Tag Archives: Sherlock

This fanart gives us the Sherlock Holmes and John Watson we’ve been looking for

Sherlock left a sour taste in many mouths. From where I’m sitting, the Guy Ritchie Sherlock Holmes movies aren’t that spectacular either. However, there’s one fan art that went viral, giving us Sherlock Holmes fans a salve for aching minds. It poses the question: What if Sherlock Holmes and John Watson were played by Dev Patel and Riz Ahmed?

Beka Duke

Beka Duke drew this after being inspired by the Oscars appearances of Patel and Ahmed, and the idea definitely has merit. Wouldn’t it be cool to see Victorian England represented as it was—which was certainly more diverse than popular culture would lead you to believe—and gave us a Sherlock and Watson that represented Britain’s colonialist reach through India and the Middle East?

Judging from the response the fan art got, there are tons of people who would love to see a brown Sherlock-John Watson duo. The response has been so overwhelming that fan art has been made of the fan art.

I would hope that if a film was made based on this fan art, that they would also follow Duke’s dissection of Sherlock’s personality, since it lines up with Sherlock’s actual personality shown in Sir Arthur Conan Doyle’s stories, not pop culture’s “brooding, misanthropic” personality that has been grafted onto the character.

To quote her in part:

Ok, so this I feel is a pretty big one that people get wrong! Sherlock Holmes possesses an enormous confidence in his brain and in his work–and it is described as “bordering on arrogance” but not actual arrogance itself (at least most of the time, he does get on Watson’s nerves if he presumes too much, hah). When Holmes’ confidence is misplaced, he is quick to criticize himself, apologize to whomever, and move the heck on, so that he can fix things…which…the more arrogant portrayals of Holmes struggle to do. Also, Holmes is “eager” (probably the most used description in all the books) not because he is compensating, but because he just loves his job. Thusly, he isn’t as concerned with “getting his man” as he is with solving the crime/protecting innocents. You’d be surprised how many villains get away at the end of these books (Holmes believes they get their just desserts eventually).

  • “‘No, it is not selfishness or conceit,’ said he, answering, as was his won’t, my thoughts rather than my words. ‘If I claim full justice for my art, it is because it is an impersonal thing–a thing beyond myself. Crime is common. Logic is rare.’” (Mystery of the Copper Beeches)

You really need to read her whole post on Sherlock’s personality, because it’s pretty on-point.

What do you think of this fan art? Give your opinions in the comments section below!

5 things Sherlock forgot about itself (and suffered for it)

How much do we miss Anthea?? I know I do. (BBC Sherlock Fan Forum)

As I was relaxing this past weekend, I was re-reading one of my favorite Sherlock fanfiction stories, and, since this particular story was written in between Seasons 1 and 2, I was reminded of all the cool stuff that made Sherlock such a great show to begin with. That made me sad.

The Daily Mail review of the last episode of Season 4 (and maybe the last episode period) of Sherlock encapsulated everything I felt about the episode and, frankly, the entirety of Season 3:

“To call the show self-satisfied barely begins to convey how delighted it is with its own puerile posturing, its superficial cleverness, its tedious campery. Never have two writers been more intoxicated on the fumes of their own shallow talent than Steven Moffatt and Mark Gatiss.

The plot was incompetent. The dialogue was dreadful. The scenes were disjointed, the premise absurd, the ending made me want to reach for a plastic bucket and, most heinous of all, a classic creation was ruined.

Gatiss and Moffat may have just done what Moriarty never could, and finished off the marvellous character of Sherlock Holmes.”

Now, keep in mind that none of my feelings about this actually stem solely from the active and passive queerbaiting that makes up this show. That’s an even bigger issue (I’ve discussed it more in these articles). I’ll also say that unlike The Daily Mail‘s Christopher Stevens, I don’t think Moffatt and Gatiss are shallowly talented. I think their immensely talented when they aren’t, as Stevens said, “intoxicated on the fumes” of said talent. I think the first ever Sherlock episode showed us just how talented they are when they have a concrete direction for the character and the world he lives in.

Again, to quote Stevens, when Sherlock first premiered, it was “furiously watchable.” I can tell you myself that I was obsessed with Sherlock and was the hugest fans of Benedict Cumberbatch and Martin Freeman (not like I hate them now–I’m stI think where things got both lazy and self-indulgent is because they might have stopped seeing Sherlock as a loving homage to an enduring, popular character and more as their own playground to create their own detective show. Sherlock might be a creative spin on a legendary character, but it’s certainly not a show that can take its characters forgetting the core of who they are. Otherwise, why call it Sherlock?

There are five key things that the show forgot as it forged a path from “loving tribute” to “WTF!” and these five things are what defined what made the show great, fun, and new. If only

Sherlock‘s hyperfocus on 21st century technology: I read somewhere on Tumblr that Sherlock‘s claim to fame was its insistence on making technology a character. Indeed, that is what made Sherlock so cool. Sherlock Holmes was no longer a character relegated to the musty tombs of someone’s bookshelf. He was a hip, slinky dude in a cool overcoat with a ton of gigabytes on his cell phone.

Sherlock could solve entire cases, keep track of his homeless network of informants, and fabricate new identities on his phone, and we could see everything he typed on screen. And he wasn’t the only person on his phone; everyone was on their phones. And it was glorious, in a very 2012 “We’re in the future!” kind of way. Speaking of being hooked on technology:

Anthea:love Anthea! I can’t believe she didn’t make it through to other seasons. I’m sure some might say, “What was the point of her? She was an irrelevant character!” Was she though?

Anthea was like the more relatable side to Mycroft, even though they were both mysterious. Even though you didn’t know what Anthea did outside of being Mycroft’s assistant, she was definitely an enigma you loved seeing on screen. Did it matter that we didn’t know what she did at the end of the day? The fun of the character was piecing together her life from the bits of info we did get and our own fandom imaginations. Anthea could be anything wanted her to be, from a spy (perhaps a more believable one than Mary) to Mycroft’s love interest (???) to just Mycroft’s assistant/secretary Mycroft hired because of his own adherence to the Mad Men days of British Intelligence. Whoever she was and whatever she was, she had a very important role in the show: to give John, as our straightman in this show of wayward characters, someone semi-normal to bounce off of. John’s first girlfriend served that purpose as well, and dare I say, I’d argue she was a more fully realized character than Mary because she wasn’t forced into an “I’m a weird person” archetype. She just was a nurse who lived life like a regular person. I did like her a lot and wished she could find someone who wasn’t tied down to a (wrongly) self-described sociopath.

The trio of Lestrade, Sally Donovan, and Philip Anderson: Lestrade is the only person to like out of this trio, but the trio itself had a purpose. Lestrade was an unwilling disciple of Sherlock’s almost always vouching for his methods and allowing him to do what he needed to do mostly unencumbered. But Donovan and Anderson made up the Tweedledee and Tweedledum of the police outfit. They both derided Sherlock and showcased their own ineptitude, making us more on Sherlock’s side when he decided to read them for filth about their infidelity and lack of smarts. In short, if the show wanted to be a dramedy, these two certainly helped the show fill that mold without the show twisting itself into a pretzel to be such. Were Donovan and Anderson characters you hated? Absolutely. But they were also characters you probably loved hating, in spite of yourself. They only made Sherlock seem that much more glorious of a character.

No mind palaces: I think this is pretty self-explanatory. The mind-palaces looked terrible and was the beginning of the self-indulgence.

John and Sherlock are at the center of the show and Sherlock’s uniqueness is celebrated, not erased: I think this is pretty self-explanatory too. Even when John had girlfriends, John and Sherlock stayed at the center of the show. It was all about Sherlock and John solving cases and growing their friendship. But the later season became more about…making Sherlock not who he was in the first season? That’s the best way I can describe it. I think the thing that resonates for me is that it seems like they were trying to make Sherlock into a type of person Sherlock clearly isn’t. Like is he supposed to be a drug addict? I’d say no one’s supposed to be a drug addict. But the question the show never really got into is why is he self-medicating? If the answer is “his brain is running too fast,” then why is his brain running so fast? And, should his fast-running brain be seen as a bad thing?

In other words, if Sherlock is not “neurotypical,” then why is Sherlock being himself a bad thing? Why should his character completely change?

Now, learning about friendship and such is one thing—I’m not saying Sherlock has to remain afraid of getting close to people. But couldn’t he have learned about true friendship without completely turning into Benedict Cumberbatch doing a Sherlock impression in later seasons? Like, just because Sherlock doesn’t like having tons of friends or even likes socializing doesn’t mean he’s a broken thing that needs fixing. John himself didn’t try to fix Sherlock; all he did was befriend him where he was. To Lestrade’s credit, Lestrade also didn’t try fixing Sherlock, even though he knew Sherlock could be an even greater man than he already was with the proper nudging. But in any event, becoming “great” doesn’t mean learning how to act neurotypical, which is what the seasons seemed like they were suggesting.

Instead, what could have been great is if the show explored the beauty John found in Sherlock’s way of thinking, something that was actively explored throughout the first season. If there was anything close to a romantic love, it was John seeing the world through the eyes of Sherlock, and he realized he liked the excitement that Sherlock’s way of doing things presented to him. If all of the seasons had been exclusively about John, a neurotypical person, accepting and reveling in Sherlock’s wonderful mind, then I think this show would be well on its way to a fifth season. Instead, the show got high off its own success instead of sticking to character. And lo, the writers forgot what made Sherlock special; his uniqueness and his special bond with John, whether that’s just deep friendship, romantic, or whatever else.

BONUS— Sherlock’s purple shirt (or as the fandom lovingly described it, “The Purple Shirt of Sex”): Come on, y’all. That purple shirt was THE BUSINESS. Must I remind you:

COME ON! I’m telling you I used to be a Cumberbatch fangirl! The purple shirt deserves its own Twitter account and the stylist for that season should be given an award for their color wheel skills. Purple is definitely a color Cumberbatch should wear more often, but only if he’s dyed his hair brunette/black. Maybe I’m more of a Sherlock fangirl than a Cumberbatch one…I don’t know.

In any case, what do you miss about early Sherlock? Give your opinions in the comments section below!

Sherlock S4 recap: A cavalcade of WTF?

Robert Viglasky, Hartswood Films/BBC

Sherlock Season 4 | “The Final Problem” | Aired Jan. 15, 2017

So…what was that?!

Look, let me say upfront for the diehard fans that there were parts of “The Final Problem” that actually started tugging at my heartstrings and had me visibly scared and tense. The treatment of Eurus’ tests was over-the-top (more on that), but the emotional effects, as shown through Sherlock, John and Mycroft’s conversations, were what sold the scenes. I do have to give it up to Benedict Cumberbatch for handling his share of volatile emotions in this episode. This was the episode where we finally saw Sherlock break down all of his walls to once again become that emotional little boy he was at his ancestral home many years ago.

But let’s get real, here—this episode was a head-to-toe mess. I read a Daily Mail review by Christopher Stevens, and he’s not wrong. This episode featured Steven Moffat and Mark Gatiss at their most indulgent, most self-congratulatory, and possibly most offensive. Let’s go through each thing I’ve got to say with bullet points.

The treatment of women: We already know Moffat has a record of strange treatment of his female characters. But I have to say that the treatment of women throughout this season in particular was largely rudimentary at absolute best, and paternally coddling at worst. I’m not sure if that last description gets truly at the heart of what I’m trying to put into words, but the jist of it is that the women characters in this season were mostly written to provide (as Eurus kept saying) emotional context to the men (and the default Stars-with-a-capital-S) of this series.

Every woman exists because of how they serve the emotional arc of a man. Mary was underwritten so as not to completely get in the way of John and Sherlock’s friendship/romance/bromance, but then she was also hilariously written as a spy. We never get to know her well enough to know why she ever fell in that line of work, which makes the whole “She’s a spy!” exercise pointless. Yes, there should be well-rounded, tough women on screen, but they can’t just be doing stuff for the sake of doing it; they have to be actual characters with 3D emotions. The case with Mary was that she was never made to be a well-rounded character. We never get to know her, her motivations, her likes or dislikes–all we know is that she loves John, impossibly and immediately loves Sherlock (even Sherlock came back from the dead during their date) and is besotted with the idea of matchmaking her husband to his best friend (like, what even was that last DVD message?). Does any of that make sense for a married woman’s emotional motivation or characterization? Not to me, it doesn’t. Then, to top it off, Mary’s death occurs to give John an emotional character moment and to bring John and Sherlock back together as a team (or more, seeing how Mary kept trying to get them together).

Mrs. Hudson is also loosely defined as a “tough” woman character, even though we never get to know her really. Like Mary, she’s largely an archetype, something that will play well on Tumblr and other social networks where the hardcore fans will eat up her mannerisms and almost non-sequiturs as witty British humor. IT’S NOT WITTY BRITISH HUMOR! It’s ill-defined characterization! As much as Mrs. Hudson might say she’s not their bloody houskeeper, she’s still their bloody housekeeper. More accurately, she’s their bloody mom. Her whole character is designed to take care of Sherlock without question. That’s such a limiting position to be in for her character.

Molly is much in the same vein, but to a more tragic degree. Molly is the person Sherlock has an emotionally abusive relationship with. For much of the earlier seasons, it seemed like he only took delight in making her upset. Now, we’re supposed to believe that Sherlock and Molly are all right? Especially after this particular episode, when Sherlock had to get Molly to say something she didn’t want to say because she didn’t want to get hurt? There’s no fallout from that?

Molly was in literal tears during this episode, and are we supposed to believe that even though she showed backbone during that scene and finally had enough of Sherlock’s games (at the wrong time, of course—Eurus was threatening to kill her) that Molly is still an eternal well of support and love for Sherlock at the very end of the episode? SIGH. All of the emotional depth she showed in that scene, which did define Molly as an individual character with feeling, got erased when we see her at the end, smiling, seemingly having forgotten all of the trauma Sherlock put her through (in order to save her, I know, but still…) It also puts Molly in the position of acting as a Female Companion to Prove Sherlock Is Not Straight, something I’ll get into later.

Even Eurus, who was the smartest woman in this series (even more so than Irene, who is also designed just to serve as an emotional counterpoint to Sherlock) ends up serving the men in this story. For much of the episode, we see Eurus as someone who can’t understand emotion and therefore creates horrifying games and experiments to study human interaction. For much of the episode, she’s completely in control. But when we actually need to get the mystery solved, she becomes a completely different character.

Sherlock finds out that all Eurus wants is her brother to pay attention to her, and her mind seems to regress back to the state of a child. But whereas we should be focusing more on Eurus’ mental distress, we’re focused more on how this news affects Sherlock. Eurus might be the killer here, but she’s also the one who’s been in mental distress for decades, locked in her own head, whereas Sherlock at least had the mercy of grief distorting his memories. While we hear Eurus talk about her distress, we always see Sherlock live his–we see his memories as he pieces them back together. We see through his eyes all the time. We only see Eurus, whether in adult or flashback kid form, as an observer looking in.

The women could have been written stronger, and I think this lack of character strength really brings down the entirety of the season. If you’re going to have women on your show, make them actually autonomous beings with their own end goals. Don’t make them solely serve the character arcs of the men.

BBC

The treatment of mental illness: I’m saying upfront that I’m not clinician when it comes to mental illness, so forgive me if I get some things wrong, but I’m also someone who researches, so I’m linking to everything I’m using for this particular segment.

To me, it seems like there was a conflation of ideas when it came to autism and clinical psychopathy. First, let’s get into autism and autism spectrum disorder, which doesn’t have just one defined way of appearing in a person. As WebMD states:

Autism is a complex neurobehavioral condition that includes impairments in social interaction and developmental language and communication skills combined with rigid, repetitive behaviors. Because of the range of symptoms, this condition is now called autism spectrum disorder (ASD).

Symptoms of autism include, according to WebMD:

  • Social interactions and relationships. Symptoms may include:

    • Significant problems developing nonverbal communication skills, such as eye-to-eye gazing, facial expressions, and body posture.
    • Failure to establish friendships with children the same age.
    • Lack of interest in sharing enjoyment, interests, or achievements with other people.
    • Lack of empathy. People with autism may have difficulty understanding another person’s feelings, such as pain or sorrow.
  • Verbal and nonverbal communication. Symptoms may include:

    • Delay in, or lack of, learning to talk. As many as 40% of people with autism never speak.1
    • Problems taking steps to start a conversation. Also, people with autism have difficulties continuing a conversation after it has begun.
    • Stereotyped and repetitive use of language. People with autism often repeat over and over a phrase they have heard previously (echolalia).
    • Difficulty understanding their listener’s perspective. For example, a person with autism may not understand that someone is using humor. They may interpret the communication word for word and fail to catch the implied meaning.
  • Limited interests in activities or play. Symptoms may include:

    • An unusual focus on pieces. Younger children with autism often focus on parts of toys, such as the wheels on a car, rather than playing with the entire toy.

    • Preoccupation with certain topics. For example, older children and adults may be fascinated by video games, trading cards, or license plates.

    • A need for sameness and routines. For example, a child with autism may always need to eat bread before salad and insist on driving the same route every day to school.

    • Stereotyped behaviors. These may include body rocking and hand flapping.

You can also visit The Babble Out for more about autism, its symptoms, and management.

Conversely, clinical psychopathy is defined, according to William Hirstein, Ph.D of Psychology Today, involves these symptoms:

Being uncaring and showing a lack of empathy, exhibiting shallow or lack of emotion, such as guilt, embarrassment, fear, and shame, insincere speech (aka lying), the inability to take blame for their actions, overconfidence and a narrowing of attention. Kara Mayer Robinson for WebMD goes further and says that psychopaths, not sociopaths, don’t have a conscience.

A psychopath doesn’t have a conscience. If he lies to you so he can steal your money, he won’t feel any moral qualms, though he may pretend to. He may observe others and then act the way they do so he’s not “found out,” [L. Michael Tompkins, EdD. of the Sacramento County Mental Health Treatment Center] says.

To me, it seems like the writing tried to make Eurus fall in between a flat reading of autism (what with Eurus saying several times that she has trouble reading emotions and body language) and psychopathy. In other words, the writing took the “greatest hits,” if you will, of both conditions and used that to create a villainous character that they tried to humanize by the end, despite the fact that her claim to villain fame was being a cold-blooded killer.

But did it have to be this way? It’s really a cliche at this point to make the psychopath or a sociopath a killer, when not everyone diagnosed as such becomes a criminal. Most of the time, they’re only out to meet their own needs or wants. To quote Robinson:

In movies and TV shows, psychopaths and sociopaths are usually the villains who kill or torture innocent people. In real life, some people with antisocial personality disorder can be violent, but most are not. Instead they use manipulation and reckless behavior to get what they want.

“At worst, they’re cold, calculating killers,” [Aaron Kipnis, PhD, author of The Midas Complex] says. Others, he says, are skilled at climbing their way up the corporate ladder, even if they have to hurt someone to get there.

The stereotype of the clinical psychopath as a killer is pervasive in our culture. Now, I’m not saying we have to excuse behavior, but it would be cool of a show decided to not make their killer have some kind of mental issue or, as you’ll see below, be linked to queerness.

BBC

The treatment of high- and low-key LGBT themes in this episode and throughout the entire four seasons: I could go into deep detail about every moment in the series that queerbaits the audience, but this season both provides Johnlock shippers with a Johnlock ending while still providing the men with women-as-beards (yet again utilizing women as props for the men’s character development). This season, we have Molly that becomes the last beard for Sherlock (of course, there’s still Irene, who’s mentioned in this episode in relation to love) and the last beard for this series.

There’s no way Sherlock actually loves Molly outside of friendship, and there’s no way Sherlock and Irene would ever make sense as a couple, just like Mary and John’s relationship made no sense. First, it doesn’t help that the women are written within cookie-cutter parameters. But what also doesn’t help is how Mark Gatiss himself has said that he indulges in teasing the audience about the will-they/won’t-they aspect of Sherlock and John’s relationship. Or better yet, he indulges in teasing about whether John realizes he is along a sexual spectrum and how okay he is with that. As I wrote recently, Irene’s conversation with John in Season 2 basically acted as a canonical way of telling John that he does, in fact, have feelings for Sherlock. The fact that this conversation is never brought up again is a character development moment that went undefined.

But outside of John and Sherlock’s relationship, we have Moriarty, who has been confirmed as being, if not gay, bisexual or pansexual. Also, Sherlock insinuates that Eurus may have raped a female guard. First, the fact that rape is casually discussed in this season is appalling by itself. But also disturbing is how LGBT characters are linked to criminality and violence, once again associating queerness with villainy. That’s a trope that has long been beaten to death, so it’s sad that it’s happening in a show of supposedly high caliber as Sherlock.

Lastly, the seeming dismissal of the fans by the creators is little irritating. You can’t bait the audience and then get mad when they don’t get what they were expecting. There is a reason Sherlock Holmes books and this show are at the center of queer media critique, and there should be a level of respect for that type of decades-long scholarship.

Robert Viglasky, Hartswood Films/BBC

 

The actual episode itself: Overall, I think the characters were largely all over the place. Perhaps the most consistent character was Mycroft, but that’s also because he’s broad. But Sherlock was uncharacteristically emotional, even considering the fact that his proverbial walls were coming down, and John was back to the old John before Mary, which seemed to show just how throwaway Mary ended up being as a character.

The editing tried to make up for the fact that there were gaping plotholes in the plot. How do they survive the jump from 221B after the explosion? How did they end up on that boat? How did Eurus get the glass removed and suspend the signs? How could Sherlock not realize there wasn’t glass when there were never reflections? How did things like that get past the writers? And why were the transitions, which were clearly made to distract you from the bad plot, so bad? Particularly bad was that transition after John gets pistolwhipped after Eurus tried to first kill Sherlock. The screen spins around as if it was an Adam West Batman sequence. I was floored. Equally floored was the freeze-frame ending featuring John and Sherlock running towards the next case. I have seen bad stuff before, but that was horrendous. Worse, it was lazy, for all of the effort put into it.

Robert Viglasky, Hartswood Films/BBC

Final thoughts (since this might be the series finale): The acting is the only thing that carried this finale through. But the treatment of the characters, particularly Sherlock, is really sad. If you think back to the first-ever episode, you can tell how well-defined the characters are. They are also characters defined by the real world; there would have never been an Eurus who can control people (how?) and seemingly electronics (again, how??). Instead, what we had was Sherlock who was tied to his mobile phone, Mycroft and his assistant, disaffected government officials who also live on their phones. Lestrade and his police crew who can’t live with Sherlock and can’t live without him. All of these characters, even Sherlock, seem like someone you could possibly run into (perhaps you might only run into someone like Sherlock or Mycroft at a MENSA meeting or something, but that’s also me devolving into stereotype). What I’m saying is they were relatable, regardless of how extraordinary they were. They were human and they were developed characters.

What we’ve gotten now is a show that is so satisfied with itself that it’s gotten lazy. For me the coup the grace was the level of nepotism involved in the later seasons’ cast. Cumberbatch’s parents as Sherlock’s parents, Amanda Abbington—Martin Freeman’s partner—as Mary, and Gatiss, one of the co-writers as one of the main secondary characters? That’s a lot. The writing also seems to take itself too seriously, thinking it’s so funny, so insightful, so witty. The gag is that the script isn’t saying anything new, even though it thinks it is. It’s just an exercise in ego. As Stevens said in his review, the show has become twee, to an antagonizing degree.

Overall, this last episode was largely crap, with only golden moments clumped together towards the middle. It’s a sad way to end the series.

Update: Information on autism now from WebMD to reflect concerns over the ethics of AutismSpeaks

Sherlock S4 recap: Sherlock and John make up over death

Martin Freeman as John Watson in Sherlock episode "The Six Thatchers."
BBC

Sherlock Season 4 | “The Lying Detective” | Aired Jan. 8, 2017

Talk about an episode!

I really liked this second episode of Sherlock Season 4, “The Lying Detective”. The pacing and the amount of story depth took me right back to earlier seasons, and for that I couldn’t be happier. Also great: The Dynamic Duo are back together again, both a little worse for wear, but still in fighting form.

Let’s talk about the big bad of this episode, Culverton Smith, who I think rivals Jim Moriarty in terms of villainy. Culverton, though is a little scarier to me than Moriarty actually; Moriarty was a broad villain. But Culverton is someone who loves existing in plain sight (as Sherlock said twice in this episode). He’s a philanthropist billionaire who also loves awful puns at his own expense. If I’m being accused of murder, I wouldn’t then think to brand myself “the cereal killer” to sell what looks like a box of straight-up oats. But then again, I’m not Culverton, who thinks he can get away with anything…even murder (said with a Dr. Evil-esque hand gesture to the mouth).

Also, there was something a bit more eerily human about Culverton’s villainy. I feel like there could be an argument made about whether Culverton is another villainous portrayal of someone with narcissistic disorder, which could go in line with other stereotypes of people with mental disorders (see the upcoming movie Split for another depiction of a villain with a mental disorder). This could be its own post, since many villains throughout media history have been portrayed as such because of a general fear of mental illness. Of course, I’m not excusing Culverton’s penchant for killing people; he is a murderer and should be in jail. But I’m just raising a point to think about.

In any case, Culverton is someone who relishes in being a serial killer, or does he? He does seem to have a bit of conflict about killing people, even though he enjoys it. As he tells Sherlock, it’s something he’s just compelled to do; it makes him happy. That’s already disturbing, and even more disturbing is how excited he is to tell Lestrade all about it. What he craves is power and glory, and becoming a world-famous serial killer is something that appeals to that narcissistic side of himself (again, we’re going back to a clinical mental disorder as a trait of villainy).

What I found most intriguing about this episode is how it was actually John’s time to grow as a character, not Sherlock. What I’ve found is that over the course of these seasons, some episodes are just set up to have Sherlock act as the emotional McGuffin, leaving us to forget, then be surprised by, John’s own mental turmoil that he has to work through. This time, Sherlock-as-McGuffin was for us to see how much Sherlock’s been affected by John’s absence to a theatrically expansive degree, only to be surprised to remember how much John has been quietly suffering over his choice to have a texting affair with the woman on the bus. John’s grief, while not as explosive as Sherlock’s, is just as deep, if not more so, and we finally see John reach the depths of his sorrow when he finally admits to Mary’s ghost (inside his head) that he cheated on her. Seeing Sherlock console John is just what this episode needed; Sherlock might be the star of the show, but he’s come far enough to learn when to give someone else an emotional moment. It was nice to see that growth within the character. It’s nice to see how much Sherlock actually cares for John.

It was also interesting to see how Sherlock completely deteriorated because John wasn’t in his life, and his deterioration also acted as a self-punishment because he felt like he killed Mary. I’m glad John finally tells him he didn’t actually kill Mary, because he didn’t. I found it personally amusing that when Sherlock shows up at John’s therapist’s house, and John eventually asks him what’s wrong, Sherlock’s answer is that he’s “burning up.” There’s a fanfiction I read that had Sherlock saying kinda the same thing and for a similar reason—he was apart from John because of a big boo boo—but the line in the fanfiction, “I’m on fire,” was because Sherlock was in love with John and couldn’t stand to be a day without him, much less weeks. I doubt Steven Moffat read that fanfiction and decided to paraphrase the scenario of Sherlock pushing John away from him by accident, but that’s what the scene in this episode reminded me of. Long aside, I’m sure, but that moment in the show just tickled me.

I have to say, though, that the storyline bugs the longer I think about it, despite my being thoroughly entertained. It made for great drama, sure, but when you start thinking about it, it gets kinda How to Get Away with Murder-ish; it’s entertaining, but does it make any sense for real? Not really. Why did Sherlock have to save John by nearly killing himself? Why go through such lengths to nearly be offed by a serial killer? That’s a lot for a friendship. But, of course, Sherlock isn’t about normal people salvaging their friendship by telling each other “You’re not at fault for your wife’s death.” Otherwise, we might as well watch something like This Is Us, right?

What also still bugs me is that Mary is still advocating for Sherlock and John to be together, if not in a romantic sense (which the show is going through great pains to make clear), in a platonic-soulmate sense. But why? Mary didn’t really know Sherlock that long or that well. Why is Mary always advocating for John to be with Sherlock? Even weirder—why is Mary-in-John’s-head advocating for him to be with Sherlock?

To me, this show is once again going through a lot of hoops to say “Sherlock and John aren’t gay for each other.” Okay, I guess. I mean, yeah, John got married and and yeah, Sherlock’s supposedly still texting Irene Adler. But did the women in their lives really mean anything aside from giving certain fearful audience members an excuse to believe that Sherlock and John don’t have some underlying tension? On the surface, I get that they’re really good friends, but even without the romantic element, their souls are two that are tied to be together in some way, shape or form. I wish the show didn’t feel like it had to rely on women characters to allow for John and Sherlock to be close, whether that’s in a brothers-in-arms type of way or an actual romantic way. Two men can be close; the world won’t fall apart because Sherlock’s hugging John.

In any event, the show isn’t helping itself by having John have an affair with the woman on the bus, who turned out to be John’s new therapists, who turned out to be none other than Sherlock and Mycroft’s long lost sister. John is having an affair with the female version of Sherlock. Let that sink in.

Again I ask: Why is this show so afraid of same-sex attraction and homoeroticism? Having “the sister” of a male character as the love interest for the best friend of that male character is a little beyond cliché, don’t you think?

However, John did beat Sherlock up over Mary out of grief, so I don’t know how a relationship, much less a friendship, can recover from that.

Anyways, they’re back together because they can’t leave each other alone, and we the audience are better for it. We wouldn’t be able to take a lot of moping John and moping Sherlock because seeing them apart is no fun. Without John, Sherlock acts like a maniac and without Sherlock, John acts like a boring, normal person, like the rest of us.

Even still, I have to assert my disappointment with the treatment of Mary. Much like Irene in this episode (who thankfully didn’t make a guest appearance), Mary is a fridged woman, only there to help the man move on and surge ahead in his life. Even after John admits his dalliance to her, what does Mary-in-John’s-head say? Something to the effect of, “Well, you best get moving along.” Okay….what? Couldn’t fake Mary be mad at least, not sad-yet-understanding? Understanding of what, pray tell? That your husband cheated on you while you were taking care of your baby? Sigh.

And for Sherlock to tell John that it was only texting? Well…it’s only texting if you don’t have anybody, like how Sherlock texts Irene. But John was emotionally cheating on his wife, and while it wasn’t physical, it was still cheating. John is right to chide himself because he’s completely in the wrong.

And can we talk about Mycroft possibly having a love connection? No. That shouldn’t be happening in my book. Why?

It sounds like I didn’t like this episode, but I actually did. I thought the writing was much tighter than the first episode of this season, there were much less of the strange transitions, and I think Toby Jones played Culverton spectacularly. I’m intrigued to see how Sherlock and Mycroft’s sister will be handled in the next episode. Hopefully she won’t become a fridged woman as well.

What did you think of this episode? Give your opinions in the comments section below!

Rogue One smacks of Star Wars‘ obsession with aggressive appropriation

As you might have read from my Rogue One review, I enjoyed it very much. But with the good comes the bad, and I had some gripes with it. One gripe I forgot to mention in my review was the uber-aggressive Arab world coding they were doing in it. It had gotten so aggressive on Jedha that I was literally taken out of the movie at points and was like, “Where’d they film this?!”

I was reminded of my distaste for these films when I saw Twitter user Dina’s thread on the subject. Key takeaways:

So key questions to ask here are 1) Why did the film get this aggressive with its coding, 2) How hurtful is it to the average American’s international knowledge, and 3) How can Hollywood wean themselves away from projecting the same stereotypes on foreign places?

1: Why did the film get this aggressive with its coding?

Star Wars has a history of being slightly aggressive with coding planets with real world analogs. Tatooine is basically the Sahara Desert, but was actually filmed in Tunisia and America’s Death Valley. Yavin 4 is a lush jungle planet, which was represented by Guatemala’s Tikal ruins and the forests the ruins reside in. For every planet, there’s a real world place. But beyond just the filming locations, other parts of the planets crib from real life as well. For instance, George Lucas got the name “Tatooine” from the real Tunisian city Tataouine. Similarly, as Dina points out, The planet Jedha gets its name from Jeddah, a city in Saudi Arabia.

Of course, seeing how this film is made by terrestrial humans who have never been to space, much less to other galaxies and off-world terrains, it’s understandable why the planets (which, if we’re being honest, act more like moons than actual planets with different continents and climates) feel familiar to us. It’s because they, in many ways, are familiar. They’re a collection of earth’s coolest/most awe-inspiring places, launched into a space opera.

However, using a desert for a desert planet is benign. When you start cribbing parts of cultures while layering stereotypical imagery onto planet’s people, then we have a problem.

Let’s get into what makes Jedha troublesome.

Jedha as Mecca: The official description of Jedha is that it’s a holy city for those who are disciples of the Force. Rogue One director Gareth Edwards has described it, quite literally, as Mecca. To quote him (via MTV News):

“If A New Hope is kind of like the story of Jesus, there must be a whole religion beyond that,” he said. “We felt like, for 1,000 generations, the Jedi were kind of these leaders of the spiritual belief system. It’s got to be like a Mecca or a Jerusalem, but in the Star Wars world.”

In the story of Star Wars, it makes sense that there should be a holy city. But does it have to be quite literally a city that takes all of the stereotypes of the Arab world and mash them together? Take a look at these pictures, culled from various press junkets and collections of official Star Wars images and screenshots:

Do these images seem familiar? Well, you might have seen some of their other brothers in Raiders of the Lost Ark:

and The Phantom Menace.

There are other tropes like this found throughout film and television. Dina notes Homeland, which is a great example, as well as Season 4 of Sherlock:

And Lawrence of Arabia:

And many more.

Hollywood’s fascination with what I’m calling “the bazaar aesthetic” is something that’s throughout film, and sure, bazaars exist throughout the Middle East and India, as shown below. But even then, there’s varying difference between bazaars; they don’t all look the same.

Hyderabad bazaar
near Charminar, Hyderabad, Andhra Pradesh, India. (Ryan/Flickr Creative Commons)

 

Grand Bazaar in Kapali Carsi, Istanbul, Istanbul (Antti T. Nissinen/Flickr Creative Commons)

But that’s not all to the Middle East. Take for instance Jordan, where some of the Jedha desert scenes were filmed. What Rogue One used were Jordan’s deserts for the outskirts of Jedha. That’s cool. But let’s also look at what else Jordan has to offer in the real world aside from its deserts:

Jordan Trip (Christian Heilmann/Flickr Creative Commons)

 

Amman, Jordan (Alicia Bramlett/Flickr Creative Commons)

 

Jordan Trip (Christian Heilmann/Flickr Creative Commons)

 

Aqaba Street, Jordan
The main street along the sea front in the centre of Aqaba, Jordan. (Rob/Flickr Creative Commons/www.bbmexplorer.com)

Of course, the main Jedha scenes were shot at Pinewood Studios in London, but I’m using these images of modern Jordan because the tropes of Jedha reflect on the Middle East as a whole. Hollywood would have you believe that the Middle East is all desert and open-air markets, but surprise! The Middle East is just like the rest of the world; full of paved roads, cars, and buildings.

Seriously aggressive sartorial references to the Middle East: It’s worth pointing out that the headscarves and ceremonial robes found in Jedha reference today’s headscarves, hijabs, niqabs, and burkas worn in various parts of the Middle East. Not that there wouldn’t be an outer space city that might have a cultural tie to head coverings, but it’s especially noteworthy that a place designed to be Space Mecca also has clothing with such overt references to Islam. Did the allegory have to be taken this far in Star Wars, to the point that we forget a little that we’re watching a film about distant planets?

Also, the act of using Islamic sartorial choices goes along with Star Wars‘ other practice of cribbing cultural and ethnic styles and arranging them in a mish-mash to “create” something otherworldly. This practice goes all the way back to Princess Leia’s “cinnamon buns,” the style stemming from Lucas supposedly using Revolutionary-era Mexican women freedom fighters, or soldaderas, as inspiration. However, there’s been contention with that statement, and some now link Leia’s hairstyle to the hairstyles worn by the women of the Hopi tribe. But the appropriation-as-inspiration practice was at its height during the years of the Star Wars prequels, in which Padme/Queen Amidala had styles ranging from Japanese geisha to ancient Mongolian elite, to African updo to actual Hopi hair buns.

Inspiration: Geisha

Inspiration: Mongolian headdress

Inspiration: Geisha

Inspiration: Hopi hairstyle

Inspiration: The hairstyles of the Mangbetu women of the Congo

I get that these styles are “cool,” but they aren’t just cool for cool’s sake; there’s are complete cultures these styles are attached to, and to rob them of their actual context by putting them in a “cultureless” space opera whitewashes these styles to a certain degree.

2: How hurtful is it to the average American’s international knowledge?

The answer is simple: Americans already believe in too many stereotypes as it is. Due to what the media tells us about foreign locales, we believe that cities that aren’t in the Western world are behind the times or haven’t been affected (for better or worse) by westernization and capitalism.

Another example of a modern movie casting a “noble savage” light on a foreign place: Doctor Strange. As I wrote in my review of the film, the film posits Nepal as a place that still hasn’t been touched by the effects of the 21st century.

The film portrayed Nepal as some mystical place without roads or modern transportation. Everyone looked like they were mere seconds away from getting on their knees to pray. Religion might be a huge part of a country, but that doesn’t mean everyone in the country have to look like devotees. The film shows a side of Nepal that looks like this:

Kathmandu, Nepal--Asan Tole Market by Juan Antonio F. Segal (Flickr/Creative Commons)
Kathmandu, Nepal–Asan Tole Market by Juan Antonio F. Segal (Flickr/Creative Commons)

This picture looks similar to the types of crowds Stephen Strange came upon as he was looking for The Ancient One. But Nepal also looks like this:

Shiddha Pokhari by Dhilung Kirat "This centuries old pond is situated at Dudhpati-17 the entrance of the ancient city Bhaktapur. This 275m×92m pond was built in the early fifteenth century during the reign of King Yakshya Malla. It is considered as the most ancient pond in Bhaktapur which is known to have many myths associated to it. Nowadays, the pond of both religious and archeological importance has been one of the popular hangout and dating destinations in Kathmandu valley." (Flickr/Creative Commons)
Shiddha Pokhari by Dhilung Kirat
“This centuries old pond is situated at Dudhpati-17 the entrance of the ancient city Bhaktapur. This 275m×92m pond was built in the early fifteenth century during the reign of King Yakshya Malla. It is considered as the most ancient pond in Bhaktapur which is known to have many myths associated to it. Nowadays, the pond of both religious and archeological importance has been one of the popular hangout and dating destinations in Kathmandu valley.”
(Flickr/Creative Commons)

 

Kathmandu Valley Sunset by Mike Behnken (Flickr/Creative Commons)
Kathmandu Valley Sunset by Mike Behnken (Flickr/Creative Commons)

 

Kathmandu , Nepal,Himalayas,Everest by ilkerender (Flickr/Creative Commons)
Kathmandu , Nepal,Himalayas,Everest by ilkerender (Flickr/Creative Commons)

 

Boats at Lake Phewa in Pokhara, Nepal by Mario Micklisch (Flickr/Creative Commons)
Boats at Lake Phewa in Pokhara, Nepal by Mario Micklisch (Flickr/Creative Commons)

 

Nepal, Kathmandu, Boudhanath by SCILLA KIM (Flickr/Creative Commons)
Nepal, Kathmandu, Boudhanath by SCILLA KIM (Flickr/Creative Commons)

The point is there’s a lot more to Nepal, to just Kathmandu, than the film suggests. Is there time to visit every locale in Nepal? Of course not. But there was enough time to not give Nepal the “noble savage” treatment, which means, according to Wikipedia:

A noble savage is a literary stock character who embodies the concept of an idealized indigene, outsider, or “other” who has not been “corrupted” by civilization, and therefore symbolizes humanity’s innate goodness. In English, the phrase first appeared in the 17th century in John Dryden‘s heroic play The Conquest of Granada (1672), wherein it was used in reference to newly created man. “Savage” at that time could mean “wild beast” as well as “wild man”.[2] The phrase later became identified with the idealized picture of “nature’s gentleman”, which was an aspect of 18th-century sentimentalism. The noble savage achieved prominence as an oxymoronic rhetorical device after 1851, when used sarcastically as the title for a satirical essay by English novelist Charles Dickens, whom some believe may have wished to disassociate himself from what he viewed as the “feminine” sentimentality of 18th and early 19th-century romantic primitivism.[a] 

Even though the film didn’t have any of the extras speak, it clearly showcased Kathmandu as an idealistically mystical, Othered space, with closeups on holy men and temples. The extras also weren’t wearing Western clothes, something that further separated them from actual depictions of 21st century Nepalese people. Western exports have made their way all around the globe, including Nepal, and as you can see in the above pictures, folks are wearing leather jackets, hoodies, polo shirts, slacks and jeans. Even the woman with the shawl on in the first picture is wearing Westernized sandals, a long-sleeved red shirt and some green pants, and one of the men buying her wares, the guy with the leather jacket, has an iPod. If you took a shot of the extras in the Kathmandu sequence and put it in black and white, it could act as a shot from a film about Nepal in the 1800s, not the 21st century. This is not to say that portraying Nepalese people wearing traditional clothing is anachronistic; what I am saying is that painting a picture of the Nepalese as a people who haven’t been affected by world commerce and capitalism is a false picture.

The “noble savage” idea wasn’t explicit, but it was very subtly implied in order to make Kathmandu seem like a perfect place for The Ancient One and to act as further contrast to Stephen’s New York sensibilities and, indeed, his whiteness.

When movies decide to portray places in a stereotypical fashion, it’s too easy for the stereotype to be accepted as the truth. It’s even more dangerous to use stereotypes in science fiction; when a place can look like anything and be anything, why rely on stereotypes? But when stereotypes get used in science fiction or fantasy, they’re usually couched in the excuse of “Well, it’s not real anyway! It can look however the creator wants it to look.” But when we’re limiting what’s possible in the imagination, we’re also dulling our senses to what actually exists in reality.

3: How can Hollywood wean themselves away from projecting the same stereotypes on foreign places?

The quickest answer is for Hollywood to start using a bit more imagination when coming up with a look for a futuristic place. Too often, science fiction relies on stereotypes or cultures-as-backdrop to do much of the heavy lifting in a scene. For instance, Blade Runner, in which an aggressive Japanese undercurrent can be seen in futuristic San Francisco.

Actress Alexis Rhee portrays the geisha depicted in Blade Runner. (Warner Bros.)

Of course, it can be explained away that San Francisco has a high Japanese population, so perhaps San Francisco would embrace more of Japan the more futuristic it gets. However, there’s hardly an Asian person in Blade Runner–Alexis Rhee, who is the billboard geisha, and James Hong as Hannibal Chew, round out the film’s Asian population. So the whole effect comes off as a cynical costume for a huge audience payoff.

Currently, we have Ghost in the Shell coming in where the original Blade Runner left off, using Japan itself as a costume for a film lacking in Japanese characters.

It literally uses the same billboard idea from Blade Runner. (Paramount Pictures)

Hollywood has got to stop relying on tired tropes like these. It only helps keep America in the dark about its neighbors, and it keeps movies themselves from having an even greater impact than they could have.

Star Wars images: Lucasfilm/Disney

“Sherlock” recap: Suddenly, death comes to 221B [SPOILERS]

Courtesy of Todd Antony/Hartswood Films 2016 for MASTERPIECE

“Sherlock” Season 4 | “The Six Thatchers” | Aired Jan. 1, 2017

When the Season 4 premiere of Sherlock, “The Six Thatchers,” finished, I tweeted that I thought it was a “solid episode.” But nearly 24 hours later, I’m rethinking what I saw and what some of the problems were that were forgotten in the midst of John’s surprising indiscretions and the emotional ending.

If you are here reading this and you don’t want any spoilers, first, why are you reading a recap? Second, you might want to leave and come back to this when you’ve watched the episode.

Mary’s death was something that I was hoping for since last season, if I’m being honest. It’s not so much that she’s a woman as to why I was hoping she’d die–I feel like I must point this out, because her death goes along with so many other fridged women in entertainment. Did I think she ruined the dynamic between John and Sherlock by marrying John? Yeah. But I wanted her to die for two reasons:

1) It was canonical, and if they kept her around to keep the show “Happy Fun Times,” then it wouldn’t be a Sherlock Holmes show. The amount of happy fun times in Season 3 was jarring and irritating enough as it was; I didn’t want happy fun times to be dragged into the next season.

2) Mary as a character was weirdly conceived, and that’s a real shame, since on some level, it seems like she was only built up the way she was only for her character’s death to have the most impact for John, and not so much for us the audience when looking back on her life.

I’ve never really liked Mary’s backstory—something about it has always felt false to me. I feel like as a relatively blank character, there was a lot Steven Moffat and Mark Gatiss could have come up with. But they decide to make Mary a spy? An unrealistic one, at that? They also decide that John should have yet another person close to him to lie to his face?

Look, Mary didn’t have to be an agency-less person, but making the extreme jump from basically nothing to international spy is a quite a leap. Also, it’s a leap that could have been made successfully if there weren’t so many jarring aspects to her and John’s relationship. In effect, Mary lied throughout their entire courtship. That should have made John angry as f***! In fact, it did make him angry as f***, but the writing for the scene in which John forgives Mary is so…disturbing in how easily John decides to brush stuff under the rug.

I’m thinking to myself as I’m writing this if I would still feel this way about Mary’s double life if Mary were a man. I think I would, and I have proof of this—Moriarty himself. During the first season, he pretended to be Molly’s boyfriend just to get close to Sherlock. When I found out that was Moriarty, I was devastated for Molly, who only wants love in her life, and angry at Moriarty for breaking poor Molly’s heart. Similarly, I feel devastated for John, who only wants love and normalcy to balance out his wild ride with Sherlock.

What irks me is that John does deserve some normal moments in his life; he clearly gets overwhelmed by all the zaniness around him even though he does crave it sometimes. Mary could have been that. She could have been normal, but just off-kilter enough to mesh with Sherlock’s Sherlock-isms. The fact that John has no one in his inner circle willing to share their whole selves with him, including his own wife, is really disconcerting.

Equally disconcerting is when John randomly decides to cheat on Mary. We hadn’t seen them quarrel or anything, and you don’t have to have quarreled to cheat on someone, but what was the impetus for John’s decision? Was it because he felt like he really didn’t know his wife after all? Was it because she was spending too much time bonding with his best friend Sherlock? (Was it because he actually wants to be in a relationship with Sherlock but can’t handle outing himself so he acts out his lust on other women?) WHY DID THIS HAPPEN?! John has never acted so out-of-pocket before, so this woman has to mean something to the story further down the line. Otherwise, the writing room needs to check themselves before they wreck themselves like this again.

Onto the comedy. Or “comedy.” Was it comedy? Or was it just very annoying attempts at comedy that didn’t really gel well with the rest of the proceedings? I think what was supposed to be “comedy” became a lot of comedic-sounding padding to fill out a movie-length show. Did we need to see all of those mini-cases? Did we need to have the banter between John, Mary and Sherlock happening as much as it did? I don’t know what I’m saying here, but what I’m getting at is that the first season, as most first seasons of most shows are, was the most concise and succinct version of Sherlock we’ve seen. It knew what it wanted to do and it did it. Now that we’re three seasons in and in the fourth season, the writing has become relaxed to the point of a dramedy that leans too much on “sitcom” than it does “drama.” If the writing can get back to just focusing more on the cases, that’d be cool.

There were also a lot of weird transitions. Again, it seemed like a lot of padding for the time allotted. We didn’t need all of those weird wipes and artful transitions. All together, it made the episode seem even more disjointed, like it didn’t know where it wanted to go or what story it wanted to tell.

So now the real question: How much culpability does Sherlock have in Mary’s death? One might say, “none,” and indeed, that’s what I said to myself when the deed actually happened. But Mary’s death also informed Sherlock’s emotional growth, too (once again, the woman’s death helps only the men in the story). Sherlock finally learned that his braggadocios lifestyle could actually get someone he cared about hurt or, in this case, killed. He has thought himself to be in control of everything, and finally, just as the therapist said, his world is crashing around him. He didn’t have to take it that far with that old secretary; he and Mary already knew the old woman was the culprit. But Sherlock, being who he is, had to take it to that next deadly step.

So what did I think about this episode overall? Well, I thought that even though I didn’t like Mary, I feel really bad for her. She was always going to be a sacrificial lamb, unfortunately. But I wish Mary had been treated with a little more care throughout the last season and the beginning of this one. Mary always seemed like a character that was meant to be both an avatar for the most rabid of fangirls who love to Tumblr-squee over John and Sherlock (which is something Mary did to a certain extent), and a sketch of a woman who could be John’s wife and could be a second sidekick to Sherlock, but was never solidly thought out as either.

There was a level of authenticity to her that I just never got. Maybe it’s because we came in on her and John’s relationship right when they got engaged. We never really got to know Mary the way I would have liked to. I feel like there was a lost opportunity with her character on some level. Even more saddening is that her brief life and death aided in the emotional exploration of the men in the episode instead of us getting closer to Mary through her life and her experiences, which would have allowed us to truly mourn her when she died.

My thoughts are jumbled. I turn it over to you; what did you think? Give your comments below!

Sherlock’s obsession with queerbaiting is more frustrating than ever

BBC

Sherlock Season/Series 4 is upon us! I’m sure there are a ton of us excited for Sunday’s first episode of the new season on PBS Masterpiece, which I shall be livetweeting via my personal Twitter handle @moniqueblognet. But before we flip out as we watch the first movie-length episode, I need to flip out about some things I’m already annoyed with.

First, let’s watch the two teasers together.

Okay, so what am I flipping out about, you ask? First, Moriarty’s alive? Come on now. Now, I’m a beginner-to-intermediate fan of the Sherlock Holmes literature, but there are other villains aside from Moriarty, right? I know he’s the biggest big bad Sherlock’s ever faced, but since Sherlock diverges from the canon all the time, why not make some other lesser known villain a supreme big bad for the screen? I don’t know, just some thoughts. I just hate seeing story ideas/plot devices get repeated.

Also, isn’t the basic “Moriarty” character now typecasting Andrew Scott in the ultimate way? Almost every time I see or hear him lately, he’s playing a skeevy character. He’s been so typecast, that even when he was in Garrow’s Law as an actual victim, his character was still lying through his teeth. Sure, he was lying to protect his lover at the time, sure, since this show is set in the 1700s when same-sex relationships were outlawed, but still, the character still painted himself as a skeevy villain.

Anyways, this Moriarty thing isn’t even the biggest concern I have. My ultimate pet peeve right now is when shows decide to queerbait vulnerable audience members, and Sherlock is the British king of queerbaiting.

In the second trailer, you see Sherlock telling someone, “I love you.” Previous to that, you have Toby Jones’ Culverton Smith saying that Sherlock will have to reveal his deepest, darkest secret. For big fans of the show, and particularly big fans who are also well aware of Sherlock‘s gay subtext, the trailer wants you think that Sherlock’s biggest, deepest, darkest secret is that he’s in love with someone so meaningful to him, that if he tells this person his truest feelings, it could wreck their entire friendship and, indeed, Sherlock’s entire world. The only person who fits that description is John.

There was a time when I was quite heavy into exploring the subtextual story in both the original Sherlock Holmes literature and Sherlock the show. A lot of that scholarship (if you wish to call it such) is still available via the Wayback Machine. But the jist of it was discussing why the show indulges in queerbaiting when it doesn’t have to. With the UK being in the 21st century and with Mark Gatiss—a gay man who seems to understand the subtext of the subject matter—as 1/2 of the executive producing/writing duo, there’s no reason why Sherlock has to be coy about asserting the queerer aspects of Sherlock Holmes and John Watson.

The most queerbaitiest of Sherlock episodes ISN’T the first episode ever, in which Sherlock thinks John is asking him out over a candelit Italian dinner, although that’s a popular example. The most queerbaitiest episode is actually the first episode of Season 2, when Irene Adler comes to town.

Irene is used as both a beard for Sherlock (by the writers) and as confirmation for the audience’s belief about/confusion surrounding John’s amorphous feelings over his friend and flatmate. Irene’s purpose as truth-teller to the audience comes when Irene realizes John is obviously jealous over Sherlock’s surprising interest in her.

To quote myself from 2012:

Thanks to livejournal user bizarremain, we have the transcript of what exactly was said during this scene:

Irene: “You jealous?”
John: “We’re not a couple.”
Irene: “Yes, you are.”
John: “Who the hell knows about Sherlock Holmes? But, for the record, if anyone out there still cares, I’m not actually gay.”
Irene:”Well, I am. Look at the both of us.”

What she’s saying is that she and John are both two people who aren’t attracted to men. Yet, here they are, attracted to one man, not because he’s a man, because he’s this amazing being. What Irene was getting at is that it doesn’t matter what Sherlock is, it’s that he is who he is what’s so attractive and magnetic. It’s not so much that he’s the magical male that can change Irene into a heterosexual–the episode never says she’s changed to a heterosexual woman; it’s that she’s attracted to him, no matter what he is, and that’s what makes the whole thing interesting.

…By alluding to [sexual fluidity], Irene is also saying that John is in the same boat as she is. …Irene is saying to John that he needs to analyze what is going on with him and Sherlock and realize that even though he’s attracted to women (just like she is), he’s just as attracted to Sherlock. In fact, Irene is also intimating that Sherlock might be the one for John. Never once does she say that she’d actually like to have a relationship with Sherlock. She’s mostly just got a mixture of intrigue and lust when it comes to him. To me, Irene summed up John’s relationship with Sherlock in just a few words.

To piggy-back off that, John is getting a lot of hints from the universe that he is meant to be with Sherlock, whether as friends or as more-than-friends. Sherlock is naked in a sheet–John takes a look before even asking Sherlock if he’s naked under it. John’s new girlfriend breaks up with him–the umpteenth girlfriend to do so. She says to his face that he’s a better boyfriend to Sherlock than he is to her. The whole Irene scene I just blabbed on about. And, frankly, I think Irene herself is a big clue to John that there’s more to his relationship with Sherlock than he even realizes yet. By Irene constantly asking him if he’s jealous of her and telling him that he’s in a relationship with Sherlock, coupled with his string of bad relationships due to his dependence on Sherlock, John slowly seems to be mulling over how his relationship with his friend is perceived, which is interesting.

And yet, the season progresses without much mention of this illuminating moment again. After this, probably the most progressive moment in Sherlock, the writing seems to have swung towards a weird place where either the writers, the characters, or both are afraid of admitting that the subtext is more than likely text.

For instance, John’s wife Mary calls John out on treating Sherlock like his boyfriend all the time, such as when she clocks him for getting spruced up more often once Sherlock comes back from the dead. However, Mary is also unnervingly okay with this, which strikes me as a little disingenuous, particularly because her characterization was basically acting as an avatar for the Tumblrites who want to squee over John and Sherlock.

Also, Sherlock acts like he’s completely happy at John’s wedding, but later on, we see that he’s clearly not. That’s keeping with his own dependence on John as his soundboard and wingman-of-sorts, but then we later see him act wildly out of character, even for Sherlock, by “getting a girlfriend,” only to later use said girlfriend’s emotions to crack a case. Even Sherlock of Season 1 would think that was going a little too far. The writing in this season both provides Sherlock and John with beards, as if to say, “SEE, BBC VIEWERS!? THEY’RE TOTALLY NOT GAY!!” But when they are with their respective significant others, nothing about the relationships seem real (and in the case of Sherlock’s, it actually isn’t real).

(If I can go on a tangent—The writing for that season wasn’t particularly strong; it was more about filling out the character beats the Tumblr fans wanted, to me, than it was about properly building character and realistic character moments. Out of that season, the only person who came out looking sane was John, who was rightly frustrated with the fact that everyone around him has lied to him in some way. Talk about gaslighting! The mental abuse John suffered during the third season is another reason why I don’t like it.)

Now here we are with Season 4, with Sherlock telling someone that he loves them. Chances are it’s not John, and that’s not even because John is standing behind him when he says it. For all we know, “I love you” could be another “I am Sherlocked.” (Also: If Irene was worth her salt as a dominatrix hardcore woman, she would never use such teeny-bopper language as “I am Sherlocked” for a cell phone passcode.)

The show loves baiting its audience and has gotten good at raising expectations only to have them tied in knots later on. Gatiss has said that he likes playing with the latent homoeroticism in Sherlock, but there comes a point when playfully exploring a theme becomes hanging a dangling carrot over fans heads, only to yank it away each season. I say either the show decides Sherlock actually loves John, and not in a platonic brother-in-arms kind of way, or it quits using homoeroticism as a crutch to keep people tuned in. At this point in time, the media we ingest, including Sherlock, can no longer have it both ways.

Looking for Love in Invisible Spaces: Meta & the Gap in LGBT Representation

(L-R) Benedict Cumberbatch and Martin Freeman in the Jan. 1, 2016 MASTERPIECE special Sherlock: The Abominable Bride. Courtesy of (C) BBC/Hartswood Films for MASTERPIECE

As featured in COLORBLOCK Magazine, February 2016

The patchiness of LGBT representation occurred due to several factors, such as cultural reticence, religious arguments, and entertainment companies worried about their bottom line domestically and internationally. The voids in representation have led to fans coming to their own rescue and creating alternate (and sometimes more accurate) readings of characters and their love lives.

The process of finding alternate interpretations of the characters not only provides fans who feel neglected by the entertainment world–such as LGBT fans and fans who are LGBT allies– the ability to participate in their favorite film or TV fandom, but also eases the anxiety created when an LGBT metatextual reading of a character, especially characters who already have a foothold in discussions surrounding LGBT media, doesn’t get the fair play it should in canonical tellings or retellings of a story. Basically, meta readings, and the subsequent fan creations that result from them, give fans the chance to tell the story from their point of view. They get to create a world that includes them in all of their complexity by allowing the canonical characters to have complexity not originally given to them by their original creators.

Sherlock Holmes and John Watson from Sir Arthur Conan Doyle’s Sherlock Holmes series of mysteries are two great examples of when the canonical and meta worlds collide.

Want to read more about diverse entertainment? Read the February issue of COLOR BLOCK Magazine!
 

 

Canonically, Sherlock and John are friends, the most classic example of platonic love and partnership. However, the two characters have also been one of the many touchstones of LGBT media theory, especially where it concerns audience interpretation.

“Fans use these parallel worlds to explore what could have been or might be, especially as regards sexualities that have not found mainstream representation,” wrote Ashley O’Mara in her article, “Queering LGBT History: The Case of Sherlock Holmes Fanfic” for the site, Metathesis (metaistheblog.com). “There is no conclusive literary evidence that [Doyle] conceived of his Sherlock and John as ‘homosexual;’ their relationship presents as a romantic friendship although those were going out of fashion when he was writing. Likewise, despite queerbaiting, [BBC’s Sherlock co-writer Steven Moffat] insists that his Sherlock is not gay, let alone [asexual]. In [fanfiction] however, literally any interpretation goes.”

Those interpretations, which explore asexuality, aromanticism, bisexuality, and/or being gay, stem from said queerbaiting, which include suggestive moments in the BBC show, one of the biggest moments being during Irene Adler’s introduction in Series 2, Episode 1, in which Irene basically makes a case as to why John was actually falling in love with Sherlock without realizing it by comparing John to herself. Both John and Irene have considered themselves people who weren’t interested in men, yet, as Irene points out, both of them are very interested in Sherlock. There could also be a level of retroactive queerbating, as it were, happening within the original text itself; as O’Mara noted, Doyle was writing of romantic friendship when it was going out of style, with romantic same-sex friendship being replaced with a higher level of homophobia (at least among men; with women, romantic friendship and full blown same-sex romance was often overlooked by male society). The level of reticence around romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendship during such a societal change.

Meta readings have also occurred with many of today’s popular characters, such as characters in Marvel’s cinematic and TV universe. There are tons of  fan creations centering around the close relationship between Captain America and Bucky (aka the Winter Soldier), Captain America’s other close relationship with the Falcon, Iron Man and The Hulk’s friendship (as shown in the Avengers movies), and the friendship between Peggy Carter and waitress/aspiring actress Angie Martinelli in Agent Carter, just to name a few.

MARVEL'S AGENT CARTER - "A View in the Dark" - Peggy discovers her murder investigation has huge ramifications that can destroy her career, as well as everyone near and dear to her, on "Marvel's Agent Carter," TUESDAY, JANUARY 19 (10:00-11:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal) HAYLEY ATWELL
MARVEL’S AGENT CARTER – “A View in the Dark” – Peggy discovers her murder investigation has huge ramifications that can destroy her career, as well as everyone near and dear to her, on “Marvel’s Agent Carter,” TUESDAY, JANUARY 19 (10:00-11:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal)
HAYLEY ATWELL

Despite canon interpretations falling short of fandom expectation, it’s beginning to be par for the course for actors who are affiliated with the fandom to speak out on behalf of their fans’ want for more inclusive entertainment. For instance, to address the Peggy/Angie fans, Peggy herself, Hayley Atwell, told fans at last year’s Fan Expo Canada what Peggy and Angie’s relationship meant to her. “The thing that stands out for me about Peggy and Angie is it’s seldom that you see on television friendship between two women that isn’t founded on the interest of a man,” she said. “There’s a genuine affection that they have for each other; whether or not you want to project the idea that it’s romantic or sexual is entirely up to you and how you want to view it. I think there’s a mutual respect that’s quite rare that I want to see more of in film and stories.”

As you’ll read in the next article (about the meta pairing of Star Wars: The Force Awakens characters Finn and Poe Dameron), Captain America co-director Joe Russo also states that he welcomes all interpretations of Bucky and Cap’s relationship. Also worth noting about the Star Wars pairing is that John Boyega recently confirmed to ShortList writer Chris Mandle that while the Poe/Finn pairing isn’t canonical, it was definitely something that existed in the mind of Oscar Isaac, who played Poe in the film.

With more and more actors co-signing fandom imagination, the day when there will be a mainstream LGBT couple in genre films and television could be coming soon. Maybe not soon enough, to be honest, but still sooner than originally thought possible.

Related articles/sources:

The Breakout Fandom Couple of 2015: Stormpilot (“Star Wars: The Force Awakens”) (JUST ADD COLOR)

History of Homosexuality-19th Century (Wikipedia)

Meta Masterlist (http://loudest-subtext-in-television.tumblr.com/)

Meta: The Case of John Watson’s Sexuality (sherlockforum.com)

Hayley Atwell Discusses Agent Carter Season Two: Workplace Obstacles, Relationships, and “Cartinelli” (The Mary Sue)

Fan Expo 15: Atwell Declassifies “Agent Carter” Season 2 And Chris Evans’ Abs (Comic Book Resources)