#jwdb

Season 2: *ruins it by making Joan a love interest and a way to drive a horribly not-at-all-comedic wedge between the brothers*

Season 3: *gives Joan a MOC for a boyfriend, makes Joan an independent investigator*

Season 3: *kills the boyfriend, has Sherlock ignore her feelings except for two seconds in two eps that didn’t actually address Joan’s feelings*

Season 4: *gives Joan a reason to really show her Race You to the Bottom™ side by making Morland an asshole, gives Joan a nemesis and a half-sister*

Season 4: *makes Morland seem kinda okay and gives Joan nothing to do, drops the nemesis storyline, doesn’t let Joan explore anything to do with her biological father*

Season 5: *gives Joan Shinwell to help her feel she can still help someone she once saved as a doctor, even after she’s been indirectly responsible for so many deaths as an investigator and with Castoro*

okay. as promised, we’re gonna do this thing again. for those who weren’t here last time or don’t remember...

WHO: all of us, we’re gonna make what’s called “spec” scripts for a hypothetical season 6 that we would like to see

WHAT: the dream is to write 9 full length episodes with intermediary “minisodes” done in a sort of web series style, and accompanying art and other visuals for our work

WHERE: since we don’t all live in the same city or town, everything will happen online. planning/mtgs will happen via Slack, coordination will happen via GoogleDrive, and script writing will happen with writerduet.com

WHEN: the first meeting will be next Sunday (April 2nd) and we’re pretty much just gonna brainstorm on plot/character ideas. let me know time preferences here    >>>   https://goo.gl/forms/nW3p63ORkNWTa9Rq2   <<<

'Elementary' Boss on the Surprise 'Blessing' of Season 7 and Wrapping Up Sherlock & Joan's Story (Exclusive) | Entertainment Tonight

I also wanted to ask about Joan’s hair. There was a line in the premiere about her going blonde, was that a creative decision or something that happened in your personal life that got written into the show?

That was something that happened in my life but it worked out well for the story [Laughs]. I was doing a movie in Canada, and I’d been wanting to change my hair color anyway, so it was kind of a great opportunity to do that. And then in the same week, we also got picked up [for Season 7]. So it was sort of happenstance, but Rob was totally cool with it. He was like, “Well, if Sherlock can shave his head, Joan can have blonde hair.” He didn’t even flinch, it was great.

It plays into this sense that at the beginning of the season, Joan’s feeling a little bit like a fish out of water in London, where Sherlock is obviously very at home. How would you describe the state of their relationship after the time jump?

I think it’s in a place where they’re able to move forward in their relationship knowing that they’re for each other, regardless of the fact that he committed this terrible crime, essentially. The main thing that Rob always stressed from the very beginning was that he wanted to maintain the relationship — the friendship — between these two characters. A lot of people were asking when it was going to become romantic, but he never strayed from that idea. It’s remarkable the way that he honored that. But that was one of the reasons I was really excited about working on the show. He was able to say, I want the depth of their relationship to constantly be up for discovery.

Love doesn’t necessarily have to be a romantic, but the word can be dangerous to use, especially when there’s two different genders involved. Everyone assumes that we’re going to get together or that when we say it, it means that we’re in love with each other. That’s not necessarily the case. [Sherlock and Joan have] almost like a heightened type of love because they’ve been through so much. They have this deep understanding of each other because their relationship started with her as his sober companion, as a support system. And then it changed and sort of metamorphosed over the course of the series.

(Okay, I’ll buy that. But I’m still JoanLock 4ever.)

Knowing that you were going to be wrapping up Joan’s story, was there something specific you wanted to see happen? Or that you were really hoping to get to do?

I really wanted to make sure that she didn’t lose her personal life. You know, in the time that the show’s been on, she’s had a partner and then he was killed. There were so many different ways that we could go, but I just felt like I wanted to see more of the relationship end on her part. I had talked to Rob [Doherty, showrunner] about it, too. That was something that I was sad about not having developed [earlier], because I didn’t want it to seem like you can have a career but you can’t also have a personal life. And that sort of changes in Season 7, so I was happy for that. Because I didn’t want it to seem like it’s impossible to have both.

(YES, THANK THE LORD. FINALLY. Though we’re already two episodes in, and we haven’t seen hide nor hair of anything yet.)

I also want to ask you about “Why Women Kill.” How did you choose that as your next project? What kinds of things were you looking for?

To me, Marc Cherry is somebody who can really connect drama with comedy. And I’ve spoken about it before, but my passion is comedy. I love it, I live for it. It’s something that makes me feel connected to my best self, when I’m laughing and making other people laugh. And I don’t always know that that’s a possibility, but Marc really is able to play with that line, much like David Kelley did on “Ally McBeal.” So I was offered the part, and Marc said he’d been wanting to work with me and that I’d be playing a character in the 1980’s, it was already like, “I’m in.” Shoulder pads and big hair? Come on. We just finished two episodes and the character couldn’t be more different from Joan Watson. Plus, it’s still within the CBS family, and they really have been such a great supporter of mine. It was kind of a no-brainer. I love the opportunity to really reach out and stretch those acting chops, the discovery and the exploration of different kinds of parts.

The good -- Wow, it’s really nice to see J-Dub and Sherly back on screen.  And Kitty was a great bonus. Wish she’d stuck around. Watson’s wardrobe is stellar as per, and its focus on black and white may represent how she’s seeing the world these days, less in shades of gray after last season’s attack. There’s a level of camaraderie and comfort between Holmes & Watson that’s nice to see.

Man, it’s also awesome to see the first few episodes with a continuing through-line, which is how the series should’ve been structured all along.

The bad -- If only that continuing through-line hadn’t literally gotten all the emotional air sucked out of it by a series of lame apologies, without any explanation or regard for the major betrayal the Captain laid on them last season. 

And the outcome was also lame -- where the hell was Hannah? Wouldn’t she’ve been at the hospital? Shouldn’t she’ve at least offered to give herself up? Or have Gregson beg her to do so? Wouldn’t it have been nice to see Watson get her own apology? His betrayal was really a slap in the face to her. But OF COURSE, we don’t get to see that scene, cause RHW wrote it and he always leaves the best stuff out, and because JW will ALWAYS DB. (Thank G-d, we’ve finally got this to soften the blow a bit.) :) #LucyLiu on the #WalkofFame

Meanwhile, that thing with Sherly threatening people with his father has always irked the hell out of me. He’s such a hypocrite. He doesn’t want anything to do with Morly until he needs to toss his name around for some kind of threat or favor. And would it’ve killed them to get Morland back for that first London ep? Believe me, it would’ve been a nice emotional set-up for what’s coming. (SPOILER ALERT: See ya, wouldn’t wanna be ya.)

The ugly -- Well, once we’re back in New York we’re of course back to convoluted, hole-ridden plots with uber-rich guy white male murderers and various international shenanigans. (That Ethiopia vs. Eritrea deal had me alternately yawning and wanting to tear my hair out.) 

And we’ve had to put up with the usual amount of schmuck-bait. OF COURSE Marcus isn’t going to the marshals. OF COURSE, Watson isn’t getting a baby. OF COURSE, Sherly is immediately able to move back to the US with only the slightest amount of glaring at an FBI guy we’ve never seen before. Oh, and of course the jailhouse message “Joan Watson is trouble” isn’t gonna lead to any real jeopardy.

The extremely hideous -- I’m already pissed about what’s gonna happen on tonight’s introduction of Reichenbach cause we've seen this before with every other "archvillain" on Elementary. Be an uber-rich white male tech guy (see above). Bring back some toss-off storyline (the gun buyback deal), dupe Joan into working for said rich guy, then reveal you're some evil genius out for Sherly, making her look like a complete idiot who’s just been successfully manipulated. UH, NO.

The good: Several lovely Watson wardrobe looks. Several hilarious Sherlock facial expressions. Medical-based stories always interesting and welcome. Good coffee beat.

Also, look at the adorable shayna punim on this one. I could plotz.

The bad: God, what a tortured set-up. I HATE stories that start with “friends” we’ve never seen or heard the characters mention. Such lazy storytelling, and so so common with these craptastic Elementary writers.

We’d finally had a glimmer of hope that this was going to be an interconnected season, like we’ve wanted and deserved, only to have the rug pulled out from under us yet again with another murder of the week yawner.

The guy who plays McNally is a terrible actor.

So if, as Reichenbach says, he’s busy negotiating a land deal on Mars or whatever, and 8 million other much more important things, why oh why would he be bothering with Holmes & Watson?

And didn’t it occur to anyone that they’re just remaking Person of Interest?