tonnaree wrote:

Myself, I would be very dissatisfied if Mary died off screen.  Event though I know how it was delt with in the original stories.

 
As far as I remember, Moftiss said in an interview that they wouldn't do that. Well, with Moftiss you'll never know, but I don't think it's likely that Mary dies off-screen, would be a wasted opportunity for something really dramatic  .

Last edited by stoertebeker (March 15, 2014 11:12 pm)

That's what I was thinking Swan.  I can't think of a single time John has punch Sherlock that Sherlock didn't kinda deserve it.  

Swanpride wrote:

I disagree, and not just because Sherlock was the one who originally threw the first punch at John (remember SIB?). What Sherlock did to John by letting him believe that he witnessed his suicide was so much worse than a simple punch.

Honestly, reading you posts it sounds as if John routinely beat Sherlock up, when in truth there were only two times when it happened...once after Sherlock hit him first, provoking him in order to prompt John into hitting him and again at the start of TEH, when John really had ample reason to fly off the handle. John didn't hit him for any of the experiments Sherlock did to him beforehand, for any insult, not even for making him believe that they would die in the next seconds.

Try to remember, I actually *don't* hate John, nor any of the chararcters, what I am saying is that the gag is old. On the other hand, yeah, the first time, Sherlock hit John to get him to hit back, (for purposes of the case)  John not only punched him, but then strangled him. John drew blood, (which might have been what he was after, so that's on him) but the strangling? Hmmm. 

By the end of TEH, Sherlock could be described as a victim of assault. I'm just saying that I'm tired of seeing it. I also don't want him hit by any more of his friends. People *can* actually talk things out. 

Conversely, if we're talking about "deserving" to be hit, what would we be saying if John, after finding out that Mary shot and technically killed his best friend, hit Mary upside the head? 

Maybe not even a punch, but a slap? Surely, she 'deserves' it, too. 

(Cue screaming)

Wait, that's not funny? Doesn't qualify as a gag?  Why?

Mind you, I don't actually mean that I think John should hit Mary, even if if she does "deserve" it--  I'm saying that the "gag" of friends and loved ones hitting each other for comedic value has gone stale, at least for me. 

If they're going to go that route, then at least let Sherlock fight back, and let them truly do a slpstick bit with flying pies and all. 
 

Last edited by RavenMorganLeigh (March 16, 2014 7:02 pm)

RavenMorganLeigh wrote:

If they're going to go that route, then at least let Sherlock fight back, and let them truly do a slpstick bit with flying pies and all.

That's what was missing from that scene. A flying pie or two . There was potential there with it being a restaurant. ;)

The reunion scene should start like that



and finish with a cake fight.

RavenMorganLeigh wrote:

Maybe part of the problem was that the show seemed too disjointed in mood?  It's like it didn't know whether it wanted to be campy, or sad, or bittersweet, or ...slapstick?

So, I think I'd like more continuity -- a thread that connects the characterizations of all the characters, including John--- so their behavior rings "true."

I agree. In seasons 1 and 2 the episodes had more internal consistency. There was a theme and a certain atmosphare that was constant rhrough out the episode. For example The Hund was quite dark, the main emotion was fear, it was all about mystery. The Scandal was much lighter, frivolous with a lot of sexual tension. In season 3 the atmosphare changes multiple times within the same episode. It's much harder to sum up what the overall theme may be. I'm not sure if it's good or bad but it's deffinitely different.
 

Oh, I don′t know – to me it seems as if every „Sherlock“ episode has an atmosphere of its own and it′s difficult to compare them. That holds for series 1 and 2 either – ASIP (funny adventurous romp), TBB (the procedural) and TGG (thriller) are nothing alike and it′s the same with SIB (humorous drama), HOTB (the horror) and TRF (tragic tale of antic proportion). As to series 3:
 
TEH was similar in tone to ASIP, but it was a bit quieter with an emphasis on characters rather than the plot.
TSOT was a pure ligh-hearted comedy.
HLV was very dark and sinister. I rewatched it yesterday and it was pure depression. If they didn′t include a few funny moments here and there it would be terribly bleak. I can quite understand why they decided to mix this dark morality tale with humour in some scenes. Moftiss are cruel but even they are not such sadists as to make their story unwatchable because of one tragic moment after another. Too much tragedy dumbs the audience and make them indifferent rather than moved.
 

Actually, Sherlock′s „joking“ was quite in-character with canonical Holmes.
 
I can cite an example - in the „Adventure of Naval Treaty“ Sherlock′s client is a young man who lost an important document on which a national security depends. After he lost the paper he fell into unconciousness and was down with brain fever for 10 weeks, nearly dying in the process. So he is a very sensitive individual who could be seriously harmed if distraught. Sherlock finds the lost document. Yet does he return it immediately, easing the mind of his client? No! He orchestrates the scene in which he pretends that no papers were found and after that he serves the document to his client on the plate, together with his breakfast. The client almost goes mad after that, but Sherlock just couldn′t resist his compulsion for theatrical flaunting.
 
In „Scandal in Bohemia“ Watson comments that the stage lost an actor the day Sherlock decided to become the detective.
 
Sherlock′s penchant for the theatrical is a part of his character exactly as his deductions are. Many film adaptations of ACD stories worked with that side of his character so why should it be wrong if used in TEH?
 
The situation between him and John was terse and he was trying to somewhat detract from it by using his inept humour. He is not socially skilled so he misjudged it the first time, in the restaurant – but succeeded quite well the second time, in the scene with the bomb. Personally, I saw nothing wrong with it.
 
And concerning Mary′s jump of character – that was exactly the point, wasn′t it? The real evil is not always visible as it was the case with Moriarty, it often lurks nearby, unseen until it′s too late. The relatives of many brutal murderers, cannibals and psychopatic killers would swear to you that their sweet boys or girls were nice people who wouldn′t hurt a fly and it′s incomprehensible how they suddenly turned into monsters. The thickest darkness is often found directly under the lamp, so to say.
 

RavenMorganLeigh wrote:

Well, assuming that there's a season five, maybe what happens is this: John does not move back to 221b, he stays in domestic bliss with Mary and the baby and sees Sherlock only very occasionally-- (like once an episode) and the show focuses more on Sherlock solving cases and the problem of Moriarty. Maybe we get to see more of Molly, Lestrade and the partneship between John and Sherlock takes a big step backwards. I suspect if the writers go in this direction, we'll see John when his family's lives are in danger, and that's about it. They may even have to go into Witness Protection, which would solve a lot of problems pretty neatly-- it would keep John and Mary together, and safe from the enemies she's made, thereby protecting the new family. I can totally see a couple of scenes per episode with John touching base with Sherlock to let him know all is well, and then going back to being a wonderful and loving husband and father. But the rest of the show has to be about Sherlock, that's who the show is about, after all. :-)

Or there could be a spinoff episode, right in the middle of the series-- John and Mary as BAMFs, no Sherlock, except maybe via texts-- they have some sort of dangerous situation possibly originating from Mary's past, and have to go all aggro to protect their daughter. 

I'm just playing with ideas-- I think it would be a neat solve that would give everybody what they wanted. And then, maybe the next season, John and Sherlock become working partners again. Or not. 

No.   Just no.  Please.

I think Raven is joking 
I can't imagine Sherlock BBC with only Sherlock and just once in a while John and Sherlock. It wouldn't make any sense. Both are getting irritated and distracted when they are separated. Obviously they are soulmate (not especially in a romantic way). 

Also I don't think that anybody would watch a spin-off with only Mary and John. What would be the point?