Sherlock - BBC [4]

My main problem with season 3 is Sherlock's personality change. The speech I *might* be able to accept, but the ending... It doesn't make sense. It doesn't fit. It's not logical. Despite Petty bending over backwards trying to explain why this is super brilliant.

Somehow I've forgotten just how awesome these books are - now I want to re-read a few of my favourites, then re-watch the Jeremy Brett series

Blimey where to start! Where the bloody hell is Norc? Defending Sherlock should be her job. It snot like I dont have a big enough job on the Who thread Stop tying to move on in the world and get back to important stuff like defening Sherlock for me!

Right, fine then, I'll do it myself (need a rolling up sleeves thingy here)

Lets tackle a bunch of related comments first- and remember I'm coming form the point of view of only enjoying episode three of this series.

I want it to be about John and Sherlock together, two blokes detecting stuff. - Figg

Mary's introduction skewed Sherlock and John's realtionship and put things in a way that I'm not sure will work long term.- Blue

Doyle himself let Mary just fade away. Just didn't belong.- HAlfy

Moffat did a PJ putting female energy into an original story about men. It just doesn't work. specially if you make the females in question knife wielding psychokillers. - Figg

And put her into a love triangle.- Blue

Right.

First I give credit here to having Mary in it at all.
Almost every other adaptation gets the living arrangements and personal relationship wrong because for simplicity sake all other versions have them living together at Baker St. So much so most people think thats how the books are too.
This only happens at the beginning, until Watson is married. At which point he moves out and sets up his own practice and lives upstairs above the shop.
His adventurers with Homes usually begin with them bumping into each other, Watson popping by for a visit, Watson reading about Holmes exploits in the press then Holmes turning up to ask him to help out.
So even in the originals there is that division between them- Watson is a married man with a busy medical practise to run for most of the stories and Holmes lives in the shadowy world of criminals, into which Watson occasionally goes and comes back with the tale to tell.

As to Mary being written out she is certainly very backhander. But nevertheless whilst Doyle never gave her anything to do of much consequence when he did write her out he then gave Watson another wife. And a I think a final third before the end. So obviously there was something here about Watson's domestic circumstances Doyle wanted to keep- he needed Watson to be independent from Holmes and part of Hoomes alure is he lives constantly in a world we only get to see bits of.

When it comes to Mary being a psycho assassin, I dont remember her being psyscho- she was a trained operative for a government who went rogue- thats a character type that fits fine into Doyles list of character types just fine, its just usually they are male.
I suppose they could just have had her like in the book, domestic and background.
As to how much it affects the relationship- I dont think its going to become a sleuthing trio.
Given the books give them complete license to write her out pretty much as they please. And as they are following Doyle close than at times might seem, I find it likely they will do so again write her out, Watson back dating, then back to domestic life again- retaining Doyles separating of their domestic daily lives.

Lastly her being the one who shoots the blackmailer is a trick in adapting they have done in every episode. In each of the stories they are adapting there is a moment, a clue, something which is the key the entire plot hinges upon.
In the first episode its the famous unfinshed scrawled in blood rache- which turns out in the book to be german for revenge- but that in the tv version this is pulled out from under you immediately- and now no one knows how the mystery can resolve because key clue has a new meaning.
In the final episode of series three that key moment they choose is what the plot hinges on, who kills the blackmailer, if they had followed the book it would have been the government woman and Sherlock would then have covered up the crime, but when that moment comes they flip the clue and twist it as always and make it someone else and make it Sherlock instead of the blackmailer who is shot- now the whole mystery is back on even for those who know how the original goes- and in an exciting and surprising way.
And the scene where she shoots him is one of the most beautifully shot in all the episodes.

"but the ending... It doesn't make sense. It doesn't fit. It's not logical. Despite Petty bending over backwards trying to explain why this is super brilliant."- Amarie

I dont remember bending over backwards trying to call any of series three 'super brilliant'. And besides you dont want me bending over backwards in a kilt!
And I'm not sure which ending you mean- the Moriarty one- in which case hard to judge till we see where they go with it.
Or Sherlock shooting the blackmailer.
If its the later I don't think its too big a corruption of the original, its certainly taking it a stage further. He subverts the law, covers up the crime and protects the murder in the original, here they have him the one who pulls the trigger.
All the stuff Sherlock says about his loathing of the man is base on stuff he does say in the book about him.
I would say the Sherlock as opposed to Doyle's Holmes is certainly more unstable and less controlled.
But if you take this version of the character as he has been presented from the start I don't think it was out of character for him.

I prefer the Brett version in that Sherlock and Watson detect stuff and that's it, no wives no unnecessary complications. its clean and does what it says on the tin.
Sherlock thrives on the charisma of Cumbersnatch and Freeman, and anything which deviates from this winning formula is a fail, like season 3 is a fail. At the end of the day season 3 was just boring telly. There were moments of its past glory but on the whole it failed.

I'm talking about the emo running away ending.
(Short post, little time, sorry.)

Still not sure what you mean- Sherlock being sent away on the suicide mission do you mean? If so then they had to do something to account for how he could otherwise get away with murder.



"like season 3 is a fail."- Figg

I don think it all was a fail- there are parts of the first two episode I like (the actual mystery parts) and I stand by my assertion that episode 3 is up there with anything in the first two series- its certainly more entertaining than say the Blind Banker and holds together better than something like Baskerville.

nope. its crap. you are the only person who rates it. because its Moffat.

You've probably tried to block it from your memory, or maybe that's just me. Sherlock leaving the wedding because he can't be John and Mary's baby. The sad ending which wouldn't be sad enough, I guess, if he hadn't made the perfect speech which made everybody love him.

I agree the wedding was cringeworthy and out of character. and booooooooring.

And this one might go the same way Eldo with comments like -

' its crap. you are the only person who rates it. because its Moffat.'- Figg

I dont think at the time I was the only one who rated the final episode or thought it apart from the first two in terms of quality. And secondly I just gave a break down of how the episode its structured and plotted in comparison to series one and two, explaining why I think it is better than the other episodes of series three, and why it fits in with episodes from series 1 and 2 in how its adapted.
How its written is important, who wrote it is not.
I'd simply rather watch that final episode again before others in series 1 and 2.

'Sherlock leaving the wedding because he can't be John and Mary's baby.'- Amarie

No wonder I couldn't remember it- thats in one of the two episodes of series three I said I was not a fan of. I am talking about and defending solely the final episode of series 3 and what happens in it and how its written. I said that right at the beginning of this.

I admit I have skimmed the entries, don't have much online time.
Perhaps you were bending forwards picking up a penny or bottle cap at the time, either way the view might have scrambled my memory.

Noooooooooo, don't give them any ideas.

What, the kissing? Have you been watching Sherlock at all?

Not to mention that they dearly, desperately and deeply do need some new ideas...

Speaking of Sherlock: we're less than six months away from the Christmas special, right?  So 75% of the way through the inter-season wait.

For some reason this wait doesn't feel as hard as last time...

Amarië wrote:What, the kissing? Have you been watching Sherlock at all?

Not to mention that they dearly, desperately and deeply do need some new ideas...  

I was.. making a joke..

Eldorion wrote:Speaking of Sherlock: we're less than six months away from the Christmas special, right?  So 75% of the way through the inter-season wait.

For some reason this wait doesn't feel as hard as last time...

First there's the period piece special, right? That'll certainly be.. interesting.

Bluebottle wrote:

Amarië wrote:What, the kissing? Have you been watching Sherlock at all?

Not to mention that they dearly, desperately and deeply do need some new ideas...  

I was.. making a joke..

Sorry, Moffat's long-lasting confusion to what series he's writing for makes me loose all sense of humour.

its hard to imagine something worse than season 3. If it was any more fan pandering and smug it would disappear up its own bumhole.

Bluebottle wrote:First there's the period piece special, right? That'll certainly be.. interesting.

I believe the Christmas special is the period one.  I had previous assumed series 4 would follow shortly thereafter but apparently it isn't filming until next spring and so probably won't air until 2017.

Amarië wrote:

Bluebottle wrote:

Amarië wrote:What, the kissing? Have you been watching Sherlock at all?

Not to mention that they dearly, desperately and deeply do need some new ideas...  

I was.. making a joke..

Sorry, Moffat's long-lasting confusion to what series he's writing for makes me loose all sense of humour.

He seems to have that effect one people. Well, around here certainly.

Eldorion wrote:

Bluebottle wrote:First there's the period piece special, right? That'll certainly be.. interesting.

I believe the Christmas special is the period one.  I had previous assumed series 4 would follow shortly thereafter but apparently it isn't filming until next spring and so probably won't air until 2017.

2017?! Wth?! You're not just trolling norc, are you?

Unfortunately not.

http://www.digitalspy.com/british-tv/s129/sherlock/feature/a647397/sherlock-series-4-everything-we-know-about-so-far-including-filming-schedule-air-dates-and-plots.html

Apparently they're having a panel at SDCC this year so we should get more details.

http://screenrant.com/san-diego-comic-con-2015-schedule-panels/

God, this show is as bad as George RR Martin.