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Jan. 17th, 2017 08:07 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
chocolatepotMan, this season is hard to sum up.
The decision to off Mary is understandable from a Doylist perspective - she didn't really offer much, as a tool of the story, that Sherlock and John didn't; she made things too happy and Mofftiss like it grim (despite the funny parts being the best bits of the show) - but I wish they hadn't, because as you may have surmised, I think it tends to get too grim. Also, I think it's pointless to be fanficcy and introduce a baby, kill off the mother, and then not have an episode where the two of them awkwardly take care of a baby. Like, what are you even thinking? Even Bones had an "awkwardly take care of a baby" episode.
Ep 2 was decent and also fanficcy. Ep 3, however, was terrible. Reasonably interesting to watch, but I kept getting pulled out of it by obvious questions:
- I'm skeptical that an intelligent child of, what, six? would forget that he'd had a younger sister who burned his house down or a friend who went missing that he'd looked for.
- Okay, so there's no glass - that doesn't explain why she can get off the island without anybody making it known to Mycroft.
- Sorry, their uncle built an island prison to hold her and let bb!Mycroft in on the secret?
- WTF is wrong with the Holmes parents, that all of their children are emotionless weasels? Are they secretly siblings, or much nastier than they appear? Because these are the only things that make sense. Being hyperintelligent doesn't naturally make people terrible human beings. Even being a sociopath doesn't inherently make someone terrible. In all honesty, this bothers me more than the way women are villains or victims through this episode. Eurus (AWFUL NAME, clearly the problem with the kids lies with the parents)
- WTF even is that resolution? She's hallucinating that she's a kid on a plane, why? (The "hero helps little girl" thing is becoming a bit too frequent, Moffat - it's cute, and here I think it shows character growth, but it's still like a big neon "MOFFAT" sign.) It was a fakeout for the sake of a fakeout, and frankly it made no sense.
- How on earth are they going to deal with Sherlock convincing Molly he loves her now this is all over?
I hate to agree with Aja, but it does feel "like a window dressing on a completely different story". What makes a good episode of Sherlock is a central mystery and the solving of it, but Mofftiss prefer to have finales of action rather than mystery-solving, with villains rather than perpetrators, and sense flies out the window. (This wouldn't be so bad if the seasons weren't so short - they waste a high proportion of time on these.) It's just the Magnusson nonsense all over again. (If he doesn't have anything digital or hard copy on people, why do they care? Just refute it in the papers.)
You have to watch Magnificent Century! It is a Turkish historical soap opera on Netflix, and it is bonkers. Set in the court of Suleyman the Magnificent, it mostly centers on Hürrem Sultan as she goes from Alexandra the Ruthenian slave girl to Hürrem the favorite concubine to Hürrem Sultan, mother of a prince. It will make you shout things like "NO, HURREM! You're just making things worse for yourself!" and "GTFO, Mahidevran, you are the worst."
The decision to off Mary is understandable from a Doylist perspective - she didn't really offer much, as a tool of the story, that Sherlock and John didn't; she made things too happy and Mofftiss like it grim (despite the funny parts being the best bits of the show) - but I wish they hadn't, because as you may have surmised, I think it tends to get too grim. Also, I think it's pointless to be fanficcy and introduce a baby, kill off the mother, and then not have an episode where the two of them awkwardly take care of a baby. Like, what are you even thinking? Even Bones had an "awkwardly take care of a baby" episode.
Ep 2 was decent and also fanficcy. Ep 3, however, was terrible. Reasonably interesting to watch, but I kept getting pulled out of it by obvious questions:
- I'm skeptical that an intelligent child of, what, six? would forget that he'd had a younger sister who burned his house down or a friend who went missing that he'd looked for.
- Okay, so there's no glass - that doesn't explain why she can get off the island without anybody making it known to Mycroft.
- Sorry, their uncle built an island prison to hold her and let bb!Mycroft in on the secret?
- WTF is wrong with the Holmes parents, that all of their children are emotionless weasels? Are they secretly siblings, or much nastier than they appear? Because these are the only things that make sense. Being hyperintelligent doesn't naturally make people terrible human beings. Even being a sociopath doesn't inherently make someone terrible. In all honesty, this bothers me more than the way women are villains or victims through this episode. Eurus (AWFUL NAME, clearly the problem with the kids lies with the parents)
- WTF even is that resolution? She's hallucinating that she's a kid on a plane, why? (The "hero helps little girl" thing is becoming a bit too frequent, Moffat - it's cute, and here I think it shows character growth, but it's still like a big neon "MOFFAT" sign.) It was a fakeout for the sake of a fakeout, and frankly it made no sense.
- How on earth are they going to deal with Sherlock convincing Molly he loves her now this is all over?
I hate to agree with Aja, but it does feel "like a window dressing on a completely different story". What makes a good episode of Sherlock is a central mystery and the solving of it, but Mofftiss prefer to have finales of action rather than mystery-solving, with villains rather than perpetrators, and sense flies out the window. (This wouldn't be so bad if the seasons weren't so short - they waste a high proportion of time on these.) It's just the Magnusson nonsense all over again. (If he doesn't have anything digital or hard copy on people, why do they care? Just refute it in the papers.)
You have to watch Magnificent Century! It is a Turkish historical soap opera on Netflix, and it is bonkers. Set in the court of Suleyman the Magnificent, it mostly centers on Hürrem Sultan as she goes from Alexandra the Ruthenian slave girl to Hürrem the favorite concubine to Hürrem Sultan, mother of a prince. It will make you shout things like "NO, HURREM! You're just making things worse for yourself!" and "GTFO, Mahidevran, you are the worst."
