#autism be damned my boy knows shot composition

[p12lysanderdelanne]

PICS of Trespassing Criminal up on LiveLeak

[dianadragonfly]

Okay, hang on bitches, cause Imma bout ta rewatch “The Final Problem.” I’ve seen it once since 2017. And because there is no commentary on the disc I have, I will be providing the commentary.

[[MORE]] Since I started my “rewatch and comment” spree, I’ve been pleasantly surprised. Things that had previously stood out in my mind as being particularly not-good are really not that bad. Most were actually really short moments that stood out in retrospect because they seemed incongruous with how well-written and acted everything else was.

Up till season 2, the writers could do no wrong whatsoever. The exact moment I experienced a “well that was overdone” moment of questioning the writers was when Sherlock broadcast a picture of Mary on the outside of the facade in “His Last Vow.” From there, I had moments of doubt and questioning plot and directing choices that took away from the narrative. But, except for the moment John sees Mary die, I never ever questioned the acting choices. The actors are so amazing. And I’m not just saying that because Ben and Martin are hot.

As I prepare to watch the episode, there are several scenes that I dread. Opening with the girl on the airplane reminds me of how much I hated this trick. If the girl is Eurus messing with them, then why do we see it acted out? If we cannot trust that what we see is a reality, then all of the “Mind Palace” theories of TFP (i.e. that it actually took place in a dream or in the head of a character) have some authenticity to them. Ugh.

Damn. I’d forgotten the “Hello. My name is Jim Moriarty” part of the intro. No need for that if the girl is just something in Eurus’s imagination.

Oh shit. I hate hate hate hate everything about this scene of Mycroft.

First of all, there is security in Mycroft’s house.

Second of all, he would have skewered any of those actors with the umbrella sword or shot one of them with the gun.

Why are the paintings crying blood? John and Sherlock couldn’t accomplish that... once we add scary clown it’s just too much. Even for Sherlock.

Oh stop with the heavy-handed East Wind references. Dammit, I loved this show for its subtly. Killer clowns are not subtle, even in pranks.

Now with Mycroft here, in the client position, refusing to sit, with the Baker Street Boys in their chairs - this is what I came for. The light, the look on their faces, the composition of the shot.

Oohh Hudson throwing some shade. John’s half smile...

Is the skull portrait glowing? I can’t tell.

“That’s why he stays!” Fuck yeah. John’s half smile again...

“Middle child. Explains a lot.” As a middle child, I resent that remark. And sort of get it.

So the flashing back and forth in time, with the ashes of Musgrave Hall in the apartment, 5 year old Eurus answering grown-up Mycroft’s questions, the pebble: all of that would be okay, if not a tiny bit less than subtle, had we not just fought a goddamn clown in the scene before.

Oh goddamn. The stupid fucking patience gernade and that song.

Of course Mrs. Hudson vacuums to Iron Maiden.

It’s Sherlock’s turn to half-smile. Cute.

Beautifully shot here with the above view and all three of them at different points on a circle around it.

Ugh. I have to turn away at the “action shot” of them jumping out the window. This is not “Die Hard.” It’s not a cop buddy movie. We just got a really well played, fun little scene where they talked a about Oscar Wilde to avoid talking about the fact that they might die. That’s what I watch Sherlock for.

There was a fan fic written around 2012 that mentions “The Importance of Being Ernest.” Coincidence? Creators reading fanfic? I know Wilde and ACD were contemporaries, but it’s interesting. I can’t think of any other literary works that are alluded to in canon. It’s funny it should be this one.

And now we’ve commandeered a boat. Seriously.

All of the other episodes, I had more patience with on this go-around where I get a chance to type out reactions and reflect on how they are put together. But I’m finding that isn’t the case with this one. I’m just pissed. Give me one or two unbelievable moments or plot twists in an episode and I can sustain it. But between the airplane, killer clowns at Mycroft’s, the patience gernade, and this, I’m already done and we’re 20 minutes in. Sherlock looks like a goddamn vampire bat. And seriously, why does Mycroft need to steal a boat? And write a message in the sand? What the hell? Why dress up?

Sherlock’s security guard act cracks me up.

Oh his face when he sees Eurus. His. Face. Curiosity. Heartbreak. Empathy. Pain. Doubt. Fear. THIS is my show. Not patience gernades, killer clowns, dressing up like a sea captain etc in one damn episode.

She “enslaves” people... magical Eurus who makes people kill their family. Really?!

Oh no. He ignores “Vatican cameos.” I forgot that. He chooses to ignore John’s warning.

His face.... Jesus Benedict can act.

Big bouncy red alert! Okay, what was with the spinning John face when he gets knocked out?

This constant shift between wondering what the hell is happening, wondering if the show has become a parody of itself, and then bouncing back to this heart wrenching narrative — is that the point of this episode? Like “The Empty Hearse” or “The Abominable Bride”? But those episodes explained themselves after they pulled the rug out. As soon as something got to the point of absurdity, it was explained. Sherlock didn’t swing in a window at Bart’s and kiss Molly but we briefly were led to believe he did. Moriarty and Sherlock aren’t really kissing on the roof. (By then we knew what was up though). Sherlock didn’t really attempt to dig up a dead Amelia Rocoletti. We understand it’s a drug-induced dream.

This rapid jumping back and forth with half-assed explainations — I’m coming to believe this off-balance feeling is the point of the episode but I don’t like it. I like it even less than I did before.

Oh Andrew Scott. I love you.

The bastards wait till 5 minutes into the Moriarty scene to tell us it’s 5 years ago. That constant pulling out the rug — I will at least excuse that because there is a plausible explaination given. But it’s a cheap trick. This episode is one cheap trick after another, with only a few moments, here and there, of characters actually interacting.

So it’s late and I don’t know if I have the heart to make it through this whole episode tonight. To be continued....

Edited:

Starting at scene 5 on the DVD because that's when Sherlock sees Eurus for the sort of first time. I kind of just want to bask in Ben's performance here again.

After the last episode, clean-shaven Sherlock in a suit is a relief. He's back... at least a little.

His small smile when he asks her how she got out. . .

I'm realizing how much of this scene had to be Benedict looking directly into the camera and talking to Eurus. That had to be intimidating.

***I've skipped ahead to closer than where I was last night because the small people in my house will want food soon. Parentig gets in the way of fangirling. ****

I still love the Hungry Donkey story.

OH MY GOD! I forgot how much I love Andrew Scott here!!!

Are they making out through the glass?

And now the four of them wake up in a cell but this one has glass. Ugh. The plane again. I love how Sherlock changes his voice here to talk to the girl. He isn't incapable of reading people and reacting to them. He just usually can't be bothered. There’s a fan theory that says Sherlock is autistic. I was going to comment that this skill of his is evidence that he’s not but I stopped myself. He -knows- HOW one needs to act to get people to respond to him, but it’s a learned skill. Which actually might add evidence to the “autism” theory more than the sociopath theory.

Mark Gatiss - I forget what an incredible actor he can be. Whoa.

These scenes - these scenes where they have to apply themselves to a task that Eurus sets for them -- they are so fucking good. Tense and well-acted. I can see every emotion on every actor's face. The rest of the episode should have been better to make it worthy of these performances. It physically hurt watching John try to shoot the governor.

Someone said that Jim Moriarty went from a criminal mastermid to manical Thomas the Train Engine on this episode and I can't unthink that any time he flashes on the screen.

I had a moment, when Eurus was using such clinical language of behavioralism ("prompts") etc that I flashed back onto my life as an ABA instructor. Seriously. I know they are a million miles away but no one watching this would ever think, even for a second, that Eurus was morally right. Why, then, do we do a smiliar thing to autistic children? I had a moment of revulsion then. (Restirct physical liberty and autonomy, make them complete a command that's nonsensical for either reward or aversive. Give prompts. Follow through (deny reward) if one deviates from the prompt). She might as well been saying "Touch table, Sherlock." ("Touch table" is one of the first directives often given in ABA. It's easy to manually prompt (force) a kid to do and helps the kid realize the link between following the requests and obtaining rewards.)

Sorry. ABA rant is slightly off topic.

To be continued in comments ..