I posted 2,271 times in 2022
That's 557 more posts than 2021!
42 posts created (2%)
2,229 posts reblogged (98%)
Blogs I reblogged the most:
@princesssarcastia
@mythologeekwriter
@aspiringwarriorlibrarian
@do-you-have-a-flag
@quillingmesoftly
I tagged 2,254 of my posts in 2022
Only 1% of my posts had no tags
#real life stuff - 351 posts
#yeah this - 260 posts
#star wars - 193 posts
#boosting - 123 posts
#writing - 115 posts
#art - 112 posts
#bbc sherlock - 75 posts
#happy things - 64 posts
#jedi stuff - 53 posts
#usa politics - 53 posts
Longest Tag: 138 characters
#this makes me think of how people including me talk to our current machines (eg computers) when they do things we don't expect/ don't like
My Top Posts in 2022:
#5
Watching Granada Holmes: The Speckled Band
So this recap is going to be a bit rougher than a couple of the previous because I’m not waiting to watch the episode a second time before posting it.
This episode is decent overall, though it suffers somewhat from some cringe-inducing moments of “period-typical racism” that the Granada show, in their quest for faithful story adaptations, has chosen to preserve. Unfortunate.
The Speckled Band was extremely creepy, and it was supposed to be, so good work all involved. Still. I am not overly fond of creepy things, and given the subject matter of why it was creepy (Royclott and his plot), I doubt I’ll watch it a second time so soon. Except perhaps on mute, skipping through to the parts with good opportunities for screengrabs.
Anyway here are some things I liked about the episode:
It’s another Woman in Need themed plot, and I like Helen Stoner and her gumption.
Holmes introduces Watson to Stoner as “his intimate friend” <3
The way Holmes supports/ comforts Helen Stoner during the interview (particularly) and episode
The way Watson supports and comforts Helen Stoner across the episode
It’s interesting to look at their different methods actually. Watson shows his care through a mix of physical closeness, sympathetic words, and the offer of creature comforts such as food.
Holmes's care is more structured. Physical closeness is still there - but it’s usually the same sort of touch. And only offered in the moment of the female client being overcome by their emotion.
Holmes will place his hand on or near the hand/ elbow/ shoulder area of the distraught client, guide her back to her seat, look her in the eyes... and implore her to tell him everything she knows about what is going on.
From that point on, his manner becomes analytical, and he often withdraws somewhat once he knows the lady is calmer. Once he knows the facts he will give explicit instructions and/or verbal reassurance.
Other things I liked about the episode:
The much-gifed scene of Holmes and Watson on the train going towards the manor, leaning in close to each other to explain their morning’s adventures.
Actually, the fact that both of them split up to investigate their own paths, both valuable leads, then came back together to summarise was excellent.
They do a lot of things jointly in this ep - sharing the load.
The bits where Holmes and Watson are investigating the manor house with Helen Stoner’s help - unnerving in places but fun.
Holmes’s nerves at the very real danger leading him to offer Watson a way out of the proceedings, and Watson’s refusal to take it.
The way everything - actors, music, cinematography - worked together to build and hold the suspense.
Aside from Jeremy Brett and David Burke’s usual excellence, the feel of this episode owes a lot to Jeremy Kemp’s Dr Roylott. From the instant we saw the guy, he exuded a presence that was delightfully discomforting to watch. A very threatening presence indeed. Ugh.
The scenes with Helen Stoner (Rosalyn Lanndor) are excellent in showing this. Also, I particularly enjoyed the moment where Roylott surprises Holmes and Watson after Ms Stoner departs their rooms - all three actors play off each other superbly (Watson’s shock and indignation! Holmes’s “I don’t like you” expressions! Roylott’s threatening bluster!).
It all leads to the scenes of Holmes and Watson, having gallantly insisted on being “the bait” in place of Ms Stoner despite their own misgivings. And after all that effort, there’s a certain amount of justice in what happens to Roylott. Especially if you agree with Plaid Adder about the episode’s rather pointed subtext behind the murders. I know I do.
(Read her meta about this episode for more than just that theory though, there are lots of things commented on that I didn’t have time for rn.)
31 notes - Posted October 11, 2022
#4
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37 notes - Posted October 15, 2022
#3
Watching Granada Holmes: The Norwood Builder
Image description: Watson and Holmes inspect Oldacre’s will papers. Watson has just realised something with Holmes’s help, and both are smiling because of it. / end description.
This episode is AMAZING. The Holmes/Watson content is superb, the episodic characters delightful, and the premise excellently displayed. Instantly one of my favourite episodes. Due to this it’s a long recap post. See the rest of my watching Granada Holmes content here.
In terms of style, this episode is one for the High-Stakes Deduction category, as well as a Holmes/Watson Feels ep. And it’s also a Woman-in-Need one, albeit by proxy.
The opening was very atmospheric, and a bit spooky (the face at the window, the bones, etc.) though the insight to 1800s firefighting practices was intriguing.
Then we arrive at Holmes and Watson the next day. Holmes is in A Mood due to, it appears, a decline in cases. Watson tries to cheer him up but he’s determined to be grumpy.
Fortunately, there is a young man pestering Mrs Hudson for Holmes’s whereabouts... and so the new case begins!
I must say that I love McFarlane’s characterisation. In his initial introduction, you get the impression of an earnest young man who’s fallen on hard times in some way, though he’s able to try to joke about it (that little half-smile as he says, “most unfortunate man in London”).
Also a highlight was the tension between Lestrade and Holmes, with Watson - the snarky one-upmanship raising the pressure across the episode. Lestrade is annoyingly smug for much of the time, and rather dismissive of Holmes’s previous assistance.
It builds on Holmes’s little rant against prisons and not being beholden to the police in Blue Carbuncle, and Holmes is deeply uncomfortable with being forced to do things Lestrade’s way whenever Lestrade dictates.
Notice how Holmes is convinced by McFarlane’s sincerity enough to be protective of him once Lestrade arrives, despite only knowing a handful of the particulars. He in effect acts as young McFarlane’s lawyer, giving him a little reminder about “what you say now will appear in evidence against you” and such.
And then we get to the flashback. Excellently done.
McFarlane’s manner is very much “nervous young person fresh out of schooling/ further ed, trying to Succeed at his new job, so yes, of course I won't make a fuss when This Guy comes in with a sketchy tale, because Jobs Be Like That.” A perfect illustration of the feeling.
Then there’s Oldacre... Quite the eccentric man, to say the least. The way he lays out his story, and uses McFarlane’s parents to minimise McFarlane’s questions is rather suspect.
For example, notice the way he drops the death of McFarlane’s father into the conversation as an explanation, but without even a “sorry for your loss”?
And then at the end of the office scene, he asks that his plan be “a little surprise” for McFarlane’s mother...
And then, after the little scene at Oldacre’s house, we end the flashback. Five full minutes well used there! At the end, another bit of character: McFarlane looks to Lestrade when he says, “I left him there!” then elaborates directly to Holmes.
Still, Holmes only replies enigmatically, though his conversation with Lestrade reveals, to the canny viewer, where his thoughts lie... and so, after a desperate glance, McFarlane is led away.
Holmes leads Watson through a bit of Deductive Reasoning (the second for the episode after McFarlane’s intro) as they examine the will papers. The little smiles and insights exchanged in the early part of this are delightful. Then, of course, they each have their own further points to make about particulars each have noticed (Holmes about the how of the papers, Watson about the why).
Before it’s off to Blackheath to speak to Mrs McFarlane, McFarlane’s mother... another excellent “speaking the subtext loudly” scene, i.e. a scene that made me, as a woman, think, "say no more, I understand that subtext exactly."
The way Mrs McFarlane describes Oldacre reminded me strongly of a person who I usually only refer to as “the ex” - in much the same way Mrs McF has tried to forget Oldacre ever existed.
Every single word Mrs McFarlane spoke resonated. It’s why I consider this a Woman In Need by proxy plot, because Oldacre has used McFarlane in a vendetta against Mrs McFarlane.
The how is up to Holmes and Watson to discover, though not without a degree of difficulty.
My one quibble with the latter part of the episode is that the time-skips were a bit hard to follow. Unlike, say, Naval Treaty, where we’re eventually shown what Holmes got up to for an entire afternoon, here, we have to keep our wits about us to interpret Holmes’s “I’ll stay for a while longer” as “stay overnight”.
The rest of the episode and its conclusion, though? Superb.
One part that struck me, beyond the obvious: it is extremely gratifying to see Lestrade’s anger and quick action when he realises what’s really been going on.
Now I want to talk about the second theme of the episode, and the one that punched me in the feels a bit. Holmes and Watson’s “them-ness” (as I described it in a Discord server).
Throughout the first half of the episode, Holmes and Watson run as a well-oiled unit.
They discuss things together (by words or an exchange of glances),
They play off each other (see McFarlane’s introduction, where Holmes deduces and Watson explains),
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42 notes - Posted November 14, 2022
#2
Watching Granada Holmes: The Blue Carbuncle
I’m sleepy and will be heading to bed after this, feeling very happy indeed. If you’re interested in my previous episode recaps, see here. Also see Plaid Adder’s review of this episode, it’s great.
This episode is FUN. I will definitely be rewatching it later. Thoughts:
This has its own category of Holmes and Watson Togetherness, really, because the case is only there as window-dressing to that.
... Once you get over the slight confusion of the long introductory bit with all the extras, anyway. The start was particularly confusing!
Not that the extras aren’t good! They’re all excellent. Part of what makes this episode fun.
But it’s really not the usual story. If this was a regular episode/ story, Mrs Horner would have come knocking on Holmes’s door pleading for him to help prove her husband innocent. Or Countess Morcar would have sent a footman to bring Holmes around so she could demand he find the jewel for her.
But it’s a whacky Christmas story/ episode, so the first mystery is about the goose... or rather, the Hat. Which then leads to the goose.
And we’re introduced to Holmes and Watson this time with Watson stepping out smartly (”Where’s he off to?” I thought) and Holmes... still in bed.
This is the origin point of the delightful scene of Mrs Hudson coming in to wake Holmes up (goodness knows what time it is) and Holmes’s response is only, “Please GO AWAY”. I am giggling just thinking about it.
The fun is continued when Holmes stumbles into his sitting room some minutes (one presumes) later, to find he has a guest. But the most lovely thing about this is that Holmes is not grumpy at all, once he’s over his initial surprise. Apparently sleepy Holmes is a cordial one, willing to offer alcohol (... I didn’t catch what type) to his guest and find his rather odd tale amusingly fascinating, rather than, say, boring.
Though he does fall asleep during the story, so perhaps I shouldn’t give Holmes too much credit. Seriously, what time is it during that scene? Holmes went back to bed after!
And then Watson returns and we get the delightful Hat Deductions Scene. Gah, they’re so delighted with each other, I love it.
... and then the carbuncle pops up, which sets Holmes and Watson On The Hunt for clues about it and the goose, which leads to the Betting Scene - another :D moment.
THIS ENTIRE EPISODE IS DELIGHTFUL for the Holmes/ Watson content alone!
Like, it might turn into one of my comfort eps I think. Just <3 ALL THE FEELS.
Of course, there’s also Ryder and his pitiable comedy of burglary errors, and the poor Horners. I love seeing Holmes’s anger at Ryder’s deceit - so fierce. Ryder is reduced to begging on his knees for Holmes to be lenient... which he is. More on that in a minute.
After how angry Holmes was with Ryder about the mess R had put the Horners in, I did find it a bit perplexing that Watson was the one to remind Holmes that Horner was still imprisoned. Not that Watson reminded him, because of cause Watson would care about that... but why didn’t Holmes remember?
And how on Earth did Holmes manage to explain Horner’s innocence (leading to the very Christmassy end scene) without bringing Ryder into it?? Use the carbuncle and explain the events? Make something up using the facts but pretend that Ryder didn’t give his name? HOW did he do it?
I’d love to hear people’s theories on that, I really would.
One final thing:
The way Holmes reacts to Watson’s confusion at Holmes letting Ryder go is another, “well that’s interesting” moment for Holmes’s characterisation. “I am not retained by the police to supply their deficiencies!” Holmes yells at Watson - Watson! - with almost as much frustration as he’d yelled at Ryder earlier (though thankfully with less venom). Seriously, I should have probably written Holmes’s words in capitals, he shouts with such emphasis.
Is it a quirk of it being a Christmas story? With what Holmes says after his outburst, that he’s committing a felony to save a soul? Is it that Holmes doesn’t like prisons, really, unless the villain is a true one? (After all, he spoke plainly of Roylott getting what was coming to him last episode.)
Or is it, with a queer reading, a combination of those, and something deeper?
Goodnight.
67 notes - Posted October 12, 2022
My #1 post of 2022
Watching Granada Holmes: On David Burke as Dr Watson
Okay so before I watch the next Granada episode, Empty House, I need to say goodbye to David Burke as Dr John Watson. David Burke couldn’t continue with Granada’s adaptation after FINA due to scheduling conflicts, which led to him helping them find his replacement, Edward Hardwicke.
This post is me processing that in the hope that I can learn to love Edward Hardwicke as Watson without feeling too disappointed he’s not David Burke.
You see, going into Granada Holmes, I’d already been informed that Jeremy Brett is the Sherlock Holmes. This is definitely true. However, at this moment, all I can say that for me, David Burke will be the Dr John Watson.
My tag for David Burke is “he smiles with his whole face”. Right from the start, his expressiveness intrigued me, and made it very easy to feel like I was part of the story. His openness invited me as the audience in. It also doesn’t hurt that he has a very fine voice - I’ve memorised the way he says “Holmes” and other words like “black moods”. They’re very fun to say in his accent!
Watching the Granada Holmes series has felt very personal. For starters, watching TV shows or movies are always immersive experiences for me, due to the way my brain processes information. I get “sucked in” to the story very easily - it feels like I’m another character, almost, observing. It’s also hard because I’m having to process the audio-visual information, the language, the social information, the emotional contexts - and anything they trigger in me from past experiences - all at once.
Granada Holmes is a very safe way to do that, because most of the time, the bad guys get their comeuppance in the end, and the client of the week has resolution, and perhaps catharsis.
It also feels very safe because Holmes and Watson guide me through it. I’ll say more about Jeremy Brett at the end of my entire watch through, but for David Burke, my “oh, you’re my Watson” journey really took flight with the end of Solitary Cyclist.
See, the thing about David Burke’s Watson isn’t just that he’s very expressive. He’s very reassuring. Steady and dependable, but also openly delighted in Holmes’s brilliance. A perfect foil for the audience.
He’s the one who instinctively knows how to handle clients (see: any Woman in Need episode), and takes care of Holmes almost before Holmes knows he needs it (see: Norwood Builder) - and when he’s protecting you/ the client, by goodness do you feel it.
You’ll recall that I had plenty to say about Solitary Cyclist, so much so that I wrote two posts for it. One about the episode recap, and another, which I wrote first, of my feelings about the episode’s context. Look, the Woman In Need episodes always strike a little close to home for me for various reasons. And after my first experience of that in Solitary Cyclist, one of the things that comforted me after was remembering, well, this moment:
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68 notes - Posted November 25, 2022
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