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v-thinks-on · 3 years

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Wanna Know a Writer

Thank you very much to @sparrow-ink for the tag - I love doing these when I get the chance! Incidentally, this is also my 1001st post on Tumblr!

How many works do you have on AO3?

It looks like I have 116 right now, but it will be 117 tomorrow (with a short Batman/Superman fic)

What’s your total AO3 word count?

716,792 apparently... I’ve been writing like crazy lately and I still swear that can’t be right, but there you go

How many fandoms have you written for and what are they?

It looks like I’ve posted fic for 30 (including crossovers and fusions) and there may be more I haven’t posted, so not listing all of them. You can see the whole list here

Following @sparrow-ink‘s example, I’ll let my filesystem speak for itself:

What are your top 5 fics by kudos?

The Language of Chess has been the undisputed champion for a while (Kirk and Spock flirt using the Vulcan language of chess)

The Old Family Farm is a more recent fic that came up from behind while I wasn’t looking (Clark Kent takes Bruce Wayne to meet his parents)

The Gift Giving Game was my K/S secret santa gift for Herenya_writes (Kirk and Spock stir up rumors as professors at Starfleet Academy)

A Hidden, Personal Thing (Spock offers to mind meld with Kirk)

Human, Vulcan, and Everything in Between (Spock is ace, Kirk is polyamorous, and it works well for them)

Do you respond to comments, why or why not?

I try to respond to every comment because there’s nothing I like more than talking with people about my writing and the stories that inspire it! I’m more than happy to answer questions on here too, if anyone has any!

What’s the fic you’ve written with the angstiest ending?

So, these days I’m generally a firm believer in happy endings, but in the pre-AO3 days, I used to mostly write death!fic and a few highlights actually made it onto AO3:

The Death of Spock - Spock dies during the original five-year mission and Kirk is left to pick up the pieces

Only a Fool - Watson dies at Reichenbach and Holmes is left to pick up the pieces

Honorable mention: Devoted - the inevitable tragedy of Mary Watson (nee Morstan)

Do you write crossovers? If so what’s the craziest one you’ve written?

As it turns out, the other thing I used to write is crazy crossovers, many of which were never finished, let alone saw the light of day. I’ve dialed back on it (a little), but here are some highlights:

Spock in Wonderland

Millennium Death Note - currently in progress! (What if Light Yagami solved the Millennium Puzzle?)

The Mysterious Mr. Jeeves - Jeeves and Wooster x Everything, but I think the most outlandish one in there would have to be The Phantom of the Opera

Honorable mention: my old BBC Sherlock x Harry Potter - the writing isn’t great and the plot is a bit of a mess, but it will likely always be my most viewed fic

Have you ever received hate on a fic?

Only a little bit and mostly just on FanFiction.net - there was one person offended that my big Star Trek TOS x TNG crossover was “secretly” Kirk/Spock. More often I get people who like most of my fics, but then get annoyed about Kirk being polyamorous or Spock being ace or don’t like how I decided to end something, which isn’t terribly helpful, but could be worse.

Do you write smut? If so what kind?

Nope, don’t read it, don’t write it, just not for me.

Have you ever had a fic stolen?

Not to my knowledge, thankfully.

Have you ever had a fic translated?

Yes! I’m honored that people want to translate my stories into other languages (and make podfic of them)!

The first three chapters of Devoted (the tragedy of Mary Watson) are available in Chinese

Enough to Drive a Man to Madness (Mycroft puts up with Sherlock Holmes angsting about Dr. Watson) is available in Russian

Once Upon a Dream (Holmes and Watson dance) is available in Russian

The Appearance of Dorian Gray (Bertie Wooster meets Dorian Gray) has a podfic

And I think someone did a podfic of a scene from A Crazy Little Thing Called Love (the progression of Kirk and Spock’s relationship over The Original Series), but I can’t seem to find it right now

What’s your all time favorite ship?

My first and dearest will always be Holmes/Watson from the original Sherlock Holmes stories

What’s a WIP that you want to finish but don’t think you ever will?

I’ve gotten to be pretty good at finishing things I want to write, but there’s this huge Disney crossover I started writing with a friend that is glorious and complicated and almost 1/3 of the way done despite being over 90k already. Whenever I think about it, I always think that, yes, I will finish it some day, even though my co-author has lost interest, but the truth is probably not... But who knows, maybe I’ll turn around and have it done for next year’s @wipbigbang!

What are your writing strengths?

I’ve discovered a secret talent for finishing what I start, which is nice - a combination of planning and just keeping at it, slow and steady.

I think I do a good job of capturing characters’ voices, whether in dialogue or narration, and it serves me particularly well when I’m trying to imitate a style - I’m especially proud of some of my Jeeves and Wooster. I can also do some nice flowery prose if put my mind to it.

What are your writing weaknesses?

For all of my love of pretty prose, it’s easy for me to forget to describe things, so my writing can end up fairly sparse. I also feel like I could get better at integrating romance and plot - the romance often ends up getting drowned out by everything else going on, which is especially frustrating because I’m usually writing it because of the romance.

What was the first fandom you wrote for?

That’s a good question. Probably Death Note (my friends and I used to ship L/Light) - that’s the oldest fic I have on my computer, at least, but I used to write on paper, so there may be something even older there. The first fandom I posted anything for is Harry Potter (a next-gen OC fic about the daughter of Bellatrix Lestrange - it’s best not to ask). I also posted my first Holmes/Watson fic at about the same time (it’s pretty bad, but I tried).

What’s your favorite fic that you’ve written?

I’m actually really happy with a couple of my somewhat recent longer fics:

Generations - my Kirk/Spock Star Trek: Generations fix-it

Bertie Solves a Mystery - Jeeves and Wooster get embroiled in a murder mystery and meet Hercule Poirot and Hastings (also Jeeves has a mysterious backstory)

tagging: I’m going to second @plaudiusplants and tag @the-z-part and @marlinspirkhall if you’d like to do it, along with anyone else who wants to go for it!

#v writes #v was tagged #Star Trek: The Original Series #Spirk #ACD Sherlock Holmes #H/W #Jeeves and Wooster #SuperBat #Yugioh #Death Note #Harry Potter #Alice in Wonderland #The Phantom of the Opera #Hercule Poirot #Dorian Gray #Star Trek: The Next Generation

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thomaslightwood · 4 years

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Blackthorn Detective Agency - Part 1

KitTy Sherlock AU!

It's set in 1930s, slow burn & will have a few parts!

I'm not 100% sure where this is going but I'm already writing the second part, so we will see

Words: 3 862 (I know it's long, sorry, this part is more about the plot and the surroundings)

Kit looked at the grey sky above his head and frowned. It was going to rain. Of course.

He hasn't been in London for over a year now but he wondered how he could forget that. The bad weather, the noise, (and true to be told - very dirty) streets, the men in suits and cylinders, the women in pretty dresses, sometimes with pants. He wondered what happened to the few closet shops he was passing by. One of the many mysteries of life.

And talking about mysteries…

Kit saw at the other side of the street what he was looking for. A grey showcase, thorns all over the frame with a few simple words in the middle - "Blackthorn Detective Agency". There was a small bee on its left.

Kit fastly crossed the street, holding his hat. Some man angrily shooted, cursing the sudden wind that scattered many leaves, newspapers and even a few hats. Kit laughed. He missed London even though it wasn't the most awesome place.

He stood up in front of the agency, hesitating. He knew the guy who ran it is young, very good at what he does and known among people as Sherlock Holmes. Kit didn't know almost anything about him. What if he was a criminal? Or another kind of dangerous person?

But he remembered the look on his father's face. The empty package. Kit needed the money, no matter what kind of guy was this Sherlock.

He quietly opened the door and looked around the room as he was entering. It was kind of a lobby but a lot smaller - there was space only for two comfortable-looking armchairs, mahogany mass and a portrait hidden behind a curtain. The walls were in nice, warm colors, mainly grey and brown, a turned off radio on the desk. In the right corner, almost unnoticeable was a polished ajar wooden door.

Kit cautiously stepped towards it but then he heard voices. He stopped, grateful he was quiet while coming inside.

“... think so?” this was a woman's voice, perhaps a girl's.

“Look. All I know is that my friend disappeared a few days ago,” this was definitely a woman's voice, probably older than the first one. “He didn't show up for our meeting the next day. He didn't send a note. And…” she hesitated.

“What is it?” this time it was a male's voice.

There was a minute of silence, then:

“The only reason I come here is not because I can't do investigation on my own. It's because…” she sighed. “The last day we saw each other, exactly the day before our appointment, he told me there is a secret that was passed to him to protect. And he told me about it. Not everything, not enough details, but I'm sure he told me because he knew he may be… attacked. I think his… attackers may know about me and this would impede the investigation.“

“I understand,” the male voice again. It was a nice voice. Melodic. Kit could listen to it for hours. “I suppose you can't tell us this secret.”

“No,” she said firmly. “I definitely can't. It's not mine to say.”

After this no one said anything but Kit thought he heard a pen writing fast on a paper.

“Is there anything further you want to share?” asked the male voice.

“I don't think so,” the woman said. “Just… be careful. Find my friend. The money is not a problem.”

Kit swallowed. Money. This woman had money. Kit should get the job at all costs.

“Thank you, Miss Loss. We will do everything we can to help.”

This was followed by silence and noise of moving clothes. Tracking of heels. Kit jumped off the door, hoping he wouldn't be caught eavesdropping.

A woman with blue skin and white hair came out of the room. A warlock. She suspiciously looked at Kit but didn't say anything. She walked past him and frowned at the sky.

“London's weather is terrible, isn't it?” Kit chuckled. “Sometimes I forget.”

A shadow of a smile crossed the woman's face. “It is, indeed. That's why I brought an umbrella.”

“Lucky you. I always forget and I'm supposed to live here.”

Then a real smile appeared on her face. But she didn't say anything - just put on her gloves, took out her umbrella and went outside. As she opened her umbrella right in front of Kit her skin and hair became darker and she wasn't warlock anymore - just a regular woman in the rain.

Kit watched after her for a second then turned around. On the door's frame was leaning a girl. Not much older than Kit probably, with bright blue-green eyes that was watching him curiously. She was wearing gloves, white shirt with puff sleeves and coffee brown wide leg pants, almost as dark as her curly hair. Her arms were crossed in front of her chest. Kit noticed a necklace around her neck, with a gold chain and a slim disk of metal on it. On the front was a wreath of thorns - probably the family symbol.

“How can I help you?” she asked politely.

“I'm here for the job. I heard that… Sherlock… is looking for a partner.”

“Yes, that's right,” she said. “Very well. Come in.”

She turned around and got back into the room she and the other woman were in. Kit followed.

It was an office. The shelves on the walls were filled with books - some of them about mathematics and the morse code, about the body language and animals, others - mysteries and classics, fairy tales and mythology, most of which Kit didn't recognize. It was surprisingly cozy - the room was warm and smelled like ink and paper. There were a few maps on the walls - of the world, of England and of London. Three armchairs like the ones in the lobby and surprisingly many tables (at least three) on which were a few little toys and tons of well organized paper - on one was even a disassembled watch. Right against the door, no more than 5 meters away, was a big desk - it was a little messy, with a rotary dial telephone and two chairs on both sides. Probably for the clients.

There was also a board, standing close to the desk - big, see-through board on wheels with paper and written things on it. A young man was cleaning it right now.

As Kit saw him everything around faded a little and his gaze was focused only on him. How beautiful.

This was probably the most good-looking man Kit has ever seen. He was tall, taller than Kit, with messy black hair which showed he probably runs a hand through it a lot. His eyes were grey like the sky outside, carefully reading a piece of paper. He was wearing gloves, a silk white shirt, a little loosened on his neck and black trousers with braces.

This should be Sherlock, Kit thought. He didn't expect him to be so young. Hell, he probably wasn't much older than Kit.

“We have a job candidate," the blue-greened girl said and sat on one of the armchairs.

The young man lifted his gaze to look at Kit. Kit felt embarrassed. He was wearing his favorite overcoat and cap - he wasn't as elegant as the two of them.

“Hello,” he said, trying not to sound too nervous. Or desperate. “I'm here for the job. I heard that Sherlock is looking for someone helping him.”

None of them said who Sherlock was or if the guy in front of him was Sherlock. The black haired one just nodded.

“You can sit if you want.”

Kit sat. The boy took a notebook from one the piles on the desk and a pen.

“My name is Livvy. This is my brother, Ty. We run this place. Nice to meet you.”

They, Livvy actually, asked him a few basic questions - his name, age, occupation. Kit came here prepared to lie for them all. But watching the boys' - Ty's - face while he was writing down the information, he couldn't make himself tell all the lies he had prepared. Kit ended up telling them the truth. His father would be disappointed in him. Well, if he knew his son was here.

“So, Mr. Rook,” the girl started.

Kit shivered. “Please, Mr. Rook is my father. You can call me just Kit.”

“Kit, it is,” she smiled. Kit had a feeling the serious questions begin now.

After almost 30 minutes the interview was at its end.

“Final question,” Livvy said. “Tell us Kit, why do you want to work in this agency?”

Kit paused. “True to be told, it's mainly because I need the money.”

“Oh,” clearly this wasn't the answer she expected. Even Ty looked up. “Really?”

Kit shifted uncomfortably. “Well… I want to help my father and for this I need to find a job. And when I saw the inquiry in the newsletter… I told myself this is what I want to try to work.”

It wasn't the greatest answer, really. But it was the truth.

“Very well,” Livvy said. Ty wrote something in his notebook - he was doing it the whole interview. “Please, leave us alone for a few minutes.”

Kit nodded and got up. He smiled at them and turned around.

When he got out of the room the door closed tightly after him.

•

Livvy turned to him with a playful smile.

“What do you think about him?”

Ty looked at the notes he had made during the interview. Christopher, also known as Kit Rook.

“He looks like he can do the job,” Ty said.

“Oh, come on!” Livvy stepped away from the door and approached Ty's desk. “I know you liked him.”

It was true. Ty did like him. He had a nice smile.

“You're not wrong,” Ty said. “But.”

“But?” Livvy raised an eyebrow.

“I don't think he'll keep up around for long. You heard him. He's here only for the money. When he is financially stable again he'd quit.”

“Ty,” Livvy sighed. “We talked about this. We're looking for someone who will work here, no matter how long. We can't find a full time worker that fast.”

Ty ran a hand through his hair. He closed his eyes and breathed. He looked at the empty board. He already imagined how he filled it with paper, the possible connections and people, places and details, the web of the case - could this stranger help him solve the board?

“I know you don't like strangers,” Livvy said quietly. “But at least give him a chance. From all the people that came, he is… I don't know. Most reliable-looking, I suppose. He would talk with people and he's smart. And I have a feeling he may know a thing or two about London's criminals.”

Ty looked suspiciously at the door, even though he couldn't see Kit through it. “Do you really think he would be helpful?”

Livvy sat on the chair in front of the desk, looking amused - Ty wasn't sure why. “I think he is worth a try.”

Ty looked at his notes one more time, tapping with the pan on them. He looked at Livvy. Sighed.

“All right,” he said. “Let him in. He must hear the good news.”

Livvy smiled at him and got up. Ty almost didn't hear their conversation. Still tapping with the pen on the papers, he read again all the information Catarina Loss gave him. He should talk with some people. Check some places. To think about it.

“Ty?”

“Yes?” he looked at Livvy.

“When is Kit starting?”

Ty thought about it for a second. “Right now.”

•

Well, Kit thought. These guys are intense.

He watched, sitting on a chair, as Ty and Livvy together "prepared" for the case. Ty cleaned up one table, while Livvy moved the London's map closer to the see-through board. At some point they were finished and Livvy sat on the same chair she was sitting on during Kit's interview, while Ty remained standing.

“Let's retell get the case from the beginning,” Ty said and grabbed his notebook. “Before four days, on 10th October Ragnor Fell arrived in London, around 2 p.m. After that, around 4 p.m he and Catarina Loss met on George Street, in a restaurant whose name is unknown. They sat there no more than three hours and left between 6 and 6:30 p.m. This is the last time Catarina sees Ragnor. The next day, 11th October, they should have met at Arthur Street at 11 a.m. but Ragnor never appears.”

He looked up from his notebook and said, “Do I miss something?”

“I don't think so,” Livvy, who had written fast while her brother was talking, shook her head. She turned to Kit as she was handing the paper to Ty. “This is the 'skeleton' of the story. The very basics we know. The details come after this.”

Kit nodded, fascinated by the team they were. What was Kit even doing here? It was obvious the twins worked well together - they didn't need a third wheel.

“Now,” Ty said slowly, looking at the paper with the information Livvy wrote on. “Ragnor told Catarina the secret during their meeting on 10th, correct?” On another list, which he pinned next to the first one, he carefully started to write what he just said. He was making a timeline, Kit realized.

“Correct,” his sister said. “Also, in the same conversation he mentioned he's going to meet with a person named Raphael Santiago, but it's unclear when and where.”

Ty wrote that too.

Then he stared at it, tapping the pen on his hand.

“Do we know when he comes from?” Kit suddenly asked.

They both turned their heads at him at the same time. A little creepy but impressive.

“What do you mean?”

“I was talking about Ragnor and his train. Do we know where the train started from? Or from where Ragnor was before arriving here?”

Ty intensely searched his journal. “I don't think so.”

“It's probably not important anyway…”

“It may be,” Ty just said and took one more paper, wrote something on it and pinned it on the other side of the list with the 'skeleton'. “This is the first thing we're going to check tomorrow.”

For a few more hours they discussed the case. It was Ty mostly and Livvy. Kit was only following their conversations (and Ty's monologues), adding some little details time to time.

He was amazed. After spending a few hours in their company he could understand why "Blackthorn Detective Agency" had this reputation.

Kit looked at the clock on his hand and stood up. “I'm sorry but I have to go.”

It was almost 6 p.m. His father would wonder where he was.

“All right,” Livvy said. “Come here tomorrow morning. Nine a.m. Or earlier.”

Kit shivered. So early. But he only nodded and left.

•

Kit was running down the street. The wind was blowing in his face, his lungs were burning. He could barely stop in front of the door of "Blackthorn Detective Agency". Kit took one deep breath and entered.

Ty was in the lobby, sitting on one of the armchairs. He was reading his notes, in one hand holding a calabash pipe and in the other - his journal.

He glanced at Kit. “You're late.”

“I'm sorry,“ Kit said. It was his first day - it was a bad impression to be late, wasn't it? “I didn't correctly estimate how long it would take me to get here. I promise it won't happen again.”

“Good,” Ty said, closing his notebook. He got up from the armchair and grabbed the overcoat that was on the other.

He was as tall and handsome as yesterday. Under the overcoat he was wearing clothes similar as the day before - only the shirt was green. The braces remained the same.

“Let's go.”

“Shall we not wait for Livvy?”

“She is not coming with us.”

“Oh. All right.”

Ty eyed him as they were leaving the building. “Are you disappointed?”

“Well. No. Just surprised I suppose.”

Ty seemed like he accepted his answer. They walked side by side on the street.

“Where are we going? To the train station?”

“We shall,” Ty said. “But our first stop is Ragnor's apartment because it's closer. Then we'll take a taxi to the train station.”

“Sounds good.”

They walked together in the chilly London. Kit could see his breath in the air. The streets were rather empty. Maybe it was because it was too early? Anyway, he liked it this way. It was calm.

“So,” Kit said. “Why do you choose to call yourself Sherlock? Where does it come from?”

“Livvy came up with it,” Ty said, glancing around the street. Maybe he was searching for Ragnor's apartment. “And I'm not Sherlock.”

Kit was so shocked he stopped walking for a second. Then he caught up with Ty and asked, “Wait, you're not Sherlock Holmes? Then who is it?”

“Well,” Ty said and turned towards the street on the left. “It's Livvy and I. Although she probably will disagree.”

“Interesting,” Kit said absently. This explained some things. Like why no one could tell how Sherlock looked or his age. Even if he was male or female even though most people thought it's a man.

“This is it,” Ty said and they stopped in front of a tall but narrow building, reminiscent of a tower. “I believe Ragnor's apartment is on the third floor.”

Instead of entering the building from the main entrance, they went around to the rear entrance. While they climbed the stairs (because around the elevator too many people would see them), Kit asked, “Do you have a key to the apartment?”

“No,” Ty simply said.

“You say we're going to break in?”

“Well, technically, yes. But Catarina Loss said we should do everything we can to find him. Even if this includes "some not so legal actions", in her words.”

“Dear god,” Kit murmured. “So, we, kind of, have her permission to break in her friend's apartment?”

“That's right.”

Does he know how to do that? Kit thought but didn't say it. He probably knew. This was Sherlock Holmes (or at least half of it).

They quietly sneaked throughout the floor, until Ty stopped in front of room 66B.

He frowned at it.

“What is it?” Kit said.

“It seems that the lock is not... what I expected it to be,” Ty sounded deeply displeased when he said it.

Kit signed. He didn't want to seem like a criminal but desperate situations require desperate measures.

“Have you brought some instrument to open the door?” Kit said, already looking at the lock. “Small screwdriver perhaps? Or something like it?”

“I did,” Ty said absently, tapping with his foot. He was probably thinking of other ways to open the door without breaking it. Well, with a bit of luck Kit was going to do it for him.

“Can you give it to me? I want to try something.”

For a second Ty just looked at him but did as Kit asked.

Kit took the little object and kneeled in front of the door. The lock was better than he expected from a place like this but nothing unbearable.

After a few minutes, a few clicks and pressure on the mechanism Kit unlocked it. He stood up and gave the screwdriver back to Ty.

Ty was looking at him with amused eyes. “Unexpected but very helpful. Thank you.”

Kit felt warm and smiled. He wasn't used to people complimenting him. Shyness he didn't know existed in him woke up and he just said, “Nothing special. You're welcome any time.”

Ty gave him a thoughtful look for a second but didn't say anything.

They walked in the Ragnor Fell flat. It was a rather simple room. Pale red wallpapers, boring green sofa. A dresser and a desk with a few books about Spanish language on it. Bookshelf and a few plants. In the end of the room was a door, as boring as everything else here, that was probably the bedroom.

“This doesn't make sense,” Ty said, looking around the room. He approached the desk and looked at the books.

“What? That this flat is awfully boring for a warlock to live in? If so, yes, you're right.”

“No. I mean,” Ty ran a hand through his hair. “You have a point. I suppose. But I meant that such a warlock as him would protect his own flat at least. We get into it too easy. There were no spells, no protection, nothing. This is strange.”

Kit closed the door to the apartment and stepped in it. “Maybe he just didn't have the time?”

Ty shook his head, opening a drawer in the desk. It was empty. “Between his meeting with Catarina and his arrival in London are two whole hours. After that too, if we guess he hasn't been kidnapped right after meeting her.”

“Fair point.”

Kit looked around as well, approaching the door. There really wasn't anything interesting. Most of the books were classics, the sofa looked old but unused. Kit opened the door to the bedroom which creaked quietly.

This room was even simpler. One big bed, two nightstands on both sides of it and one more wood door, probably for a bathroom or closet. At one of them though there was a frame. As Kit took it in his arms he saw it was a black and white photograph. In the middle Kit recognized Catarina Loss - she was smiling quietly with crossed on her chest arms. On the right was a tall guy with cat eyes and a big smile, maybe a little drunk.

Kit decided the man on the left was Ragnor - he couldn't imagine a guy like the other one would live in place like this. Maybe-Ragnor looked grumpy and annoyed but Kit could see in his sparkling eyes that he was happy. He probably loved his friends but would never admit it.

On the right corner with a thick pen was written 'Peru,1890'.

“Did you find something?”

Kit looked a little startled at Ty. He almost forgot they were here to investigate. Almost.

“Something,” Kit repeated. He handed the frame to Ty and watched as his grey eyes were running through the photo.

“Peru, 1890,” he said thoughtfully. “This photography is from more than 40 years ago.”

“It's the only personal piece here. Probably in the whole flat, except the Spanish books.”

“You have a point,” Ty agreed. “But this is not his-”

A sharp sound interrupted him. It was the front door. Someone was trying to break it.

Kit breath stopped. Before he could do anything Ty grabbed his arm, opened the wood door and dragged them both inside.

Ty closed the door to the narrow dark room. Kit couldn't see anything. The only material thing was Ty's body against him. A moment later they heard how the stranger broke the lock and their steps as they came inside.

To be continued...

#kit herondale #ty blackthorn #kitty #tda #tsc #the dark artifices #the shadowhunter chronicles #livvy blackthorn #kit rook #history au #alternate universe #1930s au #tsc fanfiction #sherlock holmes #sherlock au #sav's writing #my post

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writingwife-83 · 4 years

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My 2020 Sherlolly Self Interview

Thanks for organizing this fun activity @sherlollyappreciationweek! 🎉 I’ll start out with a very brief “about me” section-

I live in the northeast area of the USA, I’ve been married for seventeen years, have one teenage son, and I’m in my *gulp* late thirties now. I do volunteer ministry work and also work part time from home. Among other leisure activities, obviously I love writing! I started writing original fiction when I was a preteen, but I’ve been writing fanfic under the pen name “writingwife83” for over six years now. I discovered fanfic and the world of online fandom after becoming obsessed with BBC Sherlock in 2014 after s3 aired. I read The Full House, fell in love with the whole concept of fanfic, specifically for sherlolly, and couldn’t help but give it a go myself. And as they say, the rest is history!

Below the cut I’ll talk about some of the topics and fics suggested by followers/readers. Buckle up cuz it’s a lot lol...

Ok, first up to be kind enough to give me some feedback is @readstoomuch. You said- “what inspires you. Any story (I love them all!). Who do you love writing? Who is hardest for you? And which is that one story that you had fun doing?”

As for what inspires me, first and foremost it’s the show and characters itself. Watching those two on screen, it’s not hard to be inspired! But beyond that, I find a lot of inspiration in music and art, and just generally in other creative works and people. I think for a while I had my own internal inspiration and no lack of it, but as months dragged into years lol, I have found that the rest of the shippers are invaluable in filling the gaps when I lack inspiration and motivation. Some prompts I’ve gotten from others have taken on a life I never would have expected, and that’s pretty great. I honestly don’t think writing works best as a purely solitary activity. I know myself and although there is an aspect of my writing that will always be “for me,” that’s absolutely not all it is. It’s the fun of creating with others and it’s the fun of sharing with others.

As for who I love writing and who’s hardest, I think I’ve always felt pretty comfortable writing the main characters in Sherlock. I probably especially love writing Sherlock himself because he’s fun to break down and really dig deep into his emotions and thought processes. There have definitely been times some of the side characters have overwhelmed me and made me nervous about conveying their voices accurately. For instance, Mycroft can be tough if it involves pulling him out of his shell in a way that still feels believable and true to character.

That one story I had fun doing? Well there’s no way I can say just one. 😆 As far as reader response, there’s no other fic that can compare to the fun of I Told You So, that’s for sure. But as far as the actual plotting and creating, I think the fics I’ve had the most fun with are the multi-chapters I’ve done since becoming good friends with @thisisartbylexie. Having her as a sounding board, plotting buddy, and editor has absolutely increased my creating fun and has definitely also made me a better writer.

Thanks so much for asking @readstoomuch 🥰

Alrighty, @thisisartbylexie, you asked- if there's a fic that you ever wanted to go back to change in some way, which one would it be and why? Which one do you feel "oh wow, did I write that?" in a super positive way?

Idk how to choose just one fic. There are plenty that could use some changing lol! One I’d like to fix though, would be Pleased to Meet You. I know (because I’ve been told) that there’s inaccuracies in that one seeing as I’m not personally familiar with university settings in the UK. I did actually attempt research and I thought I got the idea, but apparently it didn’t work out terribly well. But the plotting and progression of that fic is one I’ve always been happy with, so I guess I feel like it’s a shame if it came off messy in some general ways and distracted from the rest of it. I like how I was able to weave that one into the canon of the show up to that point. And tbh it actually still fits as a uni backstory for them without any conflicts to the canon. As much as I enjoy canon divergence and AU, I also have a big soft spot for fics that simply connect seamlessly to what we’ve already been given.

As for “oh wow, did I write that?” I think one of my proudest accomplishments has been Zephyr. That fic kinda has it all lol. The tropes, the pining, the romance, the Victorian setting...ugh I love it. And there’s a climactic kiss moment in that fic that’s one of my faves I’ve written. I’m so glad I wrote it because of the Sherlolly Remix Challenge in ‘16, and at your suggestion, Lexie. But I will also be forever sad that I had to release that fic all at once on AO3 once completed. That fic would have been great fun to be writing and posting as I went along! And on top of being happy with the fic itself and how it came out, I’m awfully proud of the fact that you were excited enough about the fic to illustrate it, and that @goodshipsherlolly enjoyed it enough to record it as an audio fic. Honestly, what more could a writer ask for? 🥺

@mizjoely, you said you’d like to hear anything about The Queen’s Man. Okey doke, you got it lol!

I actually went back and read through most of that fic when I got this because it had been a long time since I’d looked at it. I gotta be honest that in hindsight...I’m a little surprised it did as well as it did.😂🙈 As some may remember, it started because I saw a magnificent manip and wanted to write something to go with it, and then because that was well received, somehow it just kept going. I did very little world building and development of characters in that fic. It was largely just one shippy, romantic, pining scene after another lol. At the end I did kinda tie it all in and wrapped the story up ok, but it was definitely one of those self indulgent fics where I didn’t feel like doing the hard parts and really just wanted to write the fun stuff. Don’t get me wrong, I loved writing it, and I’m so glad it got the positive reception that it did! But it just kinda makes me laugh because it goes to show sometimes you don’t know what’s going to do really well. You could agonize over clever plotting and world building and character development etc, and be so super proud of the finished product and all your hard work, but then you share and the response is like “meh.” And then other times you legit just throw something together with barely any careful thought, and the crowd goes wild! But aside from all that, the visuals in my head of that AU are just too drool worthy to me. Molly in Medieval royal attire? Sherlock in dark armor with a Purple Tunic of Sex™️ underneath? The two of them lingering in the dimly lit hallways and rooms of a castle and gazing endlessly in mutual pining? Yes to all.

Thanks for asking @mizjoely 😘

Ok wow, see what I mean? That was long! 🤣 If you read all the way through this whole thing, *Moriarty voice* thank you...bless you. Honestly, this ship is amazing and I don’t think I’ll ever have a writing experience anywhere else like I’ve had here. I’ve seen the other side of things in another fandom now, so I can all the more so confirm that there’s no ship quite like sherlolly. The warmth, reception, and longevity is mind blowing and I’m just awfully happy to have played a part in creating for the beauty that is Sherlock Holmes and Molly Hooper. 💕

#sherlolly #sherlollyselfinterview20 #I spent too much time on this lol #hope some of you enjoy reading it!#I hope I remembered to link everything #there were lots of links to be added lol

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smokeybrand · 4 years

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Smokey brand Movie Reviews: You Should See Me in a Crown

I’m not a massive fan of the classic Sherlock Holmes tales. I’ve read them all and appreciate the legacy and what they’ve inspired in other works, but they’ve never been my favorite tales. I actually enjoy the various interpretations and re-imaginings much more than the core mythos. I like RDJ’s take in film and the more modern spin with Elementary but, by far, my favorite rendition of Sherlock was the BBC version that made Benadryl Cumquatt a star. That show is inspired, at least the first two seasons, and it blessed me with one of the greatest television villains i have ever had the pleasure of witnessing; Andrew Scott’s Moriarty. My goodness, is he the greatest adaption of that villain! He even looks the part. I say all of this because Enola Holmes dropped today on Netflix. It’s a completely different take on the Holmes mythos centering on Sherlock’s younger sister, Enola and starring Millie Bobby Brown of Stranger Things fame. This is her vehicle, i think she’s producing it, so I'm curious how well it’ll fare. These Stranger kids are all growing up and trying to transition into adult stardom. Finn Wolfhard is doing fine and Millie seems to be taking things into her own hands. Let’s see in those hands are steady enough to push her into the next phase of her career.

The Good

I’m not one for that old timey Victorian aesthetic but i can appreciate the effort it must take to give it life in the modern age. The costumes and sets in this thing are exquisite. This is gorgeous and meticulously crafted film.

This film’s direction is pretty okay. The narrative, itself, leaves a lot to be desired but what is presented, has been deftly constructed. Credit to Harry Bradbeer for that. Dude has directed a few episodes of both Fleabag and Killing Eve so he’s got the chops. I just wish the fare this time was a little more substantial so he could really sink his chops into it.

This cast is loaded. There are several names in supporting roles worth note. Adeel Akhtar, Fiona Shaw, Frances de la Tour, and Susie Wokama all make memorable appearances. Louis Partridge is a little flaccid in the love interest role but he does enough to distract.

Millie Bobby Brown makes this movie. Her Enola Holmes is brilliant, witty, and full of that ardent, rebellious, energy all teenage girls are filled with. Though er story is one of mystery and intrigue, it is, first and foremost, kind of a coming-of-age tale. Brown does a decent job carrying this film and never falters in the same space as older, seasoned, actors like Helena Bonham Carter and Fiona Shaw.

Henry Cavill is basically playing Superman. His Sherlock Holmes is easily the weakest I've ever seen. Dude simply doesn’t have the chops to pull this off. I might be judging him too harshly considering the caliber of actor to have filled this role and made it their own in recent times. These are big shoes to fill but they fit ill on Cavill. This ain’t his story so we don’t really get to see that brilliant deduction but i don’t know that he could have pulled it off even if we did.

Helena Bonham Carter as the Holmes matriarch, Eudoria, is a pleasure. She steals every scene she’s in, even if there aren’t many. The Mrs. Holmes is mostly absent but the specter of her charisma permeates every facet of this film and it’s very welcomed. I just wish there was more of her.

Sam Caflin’s Mycroft Holmes is a very interesting take on the character. Dude is effectively the villain of this narrative. He’s out to force Enola into doing everything she doesn’t want. Dude is the overbearing pops or whatever. It’s awkward seeing Mycroft this way but he is ably portrayed by Caflin so i don’t have too big an issue with him.

The Bad

This thing exudes female energy. It is every bit Enola’s story. Now, I'm not too mad at that. Millie is decent in the role and it is unmistakably her film but that is, in this current climate, very abrasive to some. There is a strong feminist slant in how this narrative is presented and that might turn a lot of people off, depending on if they feel that is “controversial” or not.

There is just SO much exposition in this thing. It’s the nature of the genre, cats have to talk there way through problems or whatever but I've seen this part of these types of stories done much better. Sherlock, for example, found a way to visualize this and did it very well in the first two seasons. This film does not do that. It’s not super terrible but it did take me out of the story a little bit.

The music in this is very distracting. There aren’t many scene where the narrative just let’s you breathes. There’s always a whimsical swell or a punctuation flare to emphasize a shot. This feels like a callow tactic to give more levity and agency to the film where there really isn’t any to be had.

The writing in this is kind of weak. I thought, with how everything was progressing, that it might have been written by several people bu it wasn’t. One person crafted this tale; Jack Thorne. I’m really familiar with the bulk of his work but, if it’ anything like this, i imagine his is an underwhelming catalog.

This thing doesn’t feel like a movie. It feels like a series or that it should have been a series. I don’t see how this thing could have succeeded in the theater and it should count it’s blessings it found a home on Netflix because this definitely would have flopped. This thing feels like a proper Netflix movie, not a Hollywood outing.

As if to dive my previous point home, this is definitely sequel fodder. This film was made with several to follow in mind. Enola Holmes is a whole ass book series so there is definitely material to be had there. There’s six book so content isn’t lacking but i kind of feel like that ending should have felt a little more finite. This cash grab attempt at film universes and sequel bait is the most disingenuous sh*t ever outside of microtransactions in games and i kind of hate it. It’s wild to see everyone release sub-par entries on the hope they can patch the sh*t with sequels but everyone forgets that Iron Man was exceptional. It’s easily the third best MCU film and was the first to release. That first film has to be solid enough to bare the weight of a entire franchise and Enola Holmes ain’t doing that level of heavy lifting.

This film wears it’s Young Adult categorization like a badge of honor. You can tell this film is just a step and a half up from the likes of Riverdale or Nancy Drew. As a grown as man, this was not for me and i understand that very well. That said, it falls into that same, tropey, nothingness that the worst of the YA genre is known for, which is all the more reason this should have been a serial not a film. It’s not aggressive in it’s cliche but, if you’ve seen as many films as i have, you pick up on it immediately. For me, that’s the biggest issue with the film but for others. it might not even be worth mentioning.

The Verdict

Enola Holmes is a very cute, but flawed, viewing experience. It’s an interesting take on the Sherlock formula, injected with all of the GRRRL power you’d expect from a film starring a teenage woman in the lead. It’s not pretentious or forceful about it’s messaging but you definitely understand that there is a message it wants to convey. Millie Bobby Brown is excellent as Enola, easily the second best thing about this movie after the scenery chewing Bonham Carter, and there are some strong supporting performances. Cavill is a miss as Sherlock and Mycroft might as well be a mustache twirling villain but, in service to this particular narrative, the change in character makes sense. The film, itself, is ably directed and it’s a legitimately gorgeous watch but there are severe shortcomings. The writing is pedestrian, the plot is cliche, and to cover up these weaknesses, the music is leaned on too heavily. The foremost mystery isn’t one of true merit, i figured it out about halfway through, and it eschews the real conundrum for later time. The whole premise of this movie delivers a relatively intriguing situation but that is left for a later film to resolve and i kind of hate it. Sh*t was mad bogus. None of these issues are very pressing but they are noticeable and, at times, a little grating. Still, i was never bored and it is a rather well put together film, overall, even if it does feel like it should have been a proper miniseries. Enola Holmes is worth a watch but, understand, mileage may vary. I thought there was potential going forward but this thing should have definitely been a series and not a film.

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possiblyimbiassed · 5 years

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What happened to Sherlock? Part VIII - The Sign of the Hetero Norm (2)

This is the second installment of my meta about the significance of Mary in BBC Sherlock and hypothesis #8 in this meta series; that John is not the father of Mary’s baby. It follows directly on the first installment, which you can read here.

(For the record, I’ll also repeat the disclaimer: My suspicion here only concerns John’s biological offspring. It would still be possible that John, and perhaps also Sherlock, might father the child - if it exists - by adoption. It does not exclude a metaphorical reading where the baby represents, for example, Sherlock’s and John’s relationship. i also want to stress that this hypothesis is an attempt at logical reasoning based on observations in the show and in ACD canon; it’s not meant to be ‘gossipy’ and has nothing to do with whether I would actually like to see this happen or not - that’s a whole other story. ;) )

Mary’s background and canon similarities

The first time Sherlock meets Mary in TEH, he deduces a series of things about her, most of which we haven’t seen explained this far. But there’s one thing in particular that seems to stand out to him: that she’s a liar.

In HLV we learn that Mary has lied about her background to John, and she keeps lying and deceiving in S4. But even if HLV and S4 aren’t ‘real’, and Assassin!Mary only exists in Sherlock’s imagination, this doesn’t mean that his first deduction was wrong; the fact that Mary’s lying trait is repeated later seems to indicate that it’s important. Mary might be lying about other things instead. Like, for example, about who’s the father of her baby. (Continued under the cut)

Some other deductions in this scene might also be significant; that Mary ‘bakes her own bread’ might refer to the idiom ‘a bun in the oven’, slang for being pregnant. A hint that John will not be responsible for her later pregnancy?

Another ‘feature of interest’ about Mary is her possible US connection. America is definitely a recurring theme in BBC Sherlock; the US or ‘America’ is referred to over 20 times throughout the show. These references occur on a plethora of different occasions, and in three specific circumstances the CIA is mentioned. In one of them (HLV) we learn from Magnussen that Mary has been doing “wet jobs for the CIA”. Sherlock also suspects that while Mary’s accent is English, Mary herself is not. So, Mary might have some kind of connection to America - at least in Sherlock’s mind. The idea is hinted at, but never developed.

Mary Morstan’s British background may be described in canon, but ACD’s original stories contain even more US references than BBC Sherlock. Big parts of the novels A Study in Scarlet (STUD) and The Valley of Fear (VALL) take place in America, and many characters have connections to the US - the most prominent of them perhaps Irene Adler in A Scandal in Bohemia (SCAN), who was born in New Jersey.

The Noble Bachelor (NOBL) is particularly interesting in this context. In the beginning of the story, Watson points out that it happened “a few weeks before my own marriage, during the days when I was still sharing rooms with Holmes in Baker Street”. I believe this talk of Watson’s marriage might be significant mirror-wise. The case in NOBL is about a bride - an American woman - who disappears directly after marrying the British nobleman Robert St. Simon, because she learns during the wedding ceremony that her beloved former husband, who she thought was dead, is still alive.

(X) The bride doesn’t reveal this during the wedding, but an hour later she is gone. So legally she was still married, and the new marriage to the nobleman would therefor be nullified - hence the story title of ‘bachelor’, I believe. On Lestrade’s questions about the case, Holmes answers:

“Just one hint to you, Lestrade,” drawled Holmes before his rival vanished; “I will tell you the true solution of the matter. Lady St. Simon is a myth. There is not, and there never has been, any such person.”

This is, more or less, the role I think Mary Watson plays in canon after SIGN; she’s a myth, a heteronormative façade (see reasoning in the first installment of this meta). In fact, I don’t think she ever appears in canon under the name Mary Watson (please correct me if I’m wrong). Now, if Sherlock’s deductions about Mary’s background in HLV would be true (in spite of all the other things about this episode that might be his mere imagination), that Mary Morstan is a false name and she has lied about her background, this would technically also nullify her marriage to John, wouldn’t it? You can hardly marry someone who doesn’t exist. ;)

There’s also a literal hint in TAB that Mary might soon be on the run, just like the bride in NOBL:

In this scene, in the midst of Sherlock’s Victorian Mind Palace dream, Watson is suddenly dressed as the modern John and seems more angry than worried about Mary’s disappearance. So I can’t help wondering: Does Sherlock foresee this outcome from his subconscious deductions about Mary and the baby?

A possibly vengeful bride

In TSoT we learn more about Martha Hudson’s late husband Frank, when Martha talks to both Sherlock and John separately about how “marriage changes you as a person”. Her marriage was like a “whirlwind” at first, which Martha felt “swept away” by. Her best friend Margaret seemed to have been devastated and left the wedding early. But we also learn that Frank Hudson ran a drug cartel, was sentenced for murder and had several other women, that Martha found out about after they had moved to Florida, USA. Martha was actually relieved when he was arrested for “blowing someone’s head off”. From ASiP we also know that Sherlock was the one who made sure Frank was executed (by lethal injection according to TSoT).

There seems to be something still missing from the plot narrative here, though; in what way was Frank’s death beneficial to Martha? And I can’t help wondering why the Frank Hudson case is even brought to our attention? Why give us these details that don’t quite make logical sense, and then nothing more? And why are we being told, again and again, that “marriage changes you as a person”?

In ACD canon there’s nothing about Mrs Hudson’s husband, as far as I know. There is, however, a sailor named Hudson in The Gloria Scott (GLOR), who comes to blackmail Holmes’ friend Victor Trevor’s father and threaten him with exposing him to public shame and dishonour by revealing his criminal past. Hudson manages to literally frighten Mr Trevor to death. In The Five Orange Pips (FIVE) there’s also a mentioning of someone named Hudson, who is associated with the KKK. So even if Mrs Hudson’s criminal husband in BBC Sherlock is non-canonical, the existence of at least two criminals named Hudson is clearly canon.

Anyway, what has all this to do with Mary? Well, this is very much speculation of course (and not originally my idea; I'm pretty sure someone has posted a theory about it - I just can’t find the reference at the moment. Please alert me if you know who, so I can give proper credits!): What if Mary is Frank Hudson’s daughter and her mother is one of those “other women”? And what if she’s out for some kind of revenge against Sherlock, who made sure her father was killed? After all, the whole Victorian part of TAB - which we know happens in Sherlock’s Mind Palace, where he goes back to solve a case by first solving an older one - is focused on vengeful brides (’Un-Dead’, as it seems - I see you there, Dracula! ;) ). The Emelia Ricoletti case also has clear connections to America.

Could Mary have hired a ‘consulting criminal’ (Jim) and got the advise that burning Sherlock’s heart out by marrying John would be the best way to take revenge on him? Or could she even be paid by Jim to fake a marriage?

Just speculating, as I said… :)

The revelation at the wedding

One of the strongest arguments for the baby not being John’s is, I think, the scene at the wedding reception in TSoT, where Sherlock deduces Mary’s pregnancy. At the revelation, both John and Mary look terrified, like they’ve seen a ghost or something:

Seeing as these guys had lived together at least for a year, their panic reaction doesn’t quite make sense to me - especially since they’re both trained in medicine! If Mary wasn’t even medically tested yet, why panic? Why would Sherlock’s ‘deduction’ seem more reliable to her than her own knowledge of the matter? After all, she had morning sickness. How many women in this world need a male detective (rather than a doctor) to tell them that they’re pregnant? I think Mary rather looks like someone being caught lying, with dire consequences to expect. John doesn’t expect this and seems totally shocked. Neither of them appears happy about the revelation. I think the sum of the couple’s reactions fits better into a scenario where Mary has been cheating on John, and is therefore not protesting at John’s negative behaviour regarding the pregnancy. But she knows she is (or might be) pregnant and has perhaps tried to hide it to John.

Mary is a smart person, and must definitely know what Sherlock actually means to John. She has seen his grieving for a long time and also witnessed his violent reaction once Sherlock returns. She even teases both John and Sherlock about their obsession with each other. Why isn’t she jealous? How can she go on and marry someone who is clearly in love with someone else, and who actually pays her very little attention in comparison? There’s something fishy there...

And what about John himself? There’s an entry on the blog where John Watson’s deductive reasoning skills seem to reach a new low mark (which is a bit strange, seeing as he has been working together with Sherlock Holmes for years at this point):

In short: Sherlock helps a same-sex couple to get together by showing one of them a path out of her arranged marriage. This woman has been threatened with exposure; an abusive person who is out for her money has literally blackmailed her to marry a man and choose a heteronormative life. But John’s conclusion is still this: “I swear that my forthcoming wedding has softened Sherlock.” “Naturally, I assumed it was because he saw me and Mary together and just wanted to make someone else happy.” So John is utterly convinced that his own, heterosexual marriage plans are what inspired Sherlock to help this gay couple out of an arranged, heteronormative marriage? Sherlock, who has been against all John’s girlfriends so far and also clearly stated from the beginning that girlfriends are “not really my area”? Good thinking, John -- not! :)))

And still John seems utterly surprised and terrified when his good, happily married heterosexual wife turns out to be pregnant, after living together with him for a year? Hmm...

Why the “why” is more important than the “how”

I’m going to go out on another tangent of speculation here, just to illustrate the extent to which I think heteronormativity increasingly rules this show, but also how I believe Sherlock’s and John’s emotions play into it. Even if Sherlock seems to have no prejudices regarding gay couples (as demonstrated by the blog case above), when it comes to John and him, I believe Sherlock has bought the hetero norm hook, sink and line. And ‘Mary’ is a metaphor for this, becoming more and more blatantly obvious as the show goes on. To Sherlock, she symbolises exactly “what John needs”: an ‘ordinary’ life and marriage with an interesting but ‘ordinary’ woman. But Sherlock’s subconscious is telling him something different about her, which I think he fails to fully recognise, no matter how much psychological evidence his mind collects.

And the main problem is Sherlock’s repression of emotions; this problem is at the same time cause and effect. His unwillingness to show or talk about his emotions towards John makes him appear as a cold-hearted person, mostly called a ‘sociopath’ or ��psychopath’. Which makes John not want to risk the stigma of coming out, or even recognise his own feelings to himself. Adhering to the hetero norm is much safer, and it allows John to escape from his emotional dilemma in an unsatisfactory and hypocritical way: to marry a woman whom he hardly even knows. Which in turn makes Sherlock believe that John living with a woman is the only reasonable option. And so on and so forth, until eternity. The example below is from TEH, John’s reaction to Sherlock’s return.

JOHN: Now, you let me grieve, hmm? How could you do that?

Sherlock doesn’t respond to this, but tries to avert the question by talking about John’s moustache. What could John, in his highly emotional state, possibly make of this? This is where he becomes violent, and Sherlock doesn’t defend himself. John grabs Sherlock and punches him (which is confirmed by his blogpost about this: “He genuinely thought it would be funny to surprise me. I think he was more surprised when I nutted him.”). And it goes on and on:

JOHN: You know, for a genius you can be remarkably thick. SHERLOCK: What? JOHN: I don’t care how you faked it, Sherlock. I wanna know why.

I think John makes it very clear in TEH that - unlike Watson in canon’s EMPT - he is not interested to know how Sherlock survived the Fall. John doesn’t give a rat’s fart about the method he used to fake his own death, neither is he interested in knowing why Sherlock found it necessary to fake his death to Moriarty and his henchmen. But Sherlock doesn’t get this because the question is entirely emotional; John could just as well have asked ”Why did you force me to live without you for two years; why did you abandon me? Don’t you care about me, didn’t you even miss me?”. But he doesn’t ask this out loud, since neither of these guys are honest about their feelings - not even to themselves, as it seems. And apparently it totally escapes John’s conscious mind that Sherlock might have had an emotional reason to come back precisely to interrupt his proposal to someone else.

I suspect (speculation again) that the ‘why’ of John going on to marry Mary after Sherlock’s return was not only about convincing himself that he needed a “normal” life and submitting to the hetero norm because John is closeted. It was at least just as much about punishing Sherlock on an emotional level, letting this ‘sociopath’ know exactly how it feels to be abandoned, not knowing if the other even missed him. It was revenge and punishment in their eternal, on-going game with emotions, where neither of them is letting his guard down to show vulnerability towards the other. But this was probably subconscious and nothing John would freely admit to. Consciously, this arrangement allowed John to simply register that Sherlock apparently was fairly OK with things, since he even went on to organize John’s wedding. Thus, John could reason, his feelings for Sherlock couldn’t be requited anyway.

I also suspect, however, that the concept of ’Mary’, as we see this character from HLV and onwards, is Sherlock’s way of punishing himself for abandoning John. The wedding planning and the ‘vow’ in TSoT, in my view, was a very special sort of self-harm, where Sherlock tried to sacrifice himself to pay off his emotional debt for having hurt John, by doing his utmost for John to be happy with his choice.

But apparently this wasn’t enough, so when ‘Mary’ shoots Sherlock in HLV, even this is (supposedly) Sherlock’s own fault. I think ‘Mary’s shooting Sherlock symbolises the blow to the heart that Sherlock received on the wedding. But why was this a ‘blow’, one might ask, if Sherlock himself was prepared for the marriage and even helped planning the wedding? Well, there was a second blow on the wedding reception, wasn’t it? (Just as there were two murder attempts depicted in TSoT; one before the wedding and another during the wedding reception). The second blow was when Sherlock deduced Mary’s pregnancy. Because a child would most probably cement John’s relationship with Mary forever. Not only would the baby’s presence be an obstacle for John spending any time with Sherlock; it would also erase any attempt from Sherlock to confess his feelings to John in the future, since it would make him guilty of disrupting a family involving a third, innocent little person.

Mary definitely works as an internalised hetero norm. In his own view, Sherlock has no value, and he doesn’t deserve John. Thus, ’Mary’ is needed to keep John happy, and comes back to haunt Sherlock’s mind, even after she’s (supposedly) dead. No matter what atrocities she commits, ’Mary’ is always excused by Sherlock. In many ways, she’s the new ’Sherlock’: solving crimes, being passionate, leading John into adventures, using disguises, speaking (supposed) words of wisdom and even dressing like Sherlock. She fills in an empty space that Sherlock refuses to fill in himself, because a) he doesn’t consider himself worthy and b) he wants to avoid ‘Sentiment’. Instead of facing reality and try to do something about it, Sherlock tries to have a place in John’s life through ‘Mary’ and other invented avatars.

I think John makes it clear on his blog that he does not intend to forgive Sherlock any time soon: “Turns out he’d faked his death because Moriarty had threatened those close to him. Including me. He’d gone into hiding, happy to leave me and everyone else thinking he was dead. He’d done it to save us but he hadn’t trusted us enough to tell us what was really going on. Not sure I’ll ever truly forgive him for that but as the saying goes, life goes on.”

But then he’s back to talking about the cases and his own motivation to keep his friend after all: “So I ignored him and got on with my life. But God, it was dull. I knew he was back. I knew that he was out there having the time of his life and I was… working”. The image John gives is actually that he keeps hanging out with this ’sociopath’ for the sole reason that he can’t resist the danger, the ’thrill of the chase’. In other words; Sherlock seems to be right in HLV when he claims John to be a sort of adrenaline junkie who craves danger and therefore needs a dangerous wife (to replace Sherlock, who is not good for him because he’s a real junkie and a man to boot, but he doesn’t say this).

John’s ’deeper’ question of why rather than how in TEH (which doesn’t apply to Sherlock’s supposedly ’scientific’ world view where emotions always are a problem risking to bias his conclusions) has its complete repetition in TLD. Once again Sherlock tries to convince John that he can predict the future. Sherlock expects to impress John with the explanation of how:

JOHN: How did you know?

In fact, I think a great deal of what we see in TLD is Sherlock’s mental repetitions of what happened between him and John after his ‘return from the dead’ in TEH. However, in TLD (as in all the episodes from S3 and onwards) John is not impressed by Sherlock’s intellectual shenanigans; he hasn’t seemed to be for a long time, but especially not after the treason Fall. In TLD John may have started by asking “how”, but in the end he just wants to know why Sherlock has lured him to come to his rescue when he’s in trouble.

JOHN: Never mind how. He’s dying to tell us that. I want to know why.

Sherlock tries to explain that he needs John’s help with a case because he ‘can’t do it alone’. But John doesn’t buy it this time either; his disbelief and judgment of Sherlock is even harder and more emphasised than in TEH. And this is, i believe, the key question; to answer it honestly Sherlock has to talk about his feelings, show his emotional vulnerability. Which he still isn’t ready for. So this is why ‘Mary’ and 'Rosie’ keep popping up until the end of TFP; they stand for Sherlock’s heteronormative alibi to avoid talking about feelings. Even if Sherlock comes a long way with hugging John in TLD and hugging Eurus in TFP - basically to comfort them - he still hasn’t told anybody about his own feelings, has he?

Sherlock ’had chips’ with ’Faith’. (Dinner!) But we never see him eat anything, he just goes on impressing Faith by telling her about how his deductions about her private life work. It’s the scientific ”how” rather than the more emotional ”why”.

I’ve also been wondering about Mary’s traveling around the world in TST, ’on the role of a dice’ when she learns that Ajay is after her. This is the cold assassin who tried to kill Sherlock and lied to her husband about her background, and yet she is suddenly ”moving the target away” from John - why? In HLV Mary claimed that the truth would break John and therefore he could never know that she lied to him. What’s actually going on here? To me this seems more like Sherlock trying to justify to himself his own fake suicide and his following absence for two years in order to ’protect John’ from Moriarty’s network. The whole ‘Mary-the-hero’ plot line is an indulgence in Sentiment, complete with self-sacrifice and a tearful self-absolving note. But this over-romanticized scenario gives Sherlock no satisfaction, since it ends with John’s grief and sorrow and alienation. Conclusive discovery: escape is no solution; it just postpones the problem.

OK, this has been a looong meta, and a bit speculative. For the finish, I’d just like to summarise a bit about Hypothesis #8 and why I suspect that John is not the father of Mary’s baby. Here’s my TL;DR:

John wasn’t even aware on the wedding that Mary might be pregnant - and he’s a ‘bloody doctor’!

None of them seems happy when Sherlock deduces Mary’s pregnancy; Mary appears shocked that he noticed it and John seems shocked before the unexpected task of fathering a child

Their relationship doesn’t strike me as honest and genuine on either side; they’re not really into each other

Mary is a liar who conceals her background to John

It’s suspicious (but also canon consistent) that Mary encourages John to spend a lot of time with someone she should know that he’s in love with; why would she want to start a family with such a guy?

David seems to remain too close to Mary for being an ordinary ‘ex’; he might actually be the father of the baby!

The Watsons have no children in canon

Rosie in S4 doesn’t strike me as a real character (Mary’s pregnancy in S3 might still be ‘real’, though)

The whole concept of John’s wife is a heteronormative façade (which goes for canon as well); why then would John’s fatherhood be real?

And, finally, just one more thing that occurs to me:

The baby is a perfect plot device to keep John and Mary together in a modern time when divorce is common, and also to keep Sherlock guilt-ridden about confessing his feelings. A revelation that John is not the father would likely mean a breakup of the couple, with the possibilities that this would open for the ‘Johnlock’ option. ;)

Thanks for bearing with me in meta-marathon, and Happy New Decade! :)

Tagging some people who might be interested: @raggedyblue @ebaeschnbliah @sarahthecoat @gosherlocked @loveismyrevolution @sagestreet @thepersianslipper @tjlcisthenewsexy @elldotsee @88thparallel @sherlock-overflow-error @yeah-oh-shit

#mary=heteronormativity #mary=facade

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chromium-siren · 6 years

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Nightingale (part 3)

I think I’m shooting for a seven part series here (technically six parts with part seven as an epilogue), but I'll see where my muse takes me.

HUX

After asking around at the firm, I am possibly one of the few people who knows about Vader- which is good, because at least Phasma and I weren’t alone. The two who confided in me most about this madman were Ben and (surprise surprise) Krennic. Ben apparently is Vader’s grandson, but after a change of heart, he decided to stay loyal to his mother- none other than Leia Organa, known to some as “the queen of the courthouse.” During this one big brouhaha a while back, she slammed her father so hard, legend says he turned tail and ran out of that courtroom like a kicked dog. Ben said he only knew so much about him, except he used to be partners with both Krennic and none other than my father, Brendol Hux, and I would have to pay a visit to both those assholes. Lucky me.

I knock on the door to Krennic’s office, and over the sound of a Vivaldi piece, I can manage to hear him say “come in.” In I go, nervous and uncertain as ever, because for all I know, Krennic could still be loyal to Vader. Oddly enough, he isn’t working on the usual papers that we have to- he’s marking a piece of viola sheet music for God knows what. But to be honest, I can imagine him in a smoking jacket playing his viola, like some sadistic Sherlock Holmes.

“Uh, Krennic, I need to talk to you,” I managed to stammer, as he gestures for me to sit down.

“Certainly, Hux. What is it about?” he says, still lost in the music.

“It’s about Vader,” I say- and then he tensed up. He turns at me like a robot in an episode of Mystery Science Theater 3000 and scoffs, followed by a glare.

“And what, pray tell, do you want to know?” he asks me. It’s no feat of heroism, but I manage to muster up some confidence and tell him exactly what I came for.

“Krennic, tell me everything you know about him and what he wants to do with Nightingale.” He looks around, as if we were being bugged by Vader, and then he finally gives it all away.

“Vader wants to take control of Nightingale and make it the new command central for the Emperor’s Syndicate, ever since one of their warehouses was destroyed by Skywalker and the rest of the police force.”

“But why would they want a nightclub?” I wondered, realizing that I sounded like the biggest moron in the world. Krennic took notice of that, and shot me an exasperated look before going on.

“Same reason as Al Capone and all those other Prohibition gangsters- to put up a front. Money laundering and gambling might as well be part of the whole shebang, but they have even bigger plans. We’re talking get rid of the mayor plans. Once Organa “disappears” from his position, then the Emperor can take charge and turn it into another Mos Eisley.” I shudder at the thought of Hosnian, our small yet bustling city, becoming into a hellhole like Mos Eisley, the unofficial sin city of the region. “But...” Krennic reminds me, “we can stop him.”

“We just have to beat him to the punch before he gets to us,” I muse. “I bet in a week or so, he’ll either send someone to the Halloween Ball or make an appearance,” I say. “Thanks so much, Krennic. You have no idea how much this means to us.” He nods and sends me out the door as soon as I hear a knock. Must be another client, so I make my way out of the office and to mine to let Phasma know about the current situation. But for now, I realize I may need some help with getting something out of Vader. Reaching for my phone, I scroll through my contacts and come across a name- Brendol Hux. Looking up to the heavens for some guidance, I dial the number.

PHASMA

Victoriously brandishing the staple gun, the last of the cobwebs comes up and I smile triumphantly at the rest of Nightingale. The Halloween Ball is only a week away, and I am finished with decorating, at last! I guess my strategy of take care of the other stuff first, decorate later payed off, and seeing the place slowly come to life as a decrepit speakeasy was pretty exciting for the patrons. Winded, I unceremoniously ease myself onto a chair and look around. That’s when I hear Hux speaking with someone, his voice is tense, especially when it comes to the booming voice I hear arguing with him. Immediately, I straighten up and put on my “proper young lady” or “bride to be” act for this mystery guess.

“Why I had to drive from Arkanis to here to see some nightclub is beyond me!” the new voice boomed, as Armitage and a portly red-haired man walk in.

“Father, I’m serious, it’s all worth it!” Hux argued with new found confidence. Immediately, I get up and offer the man a seat, which surprisingly he takes.

“I should have a proper explanation for this debacle, boy!” he roared, taking in the newly decorated club before shooting a look at me. “And who are you anyway?” he questions.

“My name is Athena Phasma, the proprietor of this club and Armitage’s fiancée,” I say coolly. “ And might I inquire as to who you are?” I shoot back.

“Brendol Hux, Armitage’s father,” he said with a curt nod.

“May I get you something to drink, sir?” I then ask, forgetting I’m supposed to be a proper young lady instead of a cocktail waitress, yet I hand him the drink menu anyway. He seems to be a bit impressed, and then turns to me.

“A Coruscant whiskey, neat, if you don’t mind,” he says, handing the menu back to me with an elegant nod before gesturing for Hux to come closer to him. “A fiancée! How come I wasn’t told of this yet?” he chided his son.

“Well, father, we have a bit of a problem.”

“Oh, so it’s money you want, eh?” he questioned, his features forming into a glare.

“No, it’s nothing of the sort. This club, Nightingale, is in danger. Can you tell us everything you know about Vader?” he asked. As soon as I set down the whiskey, he goes pale like a ghost. Apparently Vader’s so notorious, he strikes fear in the hearts of grown men.

“Oh, I know who you’re dealing with, indeed. No one should trifle with Darth Vader at all. I know I did, and that got me into some deep trouble. I made the mistake of becoming part of his organization, and since I didn’t comply with one request, he has sworn to get his revenge on me somehow.”

Brendol began to tell us of the plot Vader had to take over the town of Arkanis, the same one that Hux grew up in. Brendol was involved in politics in the town, and Vader had plans to make it into one of his many spots he would lord over. When Brendol said no, Vader threatened to murder him.

“I caught that bastard in the act, and the police ran him out of town. Now, he will swear his revenge on me, biding his time to exact misery and wreak havoc on my life. Stay careful, you two. You’ll need all the help you can get.” What does he mean by all that? Extra security? Me carrying a gun in a garter like I’m a reject from Chicago? I couldn’t stand it anymore- I needed for him to tell us what the plan was.

“Sir, what is it that we need to do to keep Vader at bay?” I ask.

“Well, we’re having a Halloween ball soon,” Armie adds. Brendol nods at the both of us.

“Then use that to your advantage,” he says, before walking up on stage to get a view of the place. Strangely, he walks over to the piano and takes a seat at the bench. “Coruscant whiskey and a genuine Steinway? Miss Phasma, you certainly know how to make this club luxurious instead of a trashy dive. I suggest hiding cameras throughout the building, maybe even bug the place. That way, you can dig up any information you have and find out how to take down Vader. When is the ball?” he asked.

“It’s next Friday,” Armitage answered as Brendol nodded before picking out a few bars of Fur Elise. “And Dad? Thank you for doing all of this.”

“You’re welcome. I’ll send you the equipment on Tuesday so we can set it up. And Armitage, she is your fiancée after all. Do something nice for her,” Brendol said before leaving. And with that, he was gone. I let out a sigh and looked to Armitage.

“I certainly hope this works,” I say. “What if Vader gets suspicious?” I asked. “I mean, he’s bound to notice something seems odd about the place and he’ll confront us.” Reassuringly, Armitage pats me on the back and clasps my hands.

“Angel, don’t fret. He’ll never suspect a thing. Besides, my father was trained at Scotland Yard. He went undercover and foiled Vader’s plot to take over Arkanis.”

“That explains the vendetta he has against him. I’m just worried about Nightingale and us.”

#phux #nightingale

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calliecat93 · 3 years

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Star Trek: TNG Season 2 Episodes 1-4

The Child: So after several months, we are FINALLY resuming the series. And… we begin with an episode about Troi being impregnated without her permission. Ho boy. So… let’s talk on our new CMO first, Dr. Pulaski. I am VERY aware of her hated reputation and I am very curious to see her in this season so that I can see if I can figure out why and if it’s justified. Honestly I thought that she was fine until the second half when it was just her and Data. Otherwise she seemed like a perfectly competent CMO, but her mispronouncing Data’s name and not caring when he corrected her and acting pretty condescending towards him… yeah if they were trying to recapture the Spock and McCoy dynamic, they failed miserably since McCoy may point out and be an ass about Spock’s supposed emotionlessness, but he never acted all hugh and mighty or purposefully mispronounced Spock’s name. But we’ll see what happens in the following episodes and I was fine with her otherwise.

As far as main plot goes… yeah I see why Linkara compared this with the Avengers 200 comic in his review of the latter cause it follows a VERY similar plot. Now Troi not wanting an abortion was her choice and as such I’m not gonna go into it, and I do like Data staying with her during the birth. It was a nice moment for both characters. But the birth being protrayed positivly with no negative side-effects, no one seeming to want to look into what impregnated Troi to begin with or seem to cate that it was essentially r*pe, and while there are concerns about the rapid aging otherwise the kid is allowed to roam freely despite the circumstances. Which with the final reveal… yeah it makes what I could at least kind of understand since the circumstances wouldn’t be the child’s fault into a WTF moment cause… yeah, no. Nooooooo. It had a few okay bits like Riker FINALLY has his beard, Worf and Geordi have been promoted, and we’ve got Whoppi Goldberg at long last! Even Wesley dealing with having to eventually leave the Enterprise depsite not wanting to felt really nice and at meast why he’s sticking around was adressed. Still, I think we could have cut out this whole pregnancy plot because all the changes and cast additions with maybe some minor issue thrown it would have been more than enough to sustain a plot for a premiere. This just added unecessary squick/implications that they came up with to give Troi something to do cause I guess counseling the others as they deal with the changes wouldn’t have been good enough. IDT it’s as bad as the Avengers comic if you know what happened in that, but still… yeah no. 2/5.

Where Silence Has Lease: Well this was nuts. So we have our heroes enounterong an empty space where they find a Starship that shouldn’t be there and weird stuff happens as a result. A lot of weird stuff. They essentially end up lab rats in a… weird, ugly face… thing’s experiments of observation. Seriously, WTF WAS WITH THAT FACE THING?! Anyways, it was overall good! The characters were all good, I liked the Riker and Worf interactions, aside from one jab at Data Pulaski was otherwise much better here (here questioning why she joined the ship got a BIG laugh out of me), and the climax was pretty dang wild. When “Data” (actually the face thing) asks Picard what death exactly is and Picard’s philosophical respose and what his own view is… dang. That was deep. Then him realizing that Data and Troi are acting, his gamble at the end, and his final confrontation with the entity where he subtly points out it’s hypocriscy about humanity’s worst traits when it displayed those same exact traits itseld? Daaaamn. I’m already enjoying Picard MUCH more here than all of S1 and seeing an improvement from S1. I don’t have any major complaints not any notable observations. Overall a solid episode. An improvement over the first for sure and if this is the kind of quality that’s upcoming, I’m feeling a LOT more optimistic~! Only real complaint is Data saying that such an area like the void hasn’t been seen before… when The Immunity Syndrome in TOS had a similar deal with the amoeba. But otherwise, it was a nice watch! 4.5/5.

Elementary, Dear Data: Well this was a fun one! First, another holodeck episode! I think that this one was much better than the other two from S1. It was really fun, then took a shocking turn all because of Geordi making a poor word choice. Ain’t that just their luck. I loved the Sherlock Holmes mystery and I loved the Data and Geordi dynamic. They’re very much my two favorites so far and Levar Burton and Brent Spiner have some really great chemistry. Pulaski… I get what they’re trying to do with her. I really, really do. But I think they really didn’t get why the Spock and McCoy dynamic worked in TOS (or McCoy’s character in general), and thus are failing to recapture it in TNG with Data and Pulaski. Plus there’s no need for it in TNG since so far whenever they try to copy TOS, they fail miserably. But otherwise, I really had fun with this episode. Also that ending… dang did NOT expect the extesential part to come in, but it was very well acted. Also loved all the costumes! 4/5.

The Outrageous Okona: The theme of the day is comedy! Also Okana is Han Solo. They do not even try to hide who they are making an expy of. Not a very good expy either. He’s a cocky creep and I legit cannot tell if they were trying to make the character a deconstruction or not. Also the plot of Data learning humor could have been entertaining/insightful and comedy is subjective… but it didn’t do it for me. It makes me like Data more cause he’s just so loveable in his effort, but still the only scene I found funny was Worf interrupting Okona’s recent romp. But yeah if I was supposed to find Okona entertaining, I don’t. He feels like what popular media tries to say that Kirk is. If the episode was trying to convince me to like him and see him like I do Han Solo, even with everything turning out to be a huge misunderstanding, I just didn’t feel they did it well. The very least he’s just uninteresting. The actor was fine though. But yeah after two solid episodes, this was a disappointment. It’s not unwatchable, but still not all that worth looking at. If I want Han Solo, I’ll go watch the original Star Wars trilogy. 2.5/5.

And I posted it before trping the final thoughts. Whoops. Anyways, I had fun leaping back in. We got two good episodes and two… not too good on different levels. But I can see an improvement in the writing already and I’m glad to finally be back on track. I am hoping to not delay viewings with that large of a gap again and that I can at least finish up to Enterprise before the year is over. Still got a long ways to go, so onward we go.

#st watchthrough

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the-desolated-quill · 7 years

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Heaven Sent - Doctor Who blog

(SPOILER WARNING: The following is an in-depth critical analysis. If you haven’t seen this episode yet, you may want to before reading this review)

Sometimes I wonder if perhaps I’m being too cynical at times.

Sigh. Look, it’s not that I don’t like Heaven Sent. It’s okay. It’s a competently made episode that has its moments, and I’m certain that if this came out before 2010, I probably would have loved it. But as I’ve said in the past, once you notice the tricks, gimmicks and general bullshit of Moffat stories, that’s all you notice. The fact of the matter is, while I didn’t hate Heaven Sent, it’s hard for me to truly enjoy this because of just how sick to death I’ve gotten with Moffat’s MO.

I suppose I did like how small scale it all was. No alien invasions or anything like that. Just the Doctor trapped in a prison and having to figure out how to escape. Moffat is clearly taking inspiration from Classic Who stories like The Deadly Assassin and Castrovalva, and it’s certainly the most unique and interesting setting to have cropped up this series. I also quite like the Veil. A Grim Reaper-esque figure that will always slowly follow you everywhere you go no matter how hard you try to outrun it. This combined with the claustrophobic prison helps create a sense of impending dread. And of course Peter Capaldi deserves a huge amount of praise for his amazing performance, giving it everything he’s got and selling the Doctor’s grief, pain and anger like its going out of season.

The problem is... well... Moffat.

As much as I love Capaldi in this, it’s the characterisation I really can’t stand. One of the things I find most annoying about Twelve (apart from the inconsistent writing) is his constant need for reassurance. He’s become so dependant on Clara to the point where even now he’s having imaginary conversations with her, seeking her validation on just about everything. I could just about be able to stomach this if it was about the Doctor learning to let Clara’s memory go and move on, but that’s clearly not what this is about at all. Moffat is trying to imply that the Doctor and Clara are completely inseparable at this point, and that the Doctor is completely lost without her... which simply doesn’t sound like the Doctor at all. I refuse to believe he’s that ineffectual without a companion (it also further confirms my theory that Clara isn’t really dead. I guess we’ll just have to wait and see. If she stays dead by the end of the next episode, I’ll be genuinely surprised).

Heaven Sent also exposes a weakness in Moffat’s writing. Namely his interchangeable characters. Oh we’ve all known his female characters have been shit for a while now. That’s not in dispute. I’m talking about his male protagonists. These eccentric mega-geniuses who seem to be able to solve everything with magic. Here we see the Doctor slipping into Sherlock territory at points, most notably with the mind palace stuff. I cannot stress enough how much I hate this. The Doctor and Sherlock Holmes shouldn’t get within a parsec of each other and it just goes to show how unimaginative Moffat is as a writer. Rather than have the Doctor think on his feet and escape the Veil using his wit and ingenuity, Moffat instead freezes the action so that the Doctor can monologue to himself in his imaginary TARDIS and thus destroys all the tension. While thankfully it never quite goes to the same insulting extremes that Sherlock took it (His Last Vow anyone?), it’s still a massive problem and it just feels like Moffat showing off rather than him telling a compelling story.

Then there’s just the crushing sense of predictability to all of this. Don’t get me wrong, I do like the setting, but I wouldn’t say I was intrigued by it and that’s because of how depressingly familiar I’ve become with Moffat’s schtick. The moment I saw the very old painting of Clara, I knew that this was a prison of the Doctor’s own making and that he’d been there for a long time. Then when I saw all the skulls, I just nodded and thought ‘yeah. he cloned himself each time the Veil killed him. Okay.’ It’s neither satisfying nor surprising because it’s all telegraphed so heavily and yet Moffat still expects us to give him a pat on the back. He honestly thought the final twist was going to be a big shock, but really, did anyone think it wasn’t Time Lord related? Who else could it have been? Like with the mystery of River Song, it’s hard to be surprised by a reveal when the list of suspects is so pathetically small.

And then there’s all the logic holes and inconsistencies. So the Time Lords want the Doctor to confess what the Hybrid is. First of all Moffat is changing the rules again for the purposes of plot convenience. Before the confession dial was a Time Lord’s last will and testament. Now it’s a personal torture chamber. Why would anyone carry something like that around with them, let alone the Doctor? Also if the Time Lords are using the confession dial to get info on the Hybrid from the Doctor, why add in an element that could kill him? What if the Doctor never made it back to the cloning/teleport thingy in time before he kicked the bucket? That would have been a bit awkward, wouldn’t it? If the Veil is just to punish him on the other hand, then why does the Doctor get rewarded for confessing random things? (we’ll get to the confessions in a bit). The Doctor says he’s being interrogated and he’s therefore irreplaceable due to the information he possesses, and yet he’s still afraid to die because the Veil can literally kill him with a touch. Which brings me back to my first point. Why are the Time Lords trying to kill the Doctor if they need information from him? It just doesn’t make sense.

And what about the prison itself? The rooms reset after a while to hide the things the Doctor has changed, unless it’s something he himself added like his clothes or his numerous skulls. So how come the azbantium wall is unaffected by the resets? Why is it that all the messages he leaves for himself get erased, but the damage he does to the wall doesn’t? And speaking of messages, why did the Doctor feel the need to dig a hole in the ground to leave a message? And where did he get the chalk to draw the arrows? And if he had the time to draw arrows, why not just leave himself an explanation as to what’s going on? Or at the very least tell himself to use something other than his fists to break through the wall.

Ah yes, now let’s talk about the azbantium wall. The Doctor taking billions of years to punch his way through. Surely it would have been more effective to use the pointy end of the shovel or his fingernails or something rather than punching it. Because the thing about the original story with the bird and the mountain is that the bird’s beak is pointy. By sharpening its beak on the mountain, the bird does a small amount of damage each time. I fail to see how punching a wall is supposed to do any damage whatsoever. Punching a brick wall is unlikely to do anything. Punching an azbantium wall that’s apparently four hundred times harder than diamond surely would make zero difference. And zero is still zero no matter how many times you multiply it.

You can easily dismiss all of this as nitpicking (in fact you probably are), but it’s little things like that that slowly erode away at the credibility of it all for me. Like a bird sharpening its beak on a mountain, you might say. It’s hard for me to really be invested in this because the episode doesn’t follow the rules of its own internal logic. Something Moffat has frequently been guilty of in the vast majority of his stories.

Finally there’s the confessions. I mentioned way back in my review of The Witch’s Familiar that I was deeply concerned with the direction this series arc was going, and as we come within spitting distance of the series finale, I’m now in abject terror. Moffat has demonstrated in episodes like Listen and The Witch’s Familiar that his arrogance and desperation to put his own stamp on the show means he’s prepared to lift up the bonnet and tinker with the vital components of the show. Components that should NEVER be tinkered with, like the Doctor’s mystery. We don’t know exactly who he is or what makes him tick, and we shouldn’t know either. That wouldn’t make him more interesting. It would actually diminish him. So I was very alarmed when the Doctor started confessing that he originally left Gallifrey because he was scared of the Hybrid. (I’ve already talked about how stupid the idea of the Doctor being driven by fear is in the past, so I won’t repeat myself here. Just read my review of Listen again if you want the details). And then to cap it all off, at the very end the Doctor confesses that the Hybrid... is him.

At which point, I glanced at my DVD copy of the Doctor Who movie and gulped nervously. Please tell me Moffat is not going where I think he’s going.

Moffat has written some bad stuff before (a lot of bad stuff before), but it’s been stuff that for the most part you can easily ignore and pretend never happened (something I one hundred percent plan to do when Jodie Whittaker comes a-calling). This however is the first time Moffat has been in a position where he could do some serious damage to the franchise as a whole. Never before have I been so apprehensive to watch a Moffat penned series finale...

#heaven sent #steven moffat #doctor who #twelfth doctor #peter capaldi #bbc #review #spoilers

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theantisocialcritic · 4 years

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Archive Project - August 16, 2014 - Anime Catchup

If the title isn't subtle enough for you, I've watched a bunch of anime movies and shows lately and i'd like to talk about my thoughts on all the ones i've completed! Here we go: Wolf Children This movie falls has something that I very rarely see in Anime and endlessly appreciate: subtlety and a grounded, really world story. Granted the actual premise is very much of the high concept fantasy type that anime tends to be, Wolf Children ends up being emotional and powerful enough on its own and a lot of that has to do with the fact that its other elements are grounded in a world and scenario that feels more or less like the real world. The story follows the life of a young woman studying college in Japan when she comes across a reclusive young man. He has a secret that he conceals but the two of them fall in love and he entrusts her with his secret. He is the last surviving descendent of a tribe of people with the ability to transform themselves into Wolfs. Not Werewolves, just wolves. They maintain their personality and the ability to talk in wolf form and otherwise live lives as normal people. The couple fall in love, conceive children and start building a family. Unfortunately, things transpire that force the couple apart and now the young woman is forced to raise her two half-wolf children alone, with little money and understanding of how to raise children that have the ability to become wolves at any time. Wolf Children isn't really a normal anime, its somber, emotional and centers it's drama around the central characters ability to function as a single mother in a difficult situation. It might sound silly but its one of the best anime movies i've seen once The Wind Rises. Check it out! Summer Wars This movie comes from the same director as Wolf Children. I checked it out on Netflix shortly after seeing Wolf Children for the first time and I was very impressed by it. Its not nearly as good as his other major piece but its fun, emotional and engaging enough that it didn't bother me at all. Summer Wars is far more rooted in it's anime origins in style and substance than Wolf Children. In the near future, an ultra advanced Social Network has become the center of global technology in almost all aspects of life. A young tech support member who is working on coding for the social network is pulled away from his job by a girl who needs him to pose as a boyfriend for her extended family. Events are conspiring away from the public eye as a super powered virus has entered the network and is threatening to pose damage to the entire network which potentially included access to transportation, hospitals and global weapons systems. Now only a young group of tech support operators stand in the way of the virus destroying the lives of millions of people. As I said, this movie is FAR more in touch with mainstream anime than Wolf Children. That being said its also a very emotional, exciting and visually fascinating movie to watch! If you have a Netflix DVD account I'd definitely suggest renting this one! Akira My oh my… In the realm of anime movies, few stand more hollowed than Akira, a movie so powerful, emotionally effecting and deep that even great the great Siskel and Ebert loved it. Following the destruction of Tokyo in the third World War, a new city called Neo Tokyo was build up from the ruins. Now the city runs rampant with crime, civil unrest and talk of revelation against its corrupt ruling class. One night, a group of street thugs come across a mysterious individual whom the government immediately arrests. Shortly after that one of the members of the street gang begins to have strange outbursts and fever dreams. I won't reveal too much of the plot beyond that but be warned, you are in for a dark, dank, and terribly strange movie with psychics, super powers, chase scenes and some of the best animation that has ever been put into an anime. Akira is so powerful and influential that it is regularly cited as a notable inspiration for The Matrix. The only problems I really have with this movie are the pacing and the tone. They aren't bad! For me though, the movie felt very slow. That, and the tone was so dark and downright disturbing that I was in a pretty foul mood for the next two days after I saw it. That being said though, Akira is a must see anime movie! Ranma 1/2 Season 1 The works of Rumiko Takahashi are beloved amongst anime fanatics the world over! Her most famous work is the beloved, though notably flawed Inuyasha, which I do very much enjoy! Much earlier in her career though she created a martial arts-comedy Manga titled Ranma 1/2. The story follows the life and romantic exploits of a teenage boy named Ranma. He and his father are training in China at a cursed spring, unaware that it is so, when both of them fall into the water and are transformed. Now whenever Ranma is splashed with water he is transformed into a teenage girl, while his father becomes a panda. Inspite of their curses, Ranma and his father move back to Tokyo, Japan where he reveals that Ranma is to be wed to Akane Tendo, the daughter of a training partner of Ranma's father. From there the story begins as Ranma becomes the center of attention for all the young ladies in Tokyo and similarly for Akane to all the boys. I just finished reading the 36 volume manga for Ranma 1/2 last month and in retrospective I thought it was a really fun story! Its a manga that came out of that wonderful moment in the 1980s when Martial Arts was the coolest thing ever. This was about the time when stuff like Karate Kid and DragonBall were getting popular. For a couple months this year, Walmart had the first season of the anime adaption of Ranma 1/2 for sale and I was lucky enough to pick it up. While not totally perfect, and to my knowledge the first season is infamously slow, I thought it was a lot of fun! It really picks up towards the end of the season when the side characters start showing up and it starts getting into a regular beat that would come to define the series. Check out the Manga adaption sometime! In my opinion its a little better than the anime but this is still dang fun! Ghost Hunt Thanks a lot to FYE for keeping the Funimation SAVE boxes on discount for a couple weeks! I was able to pick up the Shojo Anime Ghost Hunt for less than $20! In this anime, a young teenage girl named Mai meets a strange, distant and very narcissistic Ghost Investigator named Naru. After an accident in which Mai breaks a piece of Naru's equipment, Mai agrees to work for Naru to pay off her dept. The two work together with a team of Exorcists and Medians to solve strange cases and hauntings. Taken as a whole, Ghost Hunt is a surprisingly compelling and interesting anime to watch. It does however suffer from a number of issues, namely the characters. Aside from Mai and Naru, most of the cast lack any compelling character traits to make them fully formed. A few of them get last minute traits thrown on them towards the end of the anime but they are pretty much uninteresting up until then. On the other hand, Mai is a genuine and sweet character that I found enjoyable. Naru works pretty well too, carrying the same sense of "I know everything better than you" confidence that characters like Sherlock Holmes and The Doctor carry, granted with their more humanistic optimism replaced with a duller more world wear affectation. Overall, fun and compelling anime to watch! Attack on Titan Now we get to THE BIG ONE. Attack on Titan is the holy grail of anime to come out of the last couple years. The world as we knew it no longer exists. Sometime in the past, a race of beings known as the Titans have devastated humanity, eating them and driving them to extinction. All that remains of mankind lives behind the a fortress. One day however, a strange, enormous Titan appears and destroys the outer wall of humanities last fortress. Hundreds of Titans are let loose into the city and hundreds of thousands of people are killed. In the aftermath, a group of children swear revenge on the Titans for the destruction of their homes and families. I don't know what to say for this anime that hasn't been said elsewhere. Yah! Its great! Its really really awesome! The characters are well conceived and fully dimensional. The story is powerful and compelling. The music and anime are some of the best in years! Beyond the fact that this anime is at the center of attention for Anime fandom at the moment, there are dozens of reasons to check out Attack on Titan! Definitely do! Thank you for reading! Live long and prosper!

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irregularjohnnywiggins · 7 years

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(in response to @mirrorfalls question on my favourite Moriarty, which I answered... then deleted. Because I’m good at tumblr.)

To answer the question of what my favourite versions of Moriarty is, we need to figure out what, imo, makes a ‘good’ Moriarty. For my money, there are three aspects that make Canon Moriarty interesting:

Intellect: probably obvious, but Moriarty is an opposite to the World’s Greatest Detective, so his intellect, like Holmes’, is key to his character.

Familiarity: the phrase ‘everything I have to say has already crossed your mind/then possibly my answer’s crossed yours’ is a cliche of Holmes/Moriarty interactions, but it’s a damn good cliche for a reason. Holmes and Moriarty should have a healthy respect for each other, that’s true, but more importantly they should have this sense of, as Neil Gaiman once said about him and Terry Pratchett: ‘You’re another one of me! I didn’t realize they made another one!’

Savagery: Seems weird given the other two points, but a good Moriarty should always have this point that, if pushed off, attempts to, say, push a guy off a waterfall. If my favourite Holmes is a bleeding heart barely pretending to be an unfeeling machine, Moriarty is barely hiding his inner savage behind the mask of congeniality.

So, with that out of the way, my most interesting (not objectively worse/best, just the ones I feel deserve attention) Moriarty’s from worst to best.

10: BBC Sherlock (Andrew Scott)

Let’s break this down: he’s not 1 because no-one in Sherlock is smart, it’s just Moffat trying to trick the audience with lack of explanation. He’s not 2 because Moffat is so obsessed with twists that Sherlock and Moriarty spend most of their time twisting each other so much that there is no time given to their familiarity between them. He’s not 3 because he’s not savage - he’s a poor man’s Heath Ledger’s Joker, but boring and with more homoerotic subtext. He’s not Moriarty. He’s just boring.

9: Elementary Moriarty (Natalie Dormer)

I really wanted to place her higher because I honestly love Natalie Dormer’s version, but whilst she covers the first two points the focus is more on her torrid romance with Watson Holmes, which is all well and good but does rather detract from her Moriarty-ness.

8: Young Sherlock Holmes (Anthony Higgins)

This version of Moriarty, like this version of Sherlock, is... interesting. We don’t really see his savagery, but the entire movie works to build up his relationship with Holmes. I could have done with a little less racism, though. And a little more actual Egyptian Moriarty in a movie that makes him Egyptian.

7: League of Extraordinary Gentlemen

1 and 3, mostly - as interesting as the idea that he’s a former British agent turned actual bad guy is, that’s the disadvantage of removing Holmes from the story - it’s like a Joker story without Batman, Moriarty doesn’t really have anyone to contrast with, and the two people who can contrast with him - Mycroft and Fu Manchu - never share a second of pagetime with him. And yet you can only do Holmes v Moriarty so many times, so how do you make Moriarty interesting without Holmes? Well...

6: Newman’s Moriarty

...You make them the contrast of another character, that’s what. In all seriousness, Newman’s version of Moriarty might not get much to do, but man does he feel good.

The premise of Hound of the D’Urbervilles, i.e. Sherlock Holmes but Moriarty instead, is brilliant at giving us not just how similar Holmes and Moriarty are, but how different - a personal highlight being Moriarty telling Moran that of course he didn’t figure out Moran’s backstory using deductive reasoning, why would he waste his time, he researched everything about him before he entered the room.

I’m not entirely sure if Newman’s Moriarty is savage as opposed to increasingly petty, but his relationship with Moran hints that whilst Holmes looks at people and sees problems to be fixed, Moriarty looks at people and sees tools to be exploited, and that is a pretty sweet contrast that isn’t really explored in other versions.

5: Brett Moriarty (Eric Porter) + Merrison Moriarty (Michael Pennington)

Moving on to a classic Moriarty, whilst I don’t really think Porter adds anything the same way Brett does, he is still a really engaging portrayal. The bit where Holmes and Moriarty exchange a look on the Reichenbach Falls? Brilliant, and it wouldn’t be half as good without his particular portrayal, which stems far closer to the canon than previous ones on this list.

The BBC Radio adaptation is practically tied with this because they’re extremely similar - both attempt to follow canon as closely as possible, whilst adding their own twists. I do prefer the radio version, though, because we get some hint as to how Moriarty’s organization works and how much of a threat Moriarty is. This is actually enhanced by it being radio - whereas Brett’s version has to have Moriarty enter the room because it’s a visual medium, the radio adaptation can just have Holmes playing the violin, suddenly stopping and then revealing Moriarty’s been in the room this whole time. It’s really good, is what I’m getting at. But speaking of canon...

4: Canon

@mirrorfalls said in their original question that no version of Moriarty since the canon has ever actualized the reptilian qualities of Moriarty, and I can’t help but agree. It’s really interesting that Moriarty is linked to an animal whilst Holmes compares his body in another story to ‘a mere appendix’ - something intrinsically human even as it is superficially worthless. The idea of Moriarty in this version - calm, cold, but liable to snap at any point - is quite simply perfect, and the only thing that doesn’t rank him higher is that, in the same way William Hartnell doesn’t rank as one of my favourite Doctors, what it means to be Moriarty has changed so much since his inception. I don’t think Conan Doyle ever intended Moriarty to have the staying power that he did - he’s a plot device, pure and simple. Other authors added to that, and so we’ve got the version of Moriarty which lasts today.

3: Light Yagami

...Hear me out.

No, Light isn’t exactly a traditional Moriarty. For one thing, I’m fairly certain Moriarty doesn’t have a god complex, or a magic notebook that kills people, or a snarky apple loving Death God as a sidekick (Though, who knows, give Moran an apple fixation...) But, there’s a reason I recommend at least the first half of Death Note for anyone wanting a great Holmes/Moriarty story... It’s really good at outlining exactly what makes Moriarty and Holmes so interesting: Mind Games. Mind Games galore.

Watch, say, L’s introduction. Now imagine Holmes challenging Moriarty in the same manner. Hell, Light definitely ticks all of the points of a good Moriarty in this scene alone: he anticipates the police noticing him, he builds such a good rapport with L without either of them actually meeting that I remember losing my shit when I first watched Death Note and realized that this episode would feature the two of them actually meeting face to face, and despite his apparently calm demeanor at first, he immediately kills Lind L Tailor the instant he says something he doesn’t like. Just... he might not be a ‘true’ Moriarty, but he’s a damn good interpretation even if that wasn’t the goal. Speaking of not exactly ‘true’ interpretations...

2: Professor Ratigan (Vincent Fucking Price)

No objections, I trust?

Really, though, I wasn’t someone who watched Great Mouse Detective as a kid - I first watched it about two years ago, and god damn is this a good movie. True Story, when thinking about which Moriarty’s belong on this list, I immediately jumped to Ratigan, because he’s brilliant. He ticks all the boxes and then some - His intellect may not be his primary trait, but it’s still there, and his rapport with Basil is the stuff of legend at this point. And, to be brutally honest, Ratigan is the reason savagery is on this list in the first place. That fight on Big Ben? No version of Reichenbach has yet surpassed it, and it is everything great about this version of that core concept. Really, everything about Ratigan is a summation of how to do a brilliant Moriarty.

So, who can top the World’s Greatest Criminal Mind? Well...

1: RDJ Moriarty (Jared Harris)

Yes, I know, I was surprised to.

I was around during the Sherlock/RDJ films strife. I remember how much these films were lambasted for being ‘too action-packed’ and ‘not cerebral enough’, in stark contrast to the majesty of Sherlock and it’s twerpish plot twists. But when I think of a great Moriarty? Oh, boy, this one kicks Sherlock’s ass.

It’s also irritating, because it’s really hard to point out what makes him better than Ratigan or even Light. His plan is convoluted at best (not that the other two are any better - a good Moriarty does not a decent plan make), not helped by it being exactly the same as his plan in that godawful League of Extraordinary Gentlemen movie (which, btw, would still be bad even if it didn’t drive Sean Connery away from the film industry, but is far worse on those grounds) but, still, look at this scene. Or this one. Or that fight scene.

Tell me that’s not Moriarty.

That first scene especially runs through all three establishing Moriarty traits, yet perfectly utilizes all of them. We see how smart he is, we see his and Holmes’ respect for one another, but at the same time we see how much Holmes wants to see him behind bars and we have the perfectly paced reveal of his murder of Irene and that he intends to do the same to Watson and Mary. Everything about this scene is brilliant despite it being just the two of them talking. There’s even a bit later in the movie where Moriarty outsmarts Holmes and they communicate the gamut of emotions both characters are feeling through them exchanging a single glance.

So, yes, these films may be a bit too action packed. Yes, they may exaggerate character’s abilities, their plots may be inconsequential for the most part. But goddamn is their Moriarty a classic.

#Sherlock Holmes #anti sherlock #professor moriarty #ranking moriarty #i actually like this one #i might do more of these

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holmesandwhatson · 7 years

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oftwodarkmoons

skomentował(a) Twój post “sometimes I really want to rewatch the first two series of Sherlock...”

I did re-watch s1 last month and no regrets, but I won't post about it here bc there's just a lot of animosity about the show. Not that anyone here cares what I do! But, you know, we're all just to supposed to completely dismiss the series like it never happened. Or so it feels like sometimes.

I think I understand what you mean, I wouldn’t want to ever dismiss the whole series because it was a big part of my life for like 3 or 4 years after I watched the first two seasons, it was one of my favourite shows EVER, all my friends and my whole family had to watch it, I was absolutely in love with it (I mean I also fell in love with Granada Holmes at that time and it is my favourite SH adaptation in general but I just try not to compare these two). I liked everything about it, the script, the stunning cinematography, the actors. To be honest, I still do when it comes to the first two seasons. But then series 3 happened and I kind of liked it but not all of it, it felt a bit different and odd but shspesh was very good in my opinion so I was still patiently waiting for series 4. And then series 4 happened and I felt like - I’m sorry but I just don’t know how to express it differently - it felt like almost everything I liked about that show got destroyed because it had to be even cleverer than it had been before. The characters behaving... out of character, the plot so complex and complicated it felt almost nonsensical to me (I know Sherlock was never supposed to be realistic but the events always seemed at least... plausible? probable?), generally it felt like the creators forgot why the audience had fallen in love with that show in the first place - personally I really missed the simple case solving, everyday life at Baker Street 221b, Sherlock arguing with John, Mycroft, Mrs Hudson and basically everyone around... I know that Mark Gatiss and Steven Moffat always say that they were writing this show for themselves in the first place and I respect that but sometimes I wonder whether they really planned to make the plot so convoluted from the beginning? I don’t want to bore you anymore with my thoughts, I just wanted to say that I know how you feel and even though tumblr seems to be divided into two groups now - those who liked s4 and those who hated it (and often hate the whole show now), I think there are also quite a lot of viewers who may not like the last season but appreciate the rest of the show and don’t want to dismiss it as a whole. So don’t be afraid to share your thoughts. I sometimes do, because I have followers who both hate the show now and those who loved the last season and I always feel weird talking about it. But that’s how I feel and I can’t change it :)

#sherlock #s4 #oftwodarkmoons #reply

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takaraphoenix · 7 years

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Sherlock?

I’m not big on it. Like, I watch it, but it’s a casual watch for me like Navy CIS or Law & Order: SVU. It’s not something I get even remotely invested in.

I mean, the only reasons I got into it were three in particular:

1.) I watched Detective Conan as a kid and that was the first time I even heard the name Sherlock, because he was a “modern day Sherlock”, so to me when I was later confronted with the actual Sherlock for the first time, it was “oh, an old-fashiony Shinichi Kudou then” to me.

2.) The RDJ movies. That’s how I was first really confronted with Sherlock and I mainly watched those because of RDJ, that precious bean. And when I started watching the show, I was like “Oh, I liked that movie, why not try the show”.

3.) The fandom is terrifyingly big. Like. All the memes. All the Sherlock everywhere. All the quotes. All the Bernard Cucumberbear. I gotta admit, the buzz it got alone was enough to make me tentatively curious (that does not work for every huge thing. Nothing will ever make me watch The Walking Dead because I am terrifyingly uncomfortable with zombies).

So yeah, that much for the intro. That’s how I found the show and why I started watching it, with those three things in mind. And, what can I say, it was a huge let-down for me personally?

First of all, the sheer number of episodes. Nine episodes? You people throw such an intense party about nine freaking episodes? Half a season of basically any other show is already longer than that, for heaven’s sake, you barely get time to get invested, how did you people get that invested?

I mean, seriously now, I’ve heard so much of how awesome Sherlock is for literal years at that point and I braced myself for like at least 50 episodes to be watched, for like at least five season. But... three seasons and... a total of nine episodes?

That brings me to my first complaint. Apparently, it doesn’t bother many, but it bothers me. It’s a fucking ridiculous schedule, is what it is. I know that Moffat, because he’s been doing fucking ridiculous schedules on Doctor Who too and I know it’s the combination of “Whoops, both our main leads are kiiinda popular and keep making movies instead of solemnly focusing on this show. Damn it”. But to me, it just doesn’t compute to wait literal three years for a new season - and fuck that Christmas special they put in between there, it was still a three year wait for a new season.

With a standard waiting time of two years. Two years to get three episodes. That doesn’t compute with me at all. If I had been there from the beginning, I would have stopped watching after season two when it became apparent that they don’t give a fuck about delivering seasons in a reasonable time-frame because I ain’t got the patience for that.

It also never did anything to get me hooked. Plot-wise, sure, it was a cool different approach to solving crimes but not any more special or fun than say Psych or Mentalist or literally any other show who did the consultant thing. Which, yeah, people who read and loved the books may crucify me for because obviously, Sherlock did it first. But show-wise and for the way I met them, Sherlock kinda did it last.

And Sherlock himself is in no way or shape a likable or relatable character, so that’s where it lost me too, I suppose. He brings nothing to the table that justifies his attitude and behavior and all I do when watching the show is mainly feel bad for Watson. Also no, I do not ship them. At. All.

I like Sherlock’s brother Minecraft Microsoft. He’s oddly fun. And I do mean odd, because I don’t really understand my self why I find him so funny.

And Irene Adler. Really like that lady. She brought something new and intriguing to the show - and I’m not just talking about the BDSM element there.

I don’t understand the fascination with Moriarty. I don’t know, he’s not exactly an exceptional villain with an intriguing story or anything, I just... somehow, I expected more and then there’s the other thing but we’re going to get into this later on.

Ironically, the first time I actually got hooked on it was the second last episode that was available at the time. The wedding of John and Mary. Personally, I thought that was the best episode, closely followed by the one about the puppy of Baskerville.

I did not like the late pseudo-Christmas special The Abominable Bride. Not at all. For the first two thirds, it was just a confusing untill it became Not What I Like by being revealed as a drug-inducted fever-dream. I don’t approve of drugs at all and to use them to tell a very weird time-shifty story was... strange. Bringing back Moriarty, very weird.

Which brings me to the Moriarty-thing I wanted to get back at!

Season 4 was an abomination. I hate it. I hate it so much. I like to not use the word “hate”, but there just isn’t another way to describe my feelings for that pile of stinking garbage that they wrote there.

And by “season 4″, I namely mean Mary-Sue Holmes and how she was shoehorned and retconned into the plot.

Honestly though, literally naming her Mary-Sue would have at least been fun self-awareness and a better name than the Mary-Sue-esque name they picked for “sudden sister of the main character who was kinda there all along but we are right now figuring out how exactly that works but she’s also a genius and suuuper duper important and her name shall be Moonshine Emerald Potter-Holmes Eurus Homes”.

I’m sorry, but it is physically impossible to see her as a proper character because she is such a bad, bad, bad Mary-Sue. This is the kind of plotlines in fanfiction that make me scoff and keep scrolling. The sudden sister of the main character who was never mentioned before but is just as super-duper special in the same aspects as her brother (you know, like Jason Grace for The Heroes of Olympus...).

I have a problem with that kind of writing. If it’s fanfiction, I can scroll past it. I can even respect it, because let’s face it every fanfiction author started off in some kind of way with those self-insert Mary-Sue characters, even if it was just in your head as a kid.

But if canon, particularly a popular franchise that has come a long way, suddenly reverts back from intriguing and detailed story-telling into the most basic elementary school level of story-telling, that’s just pathetic.

And, to bring back Moriarty, she completely undercut him. If they had literally brought back Moriarty and he would have been behind it all, that would have even been cool and would have also sold me on him more. Instead, he was just a... better pawn for Mary-Sue Holmes and it, to me, made his plotline worth so much less than before.

The fact that we had to turn it all around and have Mary-Sue Holmes be a “misunderstood character in need of love” was just another overused, cheap trope that fell in line with the fanfiction cliches they were working into that one.

The fact that it were Mark Gatiss and Steven Moffat writing it just... shocks me, to be honest?

I mean, I’m not a Moffat fan, personally I think that his plots are too convoluted and messy and go on for too long but let’s safe that in case anyone sends an ask for Doctor Who. But, despite all that, his stories have an amazing pay-off at the end of it all. He’s brilliant at that, I’ll give him that.

Mark Gatiss, not a fan of his writing. His episodes on Doctor Who are some of the weirdest, strangest, most boring and forgettable ones. So I’m very tempted to blame him for that one because with Moffat, I had at least expected a good pay-off for all that drama?

But that’s just my personal opinion on the matter. I guess it just didn’t bring any of the key-elements I’m looking for in a show to the table. Maybe that would have been different if it, ya know, would be a “proper” show that by now already had like seven seasons, each with 10 to 20 episodes, giving the whole thing more development. I just didn’t click with the characters, the format or the story and that last “big surprise reveal” just completey ruined it for me, so I’ll not be tuning back in if they ever in ten years get around to making a new season.

#ask me a show and I shall rant #TV Rants #Sherlock #sugarspiceandfuckyou

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qrhymes · 7 years

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Death Note (2017) –What means being a good adaptation?

Keep the soul, the spirit of the original work.

I know this answers is vague and not really a factor in the goodness of a movie ‘cause you can still be faithful to the original themes of a work and still suck (The suckiness can take a plenitude of forms), however I firmly believe that the first step to be called a good adaptation (not necessarily a good movie or series or whatever) is breath the same air and meaning of your source material even if the plot, the story or even your character change in the process (That’s the reason that the so called “Spiritual adaptations” are a thing).

So, what are the elements that this movie needs in the first place to be called a good adaptation?

The original Death Note, to me at least, it’s a story about how “absolute power corrupts absolutely”; you give the power to decide who lives and dies to a teenager that subsequently becomes, in the spawn of a few day, in a full time sociopath (And yes, one of my absolute problems with the original is the lack of a natural transition between Light and Kira, but you can argue that that was the point) with a god complex.

I know that a lot of people see the series as a study of morality, a conflict between ideologies; the means justify the end, etc. However I have never been able to see this part of the conflict because the series never explore it’s moral dilemma beyond the superficiality of “Is It right to kill criminals?” that is and interesting and deep question that could sustain an entire work however the thing gets reduced to a “if you are not with me you are against me”.

Death Note is juvenile work and its simplicity in how develop its main question proves it…however, even if its wannabe main theme its underwhelming, Death Note still has a lot of goods and greats during its run.

The hypocrisy and the delusion of Light are great pieces for a tale how power corrupt, the entirely Kira cult, our perception of justice and the hypocrisy in those system it’s another interesting point, Ryuk as the wild card of the series is fantastic, the entire Kira task force is amazing and, at least for me, the great savior of the series.

L becomes what Light never could, a morally gray figure, that actually have weight in a morally ambiguous story of the meaning justice and what is right. L may be in the role of the traditional good guy, however he’s selfish detective that only take the cases that he finds interesting, a man that keeps in line with the law but is not afraid to push that lines to its limit, despite his gimmicks and status as a Sherlock Holmes 2.0 L comes along as a very flawed individual, not really seeking justice for the hundreds of thousand, but just challenge for his intellect. The Kira case is a passion project from him…Not really what you could call a hero, however in this kind of work it’s exactly what we needed, a hero antagonist with a lot of shades of black, whose sheer charisma and personality make, maybe not a paragon, but a compelling and lovable character that a lot of people, me include it, fell in love with.

Finally Death Note is a great mystery series, a tense police drama with genuinely thrilling mind games, an incredible pace and an overall fun ride with a ton of memorable scenes and twist, Death Note is a lot of thing and addictive as fuck is one of them, the flow of the series is so good and that is one of the better aspect of the series, what makes it so accessible is a well put and enjoyable show…so how many of these points got checked in the movie.

…Well Ryuk was…actually pretty great…

Ryuk is easily the best part of this movie, he is creepy, unsettling, menacing but also a lot of fun to have around and his character is the closest to his counterpart. I also like how the movie treats him.

He is different; less cooperative, less friendly, more malevolent but still this guy that it’s doing what it’s doing just for the lulz, and his final delivery “You humans are so fun” close his character in a really high note.

And yes, a lot of the credit goes to Defoe’s performance. I don’t know if he gives a fuck about the source material but it doesn’t matter, he is having a blast with role and so are we.

So Ryuk was fantastic…the rest of the film not so much.

There are a lot of issues here, but in general we can summarize all in two great issues. First, the movie it’s afraid to actual challenge the audience, is a tame product, one that goes for the secure route, lacking a lot of the boldness of the original material.

Even if you want to think the best of Light, he still was playing at least the role of anti-villain, someone that has do what he has to do to accomplish his objective, it’s his choice to use the Death Note, to kill criminals, the people that chase him and even his own followers when they stop being useful to him (And don’t we forget the sheer placer that the guy has with out-smarting his opponents. Yes you can argue that some kills were a necessary evil, however he enjoy some of those kills too much for someone that was still claiming that was doing all of that for the greater good). And yes, the ultimate power to kill is a factor of seduction, of course. However is still a choice that Light makes on its own…here he has to be convinced to use the note, first from Ryuk invoking dream like sensations and power fantasies and then by Mia which apparently is getting off from using the note…I mean, leaving aside that Light was probably asexual and aromantic, him using the note here feels more like he trying to impress her that trying to clean the world from criminals and yes, I don’t buy that part of his characterization in the original work, but that part built up in his hypocrisy.

Meanwhile here Light it’s treated more like a victim of circumstance, that tries to avoid targeting innocent people and just going as far as I goes just because the influence of Ryuk and Mia

Apple anyone?

This what I mean that its more tame or secure, the movie goes all the way trying to make Light likable, justifiable and innocent that forgets to add the aspect that make his original counterpart interesting, either as the idealistic young man that falls from grace trying to make the world a better place or the hypocrite, self-centered teenager that justify his murder rampage with delusions of justice. Both are great in the own right, Light Turner however, he is just another protagonist.

However trying to make Light good is just one side of the badness of this movie, the other side is, well, make L look like the bad guy.

As I said before, the magic of L is that he pulls out the character that Light never could and it is just painful seeing get butchered in this version.

L in this version is just a weirdo that likes sweets a lot, seats in weird positions and covers his faces, and yes the original L was that…in the surface.

That’s the second biggest problem of the film; it’s an adaptation of Death Note, but just in the surface.

L was great not because he was quirky or adorkable or hot, he was great because he has a role in the story, he was a contrast to Light (A contrast that doesn’t exist in this version), a perspective in the meaning justice (a side that not is precisely completely innocent or even all that lawful or good) and an interest take in the hero-antagonist.

In the movie L gets stripped from his “sympathetic inspector antagonist” and demoted to a full “inspector Javert” trying to murder Light in the quart of the movie. L it’s just another detective, there is not substance to his character, he wants to resolve the case ‘cause this is what he does. The only attempts to go with something with him is his breakdown after Watari is killed but that twist just make his character even more cliché, becomes it striped him completely of his anti-hero status to become the villain…I mean the secondary villain for the sake of…the Hollywood Formula?

This L is not really a bad or a shitty character, his problem, in the same way that with Light, is that he is just another character, unmemorable, bland and lacking any kind of role or meaning aside of being a secondary antagonist

I would talk about Mia/Misa, but her character it’s so far away of her original depiction that it would be pointless.

Mia is a weird thing really. Not only is her introduction forced as fuck.

I mean the whole scene was something like “Hey wanna see me kill some random people”.

But the really confusing part just comes in her character. I mean what is she? A sociopath? Is she drunk with power? Is she using Light for that reason? Or the Note just makes her wet? And then the movie makes her the Big Bad, with a really stupid plan and a death also kind of stupid. A twist for the sake of a twist that only serves to cement Light as a great schemer in the last minute…as a character she was the worst in the whole film. She was in the movie because she was Misa counterpart but she has no purpose other than make Light more likeable.

…

Do you remember how tense a suspenseful the anime/manga was? There is not of that here.

Death Note was thrilling supernatural drama, with a lot of twist and turns, mind games and, overall, a great police series. As I said in the begging one of the best things of Death Note is how its flows.

Death note 2017, it’s not a mystery, it’s not a police drama, even the supernatural elements are reduced to their minimum…And it comes down to the begging, the great problem is that this is just a very tame superficial adaptation, the note, the candies, the shinigamis, the KEIKAKUs, but without the substance or the style (Even the genre) that make the original first half so great.

#Death Note #light yagami #ryuzaki #L #Kira #netfix

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mild-lunacy · 7 years

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The Fandom and Great Expectations

I think that it's part of the nature of fandom to want more, but only if that's just like the old stuff, mostly, with only a few things changed. It's a game of expectations: whether it's a ship you want (or don't want) or a favorite theory, or a character you have headcanons about. A lot of times people have valid critiques, obviously, but the nature of fandom for any ongoing series is that people like the stuff they saw in it at their point of entry. If that's what they like, it's going to be what they want to see more of. A lot of the issues people have with characterization being 'wrong' or the genre changing with Sherlock comes down to this. The alternative (or, most of the satisfied fanbase) isn't really those seeing the story for what it is so much as learning to project properly, so that what they see coincides with or follows their headcanons and personal wishes.

Does that seem a bit harsh? It's not that I'm immune myself. I certainly enjoy seeing the story 'my way' (say, the queer reading of Sherlock S4), and I don't begrudge people their enjoyment or bitterness, as the case may be. I do tend to have rather mild expectations, if any, though. I'm easily enough convinced by new evidence, and I don't need things to stay the same or even very similar. I'm definitely very nostalgic by nature, and enjoy my favorite tropes and a certain measure of predictability, but I don't view stories as a product that's catering to me, or a moral quantity that I ought to judge by its social usefulness (as is popular in fandom). This lack of expectation (even when I'm convinced I do know what's going on, as I was with Sherlock) is something that seems rather unusual in fandom. That's the biggest thing, it seems to me. I generally am happy to let the story do what it wants and aim to figure it out on my own. I mean, it's not that most people want 'warm paste' (at least with Sherlock), necessarily, but certainly the *same* paste, which seems reasonable. Even with this, I tend to be rather flexible, though.

Needless to say, this is all very well-known stuff, really, 'cause clearly that's why we're usually given more of the stuff we've shown interest in buying, with the dominance of mass media franchises. Ironically, perhaps, BBC Sherlock, while technically part of a sort of long-running Holmes multiverse franchise, was produced on an older entertainment model. It wasn't made to please the fans, or to satisfy the current resurgence of interest in media as social or moral activism, and the focus on minority representation for its own sake. It was made by and for the interests of the creators, to reflect and feed their nostalgia, their favorite tropes, satisfying their own desires. That's not a given, by any means. Not a whole lot of mass-marketed media is made this way anymore, and certainly little that has a really big fandom or is a franchise of some sort. Of course, that's not to say most popular shows are necessarily super sensitive to the needs or desires of their actual fans; some projection is involved on both sides. Popular enough properties tend to aim at the lowest common denominator, though. That's my point.

As for myself, I'm an old-school aesthete type of reader, and writer for that matter. I read fantasy and romantic adventure, primarily looking for escape and exploration, or whatever appeals to my aesthetic interests, whether it's good for me (and the world) or not. I write only for myself, though naturally I'm open to convincing and susceptible to flattery (I *am* a vain but insecure author, after all). Generally, though, this attitude means I'm very sympathetic to those creators who have similar motivations, and march to the beat of their own drummer. I'm always open to seeing fiction as a journey that I'm not in control of, a destination I cannot imagine. I have plenty of opinions and ideas about what 'makes sense', what's interesting, what works best, but in the end I'm a passive receptacle for the story if I'm interested enough to start. I want stories to sweep me off my feet, and so I tend to give them a wide latitude in determining where we end up together at the end. I can only imagine that most fans are more interested in staying with familiar ground, retaining a sense of understanding of the structure, keeping the underlying control. Expectations keep you grounded, and allow the audience to gauge whether they're receiving what they want from the experience. In a sense, they're also inevitable when emotional attachment to the characters is involved.

Anyway, questions like yesterday's comparison of John Watson's characterization seem to ask, 'why would a character change in a way that's negative?' More specifically, perhaps, in a way that contradicts one of the central tenets of many fans' understanding of John. No reason, no amount of emotional logic can really suffice as an explanation when the complaint is about this sort of unforgivable change. And then when people talk about how the show and specifically John's characterization is actually consistent, that only goes to show he was always an asshole who didn't really appreciate Sherlock. In other words, the important thing isn't whether S4!John is believable, but whether he's still giving the people what they want from his character. Not a shocking conclusion by any means, but something I try to keep in mind when thinking about people's critiques.

#fandom meta #the great divergence #me myself and i #oh fandom #pointless rambles #series 4 #sherlock feels #characterization #reader response

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