husband because she died unmarried
me, an intellectual: mary wasnât able to peel that apple and find out the first initial of her future husband because she was a lesbian
Mary Whitney will bring me to a happier part of my story.
âWhen a fictional character starts keeping secrets from the writer, thatâs when that character becomes real.â - Steven Moffat
Steven. You said once that when fictional characters start keeping secrets from their writer, thatâs when they become real. But they told you, didnât they, and you didnât listen. You thought that John-âI donât mind (anytime)â-Watson and Sherlock-âthereâs something Iâve meant to say alwaysâ-Holmes live platonically together in Baker Street, raising a daughter, re-building their home? Look at them. This home is filled with love, laughters, and kisses. So take a deep look in the mirror and think carefully about why they did not share that secret with you.
Love this. Sherlock and John kept secrets from Moftiss but they got the last laugh in the end.
Moffat and Gatiss are clearly unable to separate their affection for Amanda Abbington from the character she plays.
As much as I hate to think about it, I think this is what it came down to. I think they prioritized wanting to give their buddy a cool role over the integrity of the show. It just so happened that it fell at right about the time they needed to pull the great No HomoâŠso it served multiple ends.
I still have nefarious thoughts concerning all of this. Something is sooo fishy.
I think part of the problem is that Moftiss really arenât âplanning aheadâ types of writers. They said in an interview that they honestly had no idea how they were going to bring Sherlock back after TRF but they liked the drama of it so they just did it and figured âeh, weâll solve that later.â
Eurus, to me, feels a lot like that. Maybe they were thinking âoh, we should tease the Sherrinford thing and then have it turn out the Holmes brothers have a sister! That would be a cool twist!â but then they had to pretend they were foreshadowing it the whole time and thatâs how Mycroftâs weak âIâve been dropping subliminal code wordsâ got rammed into canon. And yeah, S4E3 was a really well-done stand-alone episode - but as a culmination of four seasons of drama, it just didnât live up to the hype. (Either the hype Moftiss deliberately generated for S4 or the expected hype of âsomethingâs gotta giveâ from the character arcs in the rest of the show).
I feel like they never did fully commit to the character of Mary. They didnât want her to be too passive (which I applaud - ACD wasnât big on 3-dimensional female characters) but they didnât want her to have a cliche bad guy betrayal, so instead they got this weird mix where sheâs an assassin who lies to John in what Iâd consider a totally unforgivable way, but John and Sherlock both wave that aside because, what, baby? Momentum? And then sheâs this great addition to their team, except when sheâs not, and then she has the most cliched death ever despite that fact that hello, sheâs got an infant at home, does she really not care enough about her daughter to have a sense of self-preservation? And through some hand-waving weâre supposed to believe that Mycroft - who obsessively has eyes on his little brother even when thereâs no reason to - hasnât at LEAST had a background check done and thought hey, this womanâs backstory is a little weird, maybe I should kidnap her and interrogate her a bit?
I love the show because I love the characters, but thereâs a reason so many of my fics end up in some nebulous âSherlock and John are living together and All That Weird Stuff hasnât happenedâ time frame. I just canât reconcile the plot with the way the characters were developed and how theyâd act in those situations.
I completely agree that a big issue with the show is itâs just not planned out very far ahead and a lot of things are thrown in for the âcoolâ factor. (One of the biggest: âif we make it so Sherlock almost dies, we can do this cool Mind Palace sequence!â But they didnât realize fans would then think Mary was more of a villain than if she had say, shot him in the arm or just tried to talk to him instead.) Luckily for me Iâve never been much interested in over-arching plotsâI like the show for its witty dialogue and character interactions.
As for Mary herself, I was a very casual fan (casual enough that the show made almost no impression on meâit was just there in the background) until she showed up, and then s3 blew me away with itsâŠ.witty dialogue and character interactions, which I found worked much better when there were three characters on the screen playing off each other, rather than just John and Sherlock. This is even true for some of TFPâthere are some nice moments between Sherlock, John and Mycroft that wouldnât have worked with just two of them.
Iâm always a fan of things that demonstrate why planning is so important in fiction. Many people hate to do it, but this is why itâs important! We knew they hadnât planned anything after the pool when they wrote S1, and you can tell they hadnât planned S3, which required John to be secretive about what the H. in John H. Watson stood for, when they had John casually offer up Hamish as a baby name in S2. Outlining for the win.
As for Mary: I agree that they seemed to have a sense of what they wanted from her, but got tangled up in how to get there, and seem to keep trying to justify something that I donât think needs more justification (personally).
I think the story works much better if Mary fully intended to kill Sherlock when she shot him in S3, given what we now know about her, the way she sometimes just reacts and does the wrong thing, even though she wants to be a person who does the right thing. Her judgment is TERRIBLE, and I think thatâs sort of the point. Or, it makes sense to me if that were the point!
It would make sense to me that Sherlock took that fateful step in S3 and ceased to be a friend in that moment. He became Generic Threat That Must Be Eliminated. The moment she felt he threatened her, their fun friendship ceased to be a factor and her instincts took over. She meant him to die, and he did die, because sheâs efficient and deadly. She remains a cocked gun even when she doesnât want to be one anymore.
Iâm sorry that everyoneâs still so invested in her being a villain. I liked the rug pull of her not being a villain in the story, personally. I thought she was going to be a big bad after S3 too, but when she turned out to just have terrible instincts that ruined her relationships (like shooting Sherlock and then threatening him, and vanishing on John at exactly the wrong time), I kind of liked what that made her. A bad guy who aims for goodness and fails over and over again.
I liked that they put me in Johnâs shoes: distrusting, kind of angry with her, frustrated with the situation, stuck pretending everythingâs okay, but uncertain if this is really going to work (or should work!). I think it makes John that much more understandable and sympathetic in his own failings and anger towards Mary in the end.
But I donât think we need to go back and redeem Mary in S3. I donât know why theyâre retreating to that. Itâs way more interesting if Sherlock forgives her for actually killing him. Thatâs an insane thing to forgive, but thatâs Sherlock for you.
Sherlock, while gluing Johnâs face onto the Vitruvian man: I, whose time is of some value,
Me, at Sherlocked Con USA, with the entire mic in my mouth: is tfp still ur favorite episode
A Missing Scene
So: Sherlockâs key formative experience is a memory he suppressed about not being able to solve a riddle, which resulted in the death of his best friend.Â
When this exact scenario repeats itself, Sherlock significantly does not use his prodigious brain to solve the riddle; he changes the game and uses everything heâs learned about sentiment and human emotion to solve his sister instead. He appeals to the small girl in Eurus and catches her off-guard, convinces her to call it off, and saves John. He solves it in the end not with his brain, but with his heart.
It should be a terribly fraught moment, then, when John emerges from that well, when the pain of Sherlockâs childhood would have resurfaced. His long-held desire to deduce his friend out of that well is finally satisfied in that moment.Â
Sherlock has spend decades pushing himself to solve crimes as if solving the right one will save that boy, his best friend. But here it is now: a real resolution. Sherlock has finally done it, he solved his ur riddle. It should be fraught with Sherlockâs buried emotions; his secret drivers, the depth of his loneliness and fear of loss and failure, finally conquered. In that moment John would be both himself, someone Sherlock loves beyond reason, and a stand-in for his beloved, innocent, and murdered childhood best friend.
Sherlock should have cried. He should have held John tight and cried, and John should have absolved him. In that moment John would have the power to forgive him and thank him, something his predecessor couldnât. This is the moment Sherlock has been after his whole life, without even knowing it.
But we donât get that scene. We see what is possibly the aftermath of it, with John wrapped in a blanket and Sherlock dazed by the enormity of it all as Eurus is carted away. But you canât convince me that it didnât happen. It had to have happened.
no offense but why are men not self aware at allÂ
My advice for pulling quotes to talk about from texts you havenât read is if someone unspecific would get it as a tattoo, donât pick it⊠specific enough to the book that you sound like you know whatâs up but not so specific that itâs lost on you. Of course I just broke this rule myself but it worked out fine so itâs about knowing your audience
I have a tattoo of Mrs Dallowayâs âFor there she wasâ and I regret nothing
semi-regular âi love mallory because she proved you can build a writing career on just getting the gist of culturally significant books you havenât actually readâ post
academic engagement 2.0
âGrace and Frankieâ has been renewed for Season 4 at Netflix less than three weeks after the premiere of Season 3, Variety has learned. The 13-episode Season 4 will debut in 2018. In adâŠ
@yelverton CHECK THIS OUT WERE GETTING A JEALOUSY ARC STARRING LISA KUDROW
I am literally on my way to Marta Kauffmanâs home
Then and Now
