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@swiftyunicorn
you are not a wasteland you just need ibuprofen and a hot bath and a shower and a nutritious meal and some water and some fresh air and to do something productive and to do something creative and to do something that takes physical exertion and to do something social
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full offence but I do NOT watch movies so I can "turn my brain off" I take this shit so seriously
well i may not be the prettiest person in the room or the coolest person in the room i think im at least the third funniest
my holy trinity: me, my playlist, and my coffee
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imagine being some depressed victorian homo avidly reading the strand magazine for the mysteries or whatever and thinking like ok so anyone else get kinda a gay vibe from holmes and watsonâŚâŚâŚ but homosexuality is illegal and the wilde trials are going on and your book club is completely heterosexual so you have nobody to talk about it with and you think youâre going mad and then acd drops the three garridebs on you with watson sayijng "all my years of devotion culminated in the relevelation that holmes loved me" like what would you do. iâd go ballistic
this tweet sends me into hysterics
ăitâs Christmas!ă
Bond girls are out. Blanc girls (underprivileged women who screw over rich assholes with the help of this silly detective) are in.
Hello, Sherlock Holmes adaptation writer. I have trapped you in this room. It is fully furnished and comfortable. On the table, you will notice a copy of A Scandal in Bohemia by Sir Arthur Conan Doyle, of which redistribution is perfectly legal, as the work is in the public domain. You will notice it is rather thin. You have 24 hours to read the approximately 8,550 words in this story. To exit this room, all you must do is summarize the plot of the story without referring to Irene Adler as a seductress or implying she is attracted to Sherlock Holmes. Good luck.
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crying because an elf prince, dwarf lord and a fucking king of men dropped everything and ran over 100 miles with barely any rest, to rescue a couple of halflings (who were worth nothing outside the shire, and functionally little more than a burden) because they were their friends.
screaming and throwing up because the golden boy of gondor, the steward's eldest son and his pride and joy; noble heir of the house of hĂşrin, sacrificed his life for those self-same halflings
thinking about the fact that from a humanâs perspective crowley is just some skinny middle aged goth dude with dyed red hair and a face tattoo who drives an almost hundred year old car to his complete opposite aesthetic boyfriendâs bookshop nearly every day. why? because he can, thatâs why.
This post (âWhat Moffat Doesnât Understand About Griefâ) fascinated me, because the author talks about Moffatâs fear of consequencesâhow heâll introduce world-shattering grief, or sacrifice, or hurt, or change, in his Doctor Who charactersâ lives, and then never follow up on it. There are no apparent consequences.
Thatâs exactly what makes BBC Sherlock feel so unresolved. We kept waiting for the consequences to come home, and they never did. There are huge things and subtler ones unaddressed, things that should have changed them in meaningful ways: Sherlock being tortured. Mary shooting Sherlock. Sherlock nearly confessing his love on the tarmac. Sherlock overdosing on the plane, reading Johnâs blog. Mycroft begging John to take care of him. John attacking Sherlock after Maryâs death. John saying he wanted more than his marriage to Mary. John confronting Sherlock about his need for love. Mycroft lying to Sherlock about his sister.
The emotional stakes keep being upped, but thereâs no closure. The things happen, there are tears or shouting, and then the story simply continues, without change, or growth, or discussion, or resolution. They end up in the exact same place as they began; 221B, two friends solving crimes and cleaning up after explosions, still more myth than men.
Emotional moments canât be introduced just for the hell of it; they have to lead somewhere, mean something. Once I thought the authors had a plan. But now I think weâll have to go on making our own meaning out of it all, through fanart and fic and meta and whatever means we have; for the sake of these charactersâ sanity, and our own, and for some kind of truly happy ending.
Beautifully stated. So true. We got caught up in the characters and the authors sadly lack certain skills. Itâs why Stephen Thompson should have stayed, he provided a different perspective.
I completely agree.
Sherlock is a classic example of a show thatâs collapsing under the weight of unadressed trauma. Itâs easy to inflict trauma, but itâs hard to deal with it afterwards. So Sherlock (the show, not the character), doesnât. (though Sherlock the character also very much doesnât address his own trauma)
In my opinion it all goes back to what I refer to as The Original Sin, the way they dealt with Sherlockâs âsuicideâ and the reactions to his return.
First of all, the way Sherlock returned was so incredibly tone-deaf that I donât even have words for it. He made John watch him commit suicide, let him grieve for two years and then treated his return as a joke. Ouch.
And it would have been salvageable if the show didnât then treat Johnâs reaction as irrational. Everyoneâs dismissive of Johnâs anger, his understandable hurt, his feelings of betrayal. Mrs Hudson is fine right away, Lestrade is fine right away, even though nobody can tell me they werenât deeply affected by Sherlockâs âdeathâ. So Johnâs anger and hurt are depicted as irrational and extreme. And then Sherlock manipulates John into saying out loud that he forgives Sherlock, and thatâs it. John said he forgives Sherlock, so obviously he does and we can call bygones.
But the relationship is still broken. And it never gets fixed. John doesnât trust Sherlock anymore. And Sherlock never manages to win back that trust because he continues to manipulate John.
Both Sherlock and John never get the room to address their trauma, their grief and their broken trust. And the thing is, we feel it. The show never gets back to what it was in S1 and S2, because the central relationship is broken. They get moments in The Sign of Three, but even then, it just never is what it used to be. Because theyâre both so painfully careful around each other, because the certainty they once had of each other is gone.
And then the show turns Sherlock into martyr and John into an abuser and thatâs the last straw, the characters we once knew are gone, destroyed by their creatorsâ gleeful infliction of trauma upon trauma and complete unwillingness and lack of emotional honesty to ever face up to the consequences of their narrative choices.
It reminds me of what happened to Supernatural after S3, when Dean goes to hell and the show is never the same because all that trauma goes unaddressed. Dean turns into a joyless alcoholic martyr and Sam basically falls down the rabbit hole of addiction without anyone acknowledging that yes, thatâs also a trauma response. I noped out near the end of S5, because the torture porn was too much for me. Breaking and breaking and re-breaking your characters is only narratively satisfying if you give them a chance to learn, heal and be better afterwards.
But that would require a level of emotional honesty and sincerity that neither Mofftiss nor the Supernatural showrunners were capable of.
What ⌠? You mean to tell me hugging murderistic fake sister with mind control powers wasnât enough to resolve ALL the trauma??
âThe emotional stakes keep being upped, but thereâs no closure.â This, in a nutshell. The ridiculous thing is that dealing with each of those massive, painful events is where the magic lies in writing fiction. As to who was primarily responsible, one has only to look at Doctor Who. I think, in large part, the writers misunderstood the power of their actors. Only look at Johnâs reaction to Sherlockâs return and itâs impossible to go from there to the farce that follows, seemingly just to make adulterate the strength of his grief and pain.
You go to your friendâs house and Jeff Bezos is there. Youâre like âare you insane? Thatâs Jeff Bezos, heâs evil, we need to throw him outâ and your friend tries to convince you that no poor Jeff Bezos has amnesia and is in a lot of trouble so you have to help him. This is insane to you but youâre in love with your friend so youâre like okayâŚand then Jeff Bezos regains his memories and runs off to live out his queer love story. Youâre like âwell that was INSANE wasnât it? Letâs go do boozy brunch to get over it and also I might be in love with youââŚ..but your friend/love of your life is like âthis is awkward but Iâm actually the new CEO of AmazonââŚâŚ.that would be terrible wouldnât it? Well something really similar happened to my good friend crowley
Hello Mr Gaiman. Iâm not sure that youâll answer this question but it least I can say that Iâve tried.
So Iâve been rewatching season 2 today and I noticed that there was no holy water during the battle in the bookshop. Aziraphale canât make any water holy? Or is he too good to use it against demons?
Why would he have holy water in his bookshop? It could hurt Crowley.
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hi Neil! hope you're having a good one! silly little question -- in Good Omens 2 we see that demons have to be invited into the bookshop in order to enter, but Crowley doesnt. is he an exception to the bookshop wards, or does the bookshop have enough sentience/psychic ties to Aziraphale that it just doesn't recognize Crowley as a threat?
What makes you think that Crowley wasn't invited in on opening day, over 200 years ago?
the essence of johnlock is that the watson character has settled sustainably, tho unhappily, into heteronormative life when he meets the holmes character, while the holmes character has entirely rejected the task trying to pass as heterosexual/normatively masculine/neurotypical, so in a certain sense heâs freer than the watson but in another sense heâs even more isolated and lonely bc his abnormality makes him a social outcast. & then over the course of their relationship watson becomes more comfortable w himself and holmes becomes more emotionally open and less isolated. itâs like they have to be Freed from the two contrasting pitfalls that queer people trying to survive in normative society often fall into & the key to both of their escapes is each other
