#clever. instead of a rehashed version of a story that already exists and is just as awful when you think about this ‘romance’ for over 2

[ckret2]

I'm curious about Ford's thoughts on the situation! Is he scared, angry? Does he really believe Bill is as powerless as he says he is? How does he feel about Bill being around his family and other people in town?

So at the end of April I got this question paired with another question about Ford's reaction to having human Bill around, I answered the other question, went "I'll answer this one soon," and then it got buried in my inbox lmao BUT I'M ANSWERING IT NOW!

(Here's the other half of this question I already answered! I also talk a bit about Ford's thoughts on Bill being around here and here so I'll try not to rehash stuff I've already said too much!)

Yeah, "scared" and "angry" are probably the top two emotions Ford's feeling when he thinks about Bill being back.

He's scared that if he does the wrong thing, Bill's human body will crack open and Bill will escape again, and the world will end, and this time they won't be able to stop Bill because they've already used up all the clever tricks they had the last time they tried to stop him. He's scared that Bill will find some slick way to worm himself into somebody else's mind—that he'll talk Soos into doing something innocent-seeming with devastating consequences, or that he'll get into the kids' heads (emotionally or literally) the way he got into Ford's head and turn them against the family, or that he'll secretly make contact with somebody on the outside and fast talk them into being his accomplice when they don't know what he is.

And he's furious that Bill's here, furious that he's NOT DEAD, furious that after trying every murder tactic Ford could think of from every angle imaginable he STILL hasn't gotten rid of this damn triangle. And furious that he's in Ford's life again, in ALL their lives—and that he's acting NORMAL. Like a NORMAL PERSON. He eats and sleeps and watches TV and complains about what's on TV and plays board games and tries to wheedle Ford into playing board games and acts like a person, instead of the monster Ford knows he is. Ford's mad that Bill is both a monster AND a person and he's mad that he has to see Bill being a person and he's mad that Bill has an opportunity to live like a person, waiting here on death row. He feels irrational. He's mad that he feels irrational.

(He's mad that he kind of wants to play board games—with the version of Bill he was fooled into thinking existed thirty years ago, the version that was Ford's "friend," and he's mad that Bill still CAN put on the "friend" mask and DOES put on the "friend" mask even though Ford knows it's all lies.)

Not long into Bill's captivity, Ford's decided he's pretty sure Bill won't hurt people—because right now, it's more useful for Bill to use people than harm people. He's not going to fight his way free, but he could scheme his way free. So, at the moment, he isn't worried for his family's physical safety—but he IS worried about what the things Bill could say to them, what he could persuade them, what he might talk them into. He's less concerned about Stan than the kids. And letting Bill fully loose in the town, to start making up his own story and identity to the townspeople, could be devastating. Ford canNOT let that happen.

(It's already happening. Trying to keep Bill's influence contained feels like trying to squeeze a handful of sand. Ford wishes they could just lock Bill in a tiny room with no contact with the outside world until Ford figures out a way to kill him for good—but Ford really does believe Bill when he says he'd just kill himself in that scenario, and Ford won't risk 50/50 odds that Human Bill dying would mean the return of Triangle Bill. So what can he do?)

He doesn't believe for a second that Bill is totally powerless. Not even Bill is making a strong effort to convince Ford that he's totally helpless; one second he'll say with a wink and a nudge "I'd try to tell you I don't have any powers left, but even if it's true you won't believe me, will you?" and then the next second he'll casually do a minor magic feat. The problem is, Ford doesn't know WHAT Bill can and can't do. He's trying to mentally divide Bill's skills into separate categories—what things could he only do because he was an energy being in the mindscape? He probably can't do those now. What magic spells did Bill teach Ford to do decades ago? He can probably still do those as a human—etc.

But these are just educated guesses. Even after thirty years of trying to learn more about Bill, Ford still doesn't know enough about him to list what all his powers were, where they came from, and which he might still have access to as a human. 

This is all Ford knows for sure: WHATEVER powers Bill currently has, they're not enough to let him kill the Pines and escape Gravity Falls—or he would have done so already.

[leftlovetragedy]

Why BBC Sherlock was ruined by bad writing - Part 1

This post is a part of a long summary of some of the problems with BBC Sherlock which in my opinion ultimately caused the show damage which seems practically irreparable now. One of the related problems actually is that it seems Moffat and Gatiss didn’t get why S4 was met with disdain by fanbase, why reviewers picked it apart, why ratings dropped. It means they don’t want to learn from their mistakes or simply can’t. In fact Gatiss outright refused to believe ratings dropped and that does speak about very huge denial as ratings are facts, not opinions. Both Moffat and Gatiss also suddenly lost enthusiasm about ACD, Sherlock Holmes, although they were gushing  about it just not so long ago.

But let’s get back to the problems of the writing I wanted to talk about:

1)     The problem with Moriarty

Looking back at first two seasons after clusterfuck of S4, sadly, I could now notice some problems which were already planted in earlier seasons. While S1-2 were the best out of the show some decisions which were made by the writers indicated their true approach to the material even back then. But these problems would only grow like a snow ball and in the end would contribute to the undoing of the show in many ways. Mofftiss were overusing Moriarty from the start. In ACD’s canon he appears in one story (and is mentioned several times) like the nemesis to take down Sherlock once and for all. Since it’s TV series it was perfectly understandable and fair  to expand the role of Moriarty, however it was way overexpanded. Moriarty was connected with the cabby, was behind Chinese mafia, then arranged the whole Great Game with Sherlock and then meeting with him in person took place-all in the scope of all 3 episodes of S1. Had the S1 been longer perhaps it wouldn’t have looked so  jam-packed with Moriarty and would have been more subtle, but since the S1 is only 3 episodes long it did. S1 also told us that Moriarty killed the school boy, the only case which young Sherlock was not able to solve then, thus setting up Moriarty as this ultimate enemy of Sherlock literally for decades.  Then in Ep1S2 we find out that Irene Adler was also working for Moriarty and that he consulted her. Ep2S2 has Sherlock having hallucinations about Moriarty and Ep3S3 have the grand finale where Moriarty tries to destroy Sherlock and kills himself on the roof, and then Sherlock jumps from the roof, faking his suicide.

Honestly by the end of S2 Moriarty was made by the Mofftiss as this be-all and the end-all guy and that already looked over the top. But it still could have been ok, if the Mofftiss could stop there with Moriarty. And that’s exactly what they couldn’t do. They didn’t know how to stop and so they ran this character into the ground.  S3 teased us if Moriarty really died or not, with “shocking cliffhanger” final,  adding more hallucinations and flashbacks and fake flashbacks with Jim along the way.  But the result was that by the end of S3 Moriarty no longer looked liked some threatening dangerous villain, but rather as a self-caricature. S3 also told us that Moriarty had in fact a death wish and that he would have killed himself anyway, making his whole suicide on the roof pretty  weak.  Instead of some diabolically clever villain with diabolically bold clever calculated plan, we got the guy who just was crazy and wanted to off himself. Big whoop.  It got only worse when TAB special was literally dedicated to Sherlock trying to understand that Moriarty, who shot himself standing right in front of Sherlock in broad daylight, was actually really dead. No shit, Sherlock. Moriarty was again present in Sherlock’s Mind Palace,  grimacing all the way, which probably was supposed to look cool and edgy, but didn’t, and looked like a tired rehash. Then S4 finally completely killed any coolness or sense which Moriarty still had in the show (and there wasn’t much left by the time). S4 told us how Moriarty met with secret super powerful sister Eurus, spent 5 minutes talking with her or smh and even teamed with her, recording some dumb edgy videos for Eurus, which she used when Moriarty himself was already dead. Since Eurus is capable to hypnotize people after talking with them the question was left open if Moriarty was really compromised by Eurus and was just her puppet since then. Either way Moriarty was pretty much destroyed as interesting and effective villain in the show, because a) he either was hypnotized by Eurus, made into her puppet and lost any personal agenda or free will since then; or  b) he wasn’t hypnotized by Eurus, remained himself but was just really unhinged, mad dude, whose unpredictability didn’t seem like a result of his great intellect or scheming or an act, but rather a result of him being a psycho, who wanted badly to kill himself, also hoping that Sherlock would ~ probably~ kill himself as well—and if Sherlock doesn’t kill himself, hey, no biggie,  he got those great choo-choo videos for Eurus which she could  use against Sherlock, though Moriarty wouldn’t be able to see this anyway, because he will be dead by then. But surely choo-choo videos will work! Surely the world's only consulting criminal could always count on choo-choo videos! Great plan! 2)     The problem with women

I already talked once about how Mofftiss treat female characters on the shows and the short answer is: they treat them pretty awful as they pretend to write “strong female characters” while basically doing “Feminism for Dummies: The Male Edition”. 

According to Mofftiss strong female characters mean mostly villainous, dubious, criminal, weaponized psychopaths.

---Irene Adler – twisted rewritten version of ACD’s Irene Adler, here villainized cruel sex worker and blackmailer, who is told what to do by male villain, because she can’t figure it out on her own, loses  to Sherlock because she fell for him and later is saved by him. Moffat literally described Irene as psychopath, in fact he describes Sherlock as one as well, saying: ”He's a psychopath, so is she”. 

Moffat also considers ACD’s Irene boring, saying: “In the original, Irene Adler's victory over Sherlock Holmes was to move house and run away with her husband. That's not a feminist victory." Moffat is a very big fan of ACD’s stories according to Moffat. No comments here.  ---Eurus “Ebony Dark'ness Dementia” Holmes – OC, secret sister genius with super powers, who killed a child while she herself was a child, tortured her brother Sherlock and has been put to medical facility- prison for life (where she continued to torture and kill people, and even rape them-well, there was one case at least. She also was able to  leave prison at her will and kill people outside). A total psycopath, who fixed her multi-talents on playing some evil games with Sherlock. Turned out to be so, so very  needy, that the only thing she really wants is a hug from Sherlock, cause she loses the minute he hugs her. Obviously Mofftiss tried to build her as this greatest villain on the show who ever villain, but it didn’t work out.  --Mary Watson – practically an OC, since Mofftiss so heavily rewrote her, that she doesn’t resemble Mary Morstan from ACD’s canon. Even her real name is not really Mary Morstan here, she borrowed it from the grave slab of another person. She is ex-assassin who was murdering people for cash, but  retired now, who  lies and hides her past from everybody, then she shoots Sherlock almost killing him for good, in order to cover up the fact that she came to kill her blackmailer and Sherlock discovered her. Then Mofftiss make a big point that her main agenda in show is really a new life with a husband she loves and their baby (Mary shoots Sherlock while already being pregnant). Then Mary leaves her husband and little baby girl (the girl given to Mary by Mofftiss in the show, she doesn’t exist in ACD’s canon) when somebody hunts her ex-fellow assassins (yep, they still out there or some of them).  Then she is tracked down and returns, but then she is killed off because she jumped in front of the bullet meant for Sherlock leaving her baby girl without the mother and her husband as widower. Bye bye Mary’s agenda, it has been destroyed. (Also what an insult to professional  mercenary  getting killed by some institutional secretary, honestly).  Then it turns out Mary recorded some weird ass DVDs which are now regularly sent to Sherlock and John, and while she makes some kitch speeches there she barely remembers about existence of her baby daughter, if at all. In the process  we find out that John, while Mary was still alive, was already heavily flirting with another woman (it was Eurus “Ebony Dark'ness” in disguise)  and really wanted to cheat on Mary. Oh, and Amanda Abbington herself described Mary as psychopath.  --A small shout out to those Victorian ladies from TAB’s Mind Palace - they formed a secret sect in order to kill men, had creepy secret meetings and basically were an underground murder club on the loose,  even were referred to as “league of furies” at one point. Oh look, women are again portrayed as vile, criminal and agressive entities, with attached  aesthetic of KKK.  Straw feminism is strong with these ones. --Ok, let’s remember Molly Hooper, she is not a psychopath, she is not villainous, she is not a criminal, she is a nice, smart, normal, kind young working woman. At long last something different, right? Real potential?  Ehm, nope, Mofftiss still ruined it. Because she is kept in the show as a female character with a deep desperate unrequired crush on Sherlock who is ready to do a lot  for him, but repeatedly mistreated by the object of her affections. Sherlock humiliates, manipulates and abuses her emotionally several times during the show, when it gets better between them, but  Mofftiss make sure that poor Molly still can’t have personal life outside of Sherlock, her new BF/fiance Tom ins S3 is a poor copy of Sherlock, he even dresses like him (probably it was done for laughs in the show “ha ha, poor Molly, got replacement goldfish, can’t really move on” only it wasn’t really funny), but they broke up by the end of S3. Then Molly is pushed aside for most of S4, and then there is that famous “I love you” scene, which deeply hurts Molly and makes her cry.....the scene, which according to Mofftiss was a last-minute addition to the script and was not about Molly or her relationships with Sherlock at all, but only about Sherlock and his emotional development and how he is more human now. Molly was simply used by Mofftiss as show-case of Sherlock’s manpain. There was no resolution to this scene and Moffat simply said that  Molly would get over it, by having a drink and shagging someone. That’s...deep. Not.

It really makes you wonder what’s Mofftiss’s problem with women and why writing for female characters on the show is such a trainwreck?  Well, according to Moffat: --“The original [Sir Arthur Conan Doyle] stories had a huge female following, which I'd never forgotten, and that's because the Victorian ladies liked the way Sherlock looked. (Laughs.) So I thought, use this massively exciting, rather handsome man who could see right through your heart and have no interest ... of course, he's going to be a sex god! I think we pitched that character right. I think our female fan base all believe that they'll be the one to melt that glacier. They're all wrong -- nothing will melt that glacier.”  --"Women are needy. Women are out there hunting for husbands."  Also his understanding of pregnancy and motherhood “Your wife turns into a boat, and shortly after that, you never sleep again and you clean shit off someone. It doesn’t seem like a very appealing prospect”.     Also the infamous “There’s a huge, unfortunate lack of respect for anything male.” I guess all of it sort of explains why Mofftiss write women that way. To be continued...