Tag: script reactions

roadswewalk:

skulls-and-tea:

aside from the the fact the shooting scripts are obviously not written-in-stone documents of “finality” in any way, Moff and Gatiss have always talked about how they fill the scripts with handwritten notations and directions as shooting progresses, so take from that what you may.

a little louder
shooting scripts are obviously not written-in-stone documents of “finality” in any way

and also, directors exist, and so do things like logistics and improvisation

so

  • not every difference between script and screen is evidence of deception
  • not every difference between script and screen is due to the actors
  • some nuances on the page never translate to the screen, and some nuances on screen can never be captured on the page

comparing is fun, but most of what it reveals are just artifacts of the process

warmth-and-constancy:

warmth-and-constancy:

Like, can my whole dash please take a second to realize that a script full of super bro stuff turning into an episode full of super gay stuff does not happen by accident but by design

To clarify: I’m citing “manly embrace” as super bro stuff because although romantic embraces between two men can certainly be “manly” – a word even used by Dream Moriarty to come on to Sherlock in his mind in TAB – inserting the word “manly” there comes across as not being satisfied with writing “a proper embrace” but instead with making sure everyone knows it’s “a proper DUDE embrace,” it’s the difference between regular candles and Man Candles

But bro stuff didn’t make it to screen, instead Sherlock nearly told John he loved him and then went and sat on the plane and nearly overdosed while reading the story of their first meeting, and later they got a chance to embrace in a tender fashion instead of in the chest-bumping, back-slapping Bro Hug fashion that was implied by the word “manly” in the script

Please recognize that if this is the real version of the script submitted to the Emmys, it means they made the episode textually gay without putting any of the romantic stuff down in writing, and this comes on the heels of my pointing out just yesterday that Mark and Steven have admitted to not writing certain things down while describing my belief that Mark has quietly been doing “directing” throughout the entire show

astudyinqueerbaiting:

astudyinqueerbaiting:

cow-mow:

sussexbound:

Okay, so like reading all these scripts, I’ve just realised that Martin was telling a very different story than everyone else (an honestly beautiful story), and they just let him run with it, until they decided they didn’t want to let him anymore.

‘Fraid so, too.

which would explain why they turned John into a secondary character in S4 *sigh*

Martin was too good for this shit, tbh.

Secondary and thoroughly unsympathetic lol Mofftiss are vengeful bitches.