little rant:
how is it fucking possible to go from THIS PIECE OF CONTEMPORARY ART to the shitshow that was tfp? HOW AM I SUPPOSED TO GET OVER IT? Accept it? say it’s real? try to convince myself is not real? there’s really no fucking sense to it. I am trying not to tin hat, but LOOK AT IT. This is writing, and cinematography, and directing, and the sfx, the acting. EVERYTHING IS PERFECT. This is brilliant. I’ve studied cinema for a LONG TIME AND I’VE SEEN A LOT OF GOOD SHIT AND THIS IS STILL MESMERIZING TO ME
fuck this show. honestly, how could tfp be in the final episode of a series that had THIS BEAUTIFUL FUCKING SCENE on it? AND THIS IS NOT THE BEST SCENE IN THE EPISODE ARE U AIGDAIUBSJ
fuck tfp.
@escaroles As a filmmaker, I can but agree with EVERY. BLOODY. WORD.
The Lying Detective, while still ripe with inconsistencies and weird fuckery – the two Marys or morphing lobby walls come to mind – it was brilliantly written cinematography porn.
I’m not sure what happened, but the glaring differences in cinematic sophistication we witnessed in s4 are, to me, the smoking gun in the Fuckery Gallery we have been compiling.
Tag: the final problem
the hilarity of mycroft saying ‘there is no prison in which we could incarcerate Sherlock’ literally right after he says ‘you know what happened to the other one’
(Synopsis of Cambridge Union Q&A with Steven Moffat and Mark Gatiss, January 20 [x])
Just like….the hilarity of Mycroft’s “brotherly compassion” line in HLV. you didn’t even put your “other one” sister away when she was 5??? you were 12 and she apparently required lifelong institutionalization????
Put her away when she was 5, but she taught Sherlock violin. Put her away when she was 5 but apparently Uncle Rudi only confided in the 12 year old about what was happening. The 12 year old told his parents his sister died, not the adult responsible for her? And apparently no one in your family talks about her, ever, but your colleagues know all about her?
GOD
us: on a plane, screaming, high above everyone else with the perfect metaphor, no idea how to land, no one else is awake, HOW COME NO ONE ELSE IS AWAKE???!?! CAN’T YOU SEE SOMETHING’S WRONG? THE PLANE IS CRASHING?
mofftiss: [maniacally] WELCOME… TO THE FINAL PROBLEM!
Ok but does it means that when Sherlock says John is family, could it mean he’s saying the same to the paramedics trying to get john to the hospital, refusing to let go of him??
moftiss whipping out the s1 parallels: have asip babes
John wasn’t shot with a tranquilizer
There’s a goddamn gunshot sound at the end.
Also, “Oh… it’s making a funny face. I think I’ll put a hole in it.”
Tranquilizers… don’t… do that? I mean, a very TINY hole, maybe.
Someone who knows about guns will have to analyze the gun itself, but after some cursory research… looks like a straight up bullet-firing pistol to me. And the smoke? Just?
John was not tranquilized. He did not just fall asleep. He was shot.
Garridebs is goo
JOHN WOULD KNOW A REAL GUN FROM A TRANQ GUN
the words John and Sherlock wanted to say but never could were placed on a coffin and then destroyed to smithereens by Sherlock himself, good times
And he was forced to give those words to a woman instead. As a gay man he was forced to say I love you to a woman and never allowed to say it to the man he really loved.
Okay but this is too on the nose to be something they would legitimately present as canon. Everything has been far too pointed in this show, the explit queerness of it AND the explicit forced heterosexuality. This scene was the physical embodiment of what happens when you force heterosexuality on people. Its hurts everyone involved. Molly (despite having been let down both harshly and gently multiple times) loves Sherlock, but as a gay man he can not love her in the same way. When he is forced to, it destroys them both. Its tragic, but its real. I think thats what they were purposely trying to show.
Sherlock and the Problem with Plot Twists
It’s not new, of course, this flagrant use of smoke-and-mirrors plotting and nonsense resolutions. Think of that great study in audience abuse, Lost, which began with a plane crash and then added twist upon twist, surprise after surprise, always dangling the possibility of everything coming together and making sense in next week’s episode. It never did. The script heaped up implausibilities and non sequiturs until nothing could finally account for what the show had actually been about. Lost was an object lesson in the financial reality of television whose job is to keep viewers hooked for as long as possible, and then, when they (and the advertisers) have lost interest, vanish, whether the story is wrapped up or not.
So we get extended and increasingly incoherent narrative arcs that leave fans scratching their heads (Battlestar Galactica, anyone?) because we are doing what readers are hardwired to do. We try to find coherence, unity, and meaning whether there is any or not. We assume that the ending was somehow planned from the beginning, though we should know by now that that is not how television is made. TV—unless it’s conceived as a self-contained mini-season—doesn’t begin with a macro idea which they then break into as many episodes or seasons as they have to fill. Generally, they start small and add to the end, extending and extending with no final end game in sight. We shouldn’t be surprised that it doesn’t finally make sense. All those plot twists and surprises we thought were complex revelations of some master plan were just new bits tacked on, each one taking the story in a direction no one (including the writers) had foreseen when they penned Episode 1.
The fact that they name-dropped LOST and BSG feels like a personal shout-out to me.
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