Tag: the final problem

fortheloveoflestrade:

welovethebeekeeper:

1895itsallfine:

love-in-mind-palace:

johnnlocked:

No, Lou, it isn’t but that is not what happened to Molly Hooper. She was reduced to the start of her character arch just for the sake of drama and the (gay) male protagonist, who obviously has not once loved her back in the same way she loved him. 

Molly Hooper was written poorly and she deserved more! 

Can’t agree Lou.. You misunderstood your character. She was not what you thought she was. 

She agreed with fans way back thinking the slapping was awesome and badass so she’s had this problem for a while tbh.

Again, patronising. Because it comes from a woman makes it no less demeaning, many of us have read Chekhov. I’ve never been a fan of Loo, she’s said some iffy stuff on Twitter, and especially her take on the slapping as @1895itsallfine points out. 

okay i know i already reblogged this but i have something to say now

molly still loving sherlock is not the problem here. molly is human, and so she can’t be expected to get over her feelings like nothing happened. it takes some people years to get over shit like that. that’s not the problem. it’s a relatively human character flaw–and while some of us might believe she should be over it–it doesn’t mean she is.

the problem is [euros and] the writers taking advantage of that part of molly and blowing it out of proportion, making it a plot point to exploit both molly and sherlock. especially when they haven’t touched on molly’s feelings for sherlock explicitly since season 2. that is why we assumed she was over it, because no one brought it up for YEARS. 

and so, that is what i am angry about. i don’t think loo is wrong, i think she’s looking at it from a character perspective and not how the writers mistreated molly. there is nothing wrong with molly. what’s wrong is how she was presented in tfp.

^this. I think it comes down to the writers dropping the ball on this one. Big time.

We cannot blame her for any of this. She is not wrong. We are not wrong. End. Full stop.

inevitably-johnlocked:

thepineapplering:

shamynay:

thepineapplering:

The Final Problem was a disgrace to the original ACD stories
A disgrace to the pastiches
A disgrace to the people watching “for the cases”
A disgrace to the casual viewers
A disgrace to women
A disgrace to Billy Wilder
Oscar Wilde’s name shouldn"t even be mentioned as the same time than TFP
A disgrace to the character’s arcs
A disgrace to the previous 12 episodes

Now, why would they write something that misses EVERY SINGLE APPEALING ASPECT OF THE SHOW

Not just two or three
EVERY SINGLE ONE OF THEM

I’m sorry, because I’m clearly missing something, could you please explain why this episode was such a disgrace to all you listed above?

I got tired of waiting for your answer and I feel ranty, so here it is:

– to the original stories: I’ll give you two words: HANGING GARRIDEBS. You want sometig else? The dancing men being just thrown into a closing montage with no explanation. NONE.

– to the pastiches: the plot of this episode was supposed to MAKE HISTORY. Sherrinford comes crom pastiche. They turned it into a penis shaped prision (actually I would count that as a redeeming feature) and the sibling character had absolutely NO FUCKING ARC, NO DEVELOPMENT IN HER STORY. Is the WORST VILLAIN IN THE HISTORY AND I AM INCLUDING DOCTOR EVIL FROM AUSTIN POWERS. Fuck it, I’m including VIVAN NORBURY from TST.

– to the people watching the show for the cases: THERE WAS NO FREAKING CASE, MICROFT HAD HIS SISTER IMPRISIONED WHEN HE WAS 14? WHO DOES THAT? What was the case? Sherlock not remembering his sister? Him being lied to FOR FORTY YEARS?!? WHAT WERE THEIR PARENTS DOING?? Why did it escalate to such extra levels?

– to the casual viewers: people like Sherlock for the cool deductions, the beautiful cinematography, the thrilling plot that keeps people on the edge of their seats. None of this can be found in TFP. The deductions were lame. The cinematography lazy as fuck. The plot was insane and PREDICTABLE. IT MADE NO SENSE. I fell asleep the three times I saw the thing, one in RUSSIAN.

– to women: ok wow, just look what they did to poor Molly, they pulled a love confession out of her teeth, when she clearly said SHE DIDN’T WANT TO SAY IT BECAUSE IT HURT HER, TO ADMIT SHE LOVED SHERLOCK BEFORE. And it hurt Sherlock as well, to make her say it. Fuck the plot here, that was non consensual. That was AWFUL. And to Eurus?!? A little child with mental illness? Also she’s supposed to be a villain and got REDUCED TO BE A SISTER JEALOUS OF HIS BROTHER’S FRIEND IN A PLAYDATE WHAT’S UP WITH THAT

– to Billy Wilder; Mark GaHtiss said over and over again how he was inspired by Wilder’s adaptation, how much he wanted to make it right. In TFP Sherlock’s drug struggle is completely left behind, and the reason for it is not addressed either. What happened? A miracle cure? Billy Wilder’s big regret was not to make Holmes the character he wanted (homosexual, addicted to drugs because he was closeted). GaHtiss had the chance and said “not now, thank you”. A disgrace.

– The fact they even uttered Oscar Wilde’s name in the most hetero fucked up episode of the show should grant them jail time in Pentonville ( if you don’t know, Oscar Wilde was convicted two years in Pentonville for having homosexual relations)

– to the character’s arcs: Sherlock was supposed to change from a great man to a good one. Where is this good man? Did he really keep himself from having romantic relationships because HIS SISTER KILLED HIS BEST FRIEND?!? And even he DOESN’T EVEN REMEMBER HER, IT MARKS HIS ROMANTIC LIFE? Forget the fact he keeps being closeted by the writers. WHY IS HE DENYING HIMSELF FROM FEELING ROMANTIC LOVE?

And John, omg… We saw him taking control of his own life in TLD, refusing to be a piece in everyone’s puzzle and now he is on Nigel Bruce levels of bumbling Watson, he is just there, the not so bright sidekick, being pulled from one side to the other as a pawn…

– to the previous 12 episodes: those were MASTERPIECES. They excelled in every single aspect, always innovative, always surprising. You may not like the plot, the drama going on. But it was INTERESTING. The set design was superb. In TFP ee have a grey room painted with spongento give it texture.. A fakeass explosion where you can see THE GREEN SCREEN. The deductions didn’t have that gorgeous graphics, but some boring letters in the well scene. WE DIDN’T SEE ANYTHKNG GROUNDBREALING OR INNOVATIVE IN TFP. NOTHING WHATSOEVER.

Please note I never touched or mentioned johnlock, when the lack of any development in their FRIENDSHIP was terribly disconcerting.

TL,DR: TFP IS THE WORST THING I’VE EVER SEEN IN TELEVISION, AND I SURVIVED THE FINAL EPISODE OF LOST.

THIS ALL SHOULD BE FRAMED.

weeesi:

I’m thinking of my ol’ friend Graham Robb, who dedicated an entire section of his book Strangers to the idea that everyone implicitly knows Sherlock Holmes is gay – why are we still talking about it

I’m thinking of my ol’ friend Matt Cook, who included in his book a quote from a 19th century gay man relating to Sherlock Holmes through his realising own idiosyncrasies – the story of a man finding a role model, a man like himself in a story he once read

I’m thinking of my other ol’ professory friends, who’ve painstakingly put their names and academic reputations on the line to demonstrate how valid and vital queer readings of Holmes’ canon are

I’m thinking of my fellow fandom scholars, who’ve done the Work out of nothing for no one and in turn did something for someone and were harassed for it

It is too much to ask to be listened to, to be respected, to be heard – if nothing else, to be acknowledged!

Apparently so

nasaetre:

the writing was just so bad like there’s a lot of things i could talk about but particularly the scene where he has to shoot either mycroft or john comes to mind like that should’ve been hella emotional but tbh i felt more when sherlock threw those ginger nuts at his face

The 4th Episode: A Complete Johnlock Fix-It

the-7-percent-solution:

the-7-percent-solution:

the-7-percent-solution:

The screen is black.  A woman’s voice cuts through.  It’s Molly’s voice.

“Forward? Or Backward?”

A blinding white light floods the darkness.  A pulsating heartbeat. 

“Backward,” sighs Sherlock.

White noise stings as scenes are replayed backward. Sherlock and John running backward.  John’s fist recoiling from Sherlock in the morgue.  The christening, backward. The birth, backward.  The plane glides into the air, tail first. Magnussen’s limp body jolts into standing position, Sherlock puts the gun back in John’s pocket. The flashdrive jumps from the fire, into John’s hand.  The gun drops, the coin falls back into Mary’s fingers. Sherlock raises from Magnussen’s floor, the blood-stained shirt turns freshly white. Mary stands across from Sherlock, gun drawn.

Roll Title Credits.

Keep reading

I want all of you to know, I write screenplays for fun, and if Sherlock isn’t given any sort of fourth episode, then I’ll write the 90-minute script following this storyline and tying in TST, TAB, and TLD – our codes will all work, our subtext will all fit. I already have the entire thing planned out. That way every one of you can print it out. Every one of you can have The Lost Episode.

therealmartinsgrrrl:

I think the worst mistake here, the very worst one, was taking a story that already had rich and interesting and complex characters and a cast of absurdly talented actors, and doing absolutely jackshit with them. This show could have delved so deeply into who John Watson and Sherlock Holmes really are, could have been a brilliant character study, and they could have fleshed out Lestrade and Molly and Mycroft and Mrs Hudson to create a show that was really about this little dysfunctional family of people who are broken but love each other, and who take care of and protect each other, and they could have made this not only groundbreaking but profoundly meaningful. And instead they went for explosions and killer clowns. It’s such a damn waste.