Rewatch: Sherlock - The Great Game (Part 2)
Part 1
Part 2
"Feeling better?"
-I love how Sherlock is watching John eat before he says this line...and I also love the fact that he SAYS this line. The Care and Feeding of Your Watson. Haha...okay, I shouldn't joke about John being Sherlock's pet, because that's how Moriarty refers to him, and that's just not right. But what I mean is that I love how we are reminded that Sherlock IS considerate of John's needs. And Sherlock is only considerate of those he loves. Also, they are out for breakfast...going out for breakfast is an coupley thing to do, in my opinion.
John's eating right handed. Interesting. Do left-handed people often eat right-handed? Is John still of the generation that was forced to reform their left-handedness as a child?
"Has it occurred to you-"
"Probably."
-Haha, Sherlock.
"No, has it occurred to you that the bombers playing a game with you. The envelope, breaking into the other flat, the dead kid's shoes - it's all for you."
"Yes, I know."
-Sherlock looks so SMUG there. "I'm being flirted with John" or maybe it's "Are you really only getting this now? You are so amusing."
"That could be anybody?"
"Could be, yeah. Lucky for you, I've been more than a little unemployed."
"How do you mean?"
"Lucky for you, Mrs. Hudson and I watch far too much telly."
-So, does that mean that John lost his job at the surgery? Or is he talking about before he got the surgery job? Let's go back to our tenses, since Sherlock claims they are reliable. John uses the present-perfect tense in his first sentence, which means that the action is either still going on, or has stopped only recently, or simply an action that has influence on the present. No clue there. In his second sentence though, he just uses the Simple Present - which means that currently unemployed or not, John is able to watch far too much telly with Mrs. Hudson. So, John is either now unemployed, or at the very least UNDERemployed. Judging from the fact that we never once see him go to work in the days that this episode takes place over (6 days - I counted), I'm guessing that he's either working VERY part-time work, or he's once again unemployed.
-Okay, enough of me analyzing things to death - how cute is the image of John and Mrs. Hudson watching TV together? Adorable, yes?
(English has 17 verb tenses by the way - so next time you're complaining about how hard another language is, think of all the people you know who have learnt English as a second language!)
"Why are you doing this?"
"I like to watch you dance."
-Don't we all, Moriarty? Don't. We. All.
Also, I kind of think that little old ladies are Sherlock's kryptonite. I think he likes mother-figures (in a nonsexual way, of course. Actually, that might be why he likes them, they're more likely to mother him - something he needs, rather than come on to him - something he doesn't need.)
Sherlock/Benedict has a freckly IN his right eye. It's rather mesmerizing when they do close-ups. It's not often visible, because it's usually tucked up under his eyelid.
Also, when I showed this episode to my scientist friends, they started immediately muttering between themselves while Sherlock, John, and Lestrade started to examine the body. I couldn't hear them, but it seemed they did not approve of the tetanus story...
"There's something else that we haven't thought of."
"Is there?"
"Yes. Why is he doing this - the bomber? If this woman's death was suspicious why point it out?"
"Good Samaritan."
"Who pressgangs suicide bombers?"
"Bad Samaritan."
"I'm serious, Sherlock. Listen, I'm cutting you slack here. I'm trusting you; but out there some poor bastards covered in semtex and just waiting for you to solve the puzzle, so just tell me - what are we dealing with?"
"Something new."
-And that's not a satisfactory answer, but Sherlock gets away with it because it makes for good TV. :P But more to the point, Sherlock tries to hide a smile as he says "something new" - how often DOES Sherlock come across something new in his cases? He likes serial killers, probably because there's patterns to find...but probably everything else is theft, blackmail, and murder...a TRUE game though - a game where both players know they are playing...well, that's something new. It's a chess master going up against another chess master. I think Sherlock's allowed to be excited.
-That being said, you can tell that Sherlock doesn't want to tell Lestrade the truth - that this is Moriarty - that this basically all just to get Sherlock's attention....that this is FLIRTING.
"It's a real shame. I liked her. She taught you how to do your colours."
"Colours?"
"You know, what goes best with what. I should never wear cerise, apparently - drains me."
-I love how Lestrade is genuinely interested in one's colours. I've actually had my colours done before, and it's awesome knowledge to have, let me tell you. I have not bought a grey item of clothing since. I have also become obsessed with chocolate brown and army green...I hope I don't die in a hunting accident.
I love how Mrs. Hudson basically gives Sherlock the major clue when she talks about how Connie "messed around with herself too much" and how people "can hardly move their faces."
"So I gather. I've just been having a very fruitful chat with people who love this show. Fan-sites are indispensible for gossip."
-Haha, yes, they are. Though, not very reliable gossip - or rather, they aren't reliable for interpreting facts correctly. Some sites are an absolute sink-hole of insanity.
John is so uncomfortable when the brother sits so close to him on the couch.
I almost wish John was right about the cat - he's so PLEASED with himself. Though, I do like the fact that Sherlock is so affectionately amused by John's conclusions. And this is why I think there's some vicious history between Sherlock and Anderson - because Anderson makes the wrong conclusion, and Sherlock is annoyed. John makes the wrong conclusion, and Sherlock falls a little in love with him. Of course, Anderson always goes for the obvious and then delivers his verdict like he's brilliant...whereas John DOES try to think outside the box and delivers his verdict with joy and expecting Sherlock to be proud of him.
"You saw the state of that floor - scrubbed within an inch of it's life."
-I kind of think this is a funny mirror to Sherlock's comment about the state of Sally's knees in the A Study in Pink.
"You smell of disinfected now. The cat doesn't come into it."
-Okay, Johnlock moment, since Sherlock is actually smelling John. Also, I love the fact that John starts smelling himself.
And John is so annoyed that Sherlock solved it all without him - he thought he was helping, and Sherlock didn't even need him in the end.
Okay, and here is where my scientist friends paused the video and told me how to properly kill someone, and how what Sherlock described was actually wrong. Raoul couldn't have stockpiled botox and given Connie a fatal dose. Botox (the official stuff) comes already diluted so much that it is non-fatal. If Raoul wanted to give her enough botox to kill her, he would have had to fill her like a water balloon with the stuff. What Raoul WOULD have done was to order the research grade poison and dilute (or in this case, not dilute) the mixture himself. That way he could give her what looked to be her regular dose, but was strictly the poison, and not actually the official "botox" solution. Apparently, this is where botox accidents happen: places try to save money by buying the research grade stuff and diluting it themselves, only to get the dilution wrong.
"Hey Sherlock, how long?
"What?"
"How long have you known?"
"Well, this one was quite simple..."
"But Sherlock, the hosta- the old woman, she's been there all this time!"
"I knew I could save her! I also knew the bomber gave us 12 hours. I solved the case quickly and that gave me time to get on with other things. Don't you see? We're one up on him!"
-Benedict and Martin do this exchange brilliantly.
-I love how John might not be able to figure out a case, but he can figure out Sherlock - he knows immediately at Sherlock's explanation that he solved the case long ago.
-And we come down to the problem between them - John's focus on saving people, while Sherlock is focused on getting the upper hand against the criminal. Both are noble causes. I actually side with Sherlock on the subject, but I can certainly see why John would be annoyed. It IS a difficult decision that Sherlock has made - to let one person suffer for a longer period of time, so that Sherlock can get the upper hand against Moriarty. And really, HOW are they one up on him? Sherlock spent the time trying to figure out Moriarty, but did he actually figure anything out?
"His voice-"
"No no no, tell me nothing about him-"
"He sounded so...soft."
"Hello?"
Lestrade: "Sherlock?"
John: "What's happened?"
-I love the tableau of these three at this moment. John putting his hand on the back of Sherlock's chair.
"Well, obviously I lost that round. Though technically, I did solve the case."
-I like the way Benedict reads that line. Sherlock is obviously upset - and he's dealing with his by trying to be flippant.
Important fight time! Broken up into sections:
"...do you think he wants to be caught?"
"I think he wants to be distracted."
*John laughs humourlessly* "Well, you'll be very happy together."
"Sorry what?"
-This is an interesting snipe from John. He recognizes that Moriarty is a match for Sherlock, almost, I think, before Sherlock does.
-I also think this sentiment from John is repeated in 2x01 with Irene - again, with Sherlock being "infatuated" with an adversary...though, in both cases, it's actually narcissism, which, I think more than anything is what annoys John about it. But that's just my opinion.
"There are lives at stake, Sherlock! Actual Human Li- J-Just so I know, do you care about that at all?"
"Will caring about them help save them?"
"Nope"
"Then I'll continue not to make that mistake."
-Again, I'm with Sherlock on this one. Here's a fact for you: I have a job that requires that I have to read about child-molestation/rape/abuse quite frequently. Do I care about these children/people, well yes, on some level...but not on any level that makes my face change, that makes me SAY anything about it. If you were to watch me as I do my job, it would be just the same as watching me read about the weather - actually, I might appear to care more about the weather. Caring doesn't make me do my job better, quite the opposite. If I reacted as most people do, I wouldn't be able to do the job...or at least, I wouldn't have been able to do it for the past four years and therefore get to a point where I'm quite good at it. And that's the same with Sherlock's job. His next case is going to involves human lives too - and the one after that - and the one after that. If he "cared" like John seems to - he would burn himself out emotionally and render himself useless. He has to put those feelings in a box in the attic, because they are of no use. (My scientist/medical-field friends agree with me - "That's what surgeons do!"...which to me, means that John shouldn't really be criticizing him for it, because JOHN SHOULD KNOW.)
"And you find that easy, do you?"
"Yes, very. Is that news to you?"
*smiling* "No, no."
-And I think this is the one time where Sally gets to John. He had it in his mind that she was completely wrong about Sherlock, and on some level she is, but she did warn John that Sherlock was different. (Heck, Mycroft did the same thing). John, though, has never treated Sherlock like he's different - and it's what Sherlock likes about him, it's part of why Sherlock loves him so much...but here, I think John starts to think (however, briefly) that everyone else is right, that Sherlock is perhaps cold-hearted - so no, it's not news to him, he just hadn't believed the news before.
"I've disappointed you."
"That's good. That's a good deduction, yeah."
"Don't make people into heroes, John. Heroes don't exist, and if they did, I wouldn't be one of them."
-Is that what John's done? Made Sherlock into a hero? He's romanticized him on his blog, that's for sure. And in a way, Sherlock IS John's hero. He saved John from his misery. He cured John's limp. So, yes, I do think Sherlock is a hero to John. I actually think he's a hero to a lot of people...just not to himself. But really, who would be, when you've been called a freak and hated your whole life? When your own brother thinks so poorly of you? When you've had a miserable youth? When you emotionally manipulate people to get what you want? When you've taught yourself to repress everything that humanizes you?
-That all being said, I think Sherlock is thinking of a hero as "one without fault" and that is indeed something that John should not make Sherlock into - nor anyone else. Everyone has faults, and if you don't acknowledge that, you are doing yourself and others a great disservice.
-So, in conclusion - Sherlock is both right and wrong. Sherlock is a hero, and he is John's hero...but he is a faulted one, and John knows that. But just because he accepts that Sherlock has faults, doesn't mean that he's going to stop being annoyed at him for them. That's what faults ARE.
"...you check the papers, I'll look online. Oh, you're angry with me so you won't help. Not much cop, this caring lark."
*John takes moment, and then goes over and checks the papers*
"...man found on the train-line, Andrew West."
*Sherlock calls Lestrade and asks if he's found anything on the shore of the Thames.*
*John, blurring in the background, clasps his hands together and looks away.*
-I love the fact that this argument is settled, yet it isn't. They've come to an impasse...nothing has been resolved, and yet they must continue as though it has.
"..but what does this have to do with that painting? I don't see-"
"You do see, you just don't *observe*"
"Alright alright, girls calm down. Sherlock, do you want to take us through it."
-This is what John does for Sherlock. Instead of allowing Sherlock to humiliate Lestrade by trying to get him to make connections that he doesn't have the knowledge to make, he gets Sherlock to walk them through his own knowledge. I think this is the thing with Sherlock - he KNOWS a lot, he REMEMBERS a lot, and his skill - his genius - is his ability to make connections between all the bits of knowledge in his head and the bits of knowledge he is only just learning. Sherlock has a larger database for information in his head than other people do, and not only that, he has a better indexing/search system to his own database than other people have to theirs.
That's a good watch to still be working after nearly 24 hours in the Thames. I once put my watch through the washing machine; it lost five minutes.
"Fantastic."
"Meretricious"
"And a Happy New Year!"
-Hehehe, I love Sherlock and John's brief look of confusion. I also love how for all that John is super annoyed at Sherlock right now, he's still delighted and impressed when Sherlock rattles off the deduction.
Ah, the adorable fence jump.
"Change, got any change?"
"What for?"
"Cup of tea, of course."
-I love codes. I also love that Sherlock's code for his network has to do with tea. In fics, John's always the tea obsessed one - but in the show, we actually see Sherlock drinking more tea than John does. And it's Sherlock who makes the really proper and beautiful tea setting in 2x03.
"We've been sharing about a year. We're just sharing."
-I like how we get a female-male mirror of John and Sherlock's living arrangements here - she has to clarify that they're only sharing the flat.
When people are loud breathers, I always really worry about their health. It takes me right out of the scene. It also drives me nuts. I don't like it when I can hear people breathe...well, I don't like it when their breath is audible when they're at rest. It's understandable if they've just ran a great distance or they've got asthma or something.
Sherlock in the security guard disguise is amusing. Also, Ms. Wenceslas makes me sing Christmas carols.
"The art of disguise is being able to hide in plain sight."
-Yes. I am very good at hiding. It my main strategy for both war games and awkward situations.
I love the shot of Westie's house reflected in the top of the black car. Cinematography in this show is so awesome.
"Everyone's got debts, and Westie wouldn't want to clear them by selling out his country!"
-I would. Oh okay, that's not true.
"He didn't steal those things Mr. Watson. I knew Westie. He was a good man. He was my good man."
-To me, those final two sentences are the most heartbreaking in the episode. Also, it reminds me of John's position at the end of Reichenbach.
"Beautiful, isn't it?"
"I thought you didn't care about tha-"
"Doesn't mean I can't appreciate it."
-This is a fine example of a conversation that's not about what it's about. Sherlock isn't one to comment on the stars without purpose, I think he knew what John's response would be. I think he's returning to their earlier argument and trying to tell John that even though Sherlock doesn't appear to care about certain things, he appreciates the fact that John does...or he's at least saying that there is SOME level where he cares.
-There's no way you can see that many stars in London, though.
"Homeless network?"
"My eyes and ears all over the city."
"Oh that's...clever. So you scratch their backs, and then-"
"Yes, and then disinfect myself."
-I love Sherlock's line. Mainly, because it reminds us that Sherlock has a sense of humour. I also love it because it's Sherlock treating everyone equally - a graffiti artist can be a "professional opinion" etc.
There's no way that the Gollum can't hear them. They're surrounded by stone walls. Their voices (especially Sherlock's) would be bouncing all over the place. Also, when they go "looking" for the Gollum, they don't actually move...they should have really at least made an attempt to change the graffiti between one shot and the next.
The fight in the planetarium is so disorienting, I don't actually like watching it. Too much movement, too many flashy lights and noise...especially the fast-forward/rewind noise. My friend did point out that it may have been a shoutout to Nosferatu - what with the Gollum’s silhouette being very similar.
"...alright, I'll prove it. Give me time. Will you give me time?"
"Ten"
"It's a kid. Oh god, it's a kid."
-See, this is the thing, if Sherlock CARED then he'd be distracted by the horror of having it be a kid - instead, he just locks that away and starts making all the connections with everything he's learned in his head.
Even John, immediately after the kid is saved, smiles in relief and is amused by the answer. As soon as the civilians are safe, John is just as entertained by the answers to the puzzles as Sherlock is. The only difference is that Sherlock is willing to admit it.
"I hate them."
"The police?"
"No, the jumpers. People who chuck themselves in front of trains. Selfish bastards."
"Well, that's one way of looking at it."
"I mean it. It's alright for them. It's over in a split second. Strawberry jam all over the lines. What about the drivers, eh? They've got to live with it, haven't they."
-Death is only tragic to those left behind. But I love this exchange now, because it's well...foreshadowing, I guess.
"How long have you been following me?"
"From the start. You don't think I'd give up on a case like this just to spite my brother, do you?"
-Oh Sherlock. Yes, yes we do.
"...despite what people think, we still do have a secret service."
"Yeah, I know, I've met them."
-Have you? Are you talking about Mycroft's people? Or is there a whole backstory on John that is delicious that we aren't getting? Probably the former, sadly.
Man, imagine your brother killing your fiancé - you're basically losing two people at once, one to death and one to supreme assholery.
"Don't. Don't."
-I love how Joe's instinct is to attack John with a bike. :P
"I started dealing drugs...[...] I don't know how it happened. I just got out of my depth. I owed people thousands. Seriously people."
-I knew (indirectly) someone this happened to. He ended up stealing ten grand from his parents and then fleeing where he lived - that was after being made to witness a murder as a "warning", btw. Don't deal drugs, kids.
Also, don't push people down stairs - they ALWAYS die (on TV).
No one lives THAT close to train tracks...there are regulations about that sort of thing.
"No no no! Of course he's not the boy's father! Look at the turn-ups on his jeans!"
"I knew it was dangerous."
"Hm?"
"Getting you into crap telly."
-I love Sherlock and John all bundled up in their coats in their freezing apartment.
"I won't be in for tea. I'm going over to Sarah's. There's still some of that risotto in the fridge. Milk. We need milk."
"I'll get some."
"Really?"
"Really."
"Some beans then?"
"Mm."
-That really should have been John's clue. Also, milk and beans? Lovely diet you have there, boys. I'm suddenly glad smellovision doesn't exist.
So, John is leaving before "tea" which, in this case, probably means supper, rather than afternoon tea. Still, Sherlock doesn't plan to meet Moriarty until midnight. If John was nabbed after he left Baker St, and before getting to Sarah's - then there's a good possibility that John spend upwards of 6 hours with Moriarty (or his men)...possibly conscious, possibly not.
I used to have a memory stick that looked like that. I probably still do somewhere...unless...unless it's been stolen! Oh no! My missile plans! DUN DUN DUN!
"Evening."
...
"This is a turn-up. Isn't it, Sherlock."
"John, what the hell-"
-There are so many things going on at once here that are awesome. Sherlock's confusion/panic/terror. John's rapid blinking, to try to communicate that things are not as they seem. Then there's the fact that the words "what the hell" actually come out of Sherlock's mouth in a confused tone.
"Bet you never saw this coming. What would you like me to make him say next? Gottle o'gear, gottle o'gear, gottle o'gear-"
"Stop it."
-Again, the way John's voice breaks on the final gottle o'gear - His terror bleeding through. Sherlock's own terror at having to listen...this scene is so well done.
"...I stopped him. I can stop John Watson too. Stop his heart."
-Man, Martin Freeman is just brilliant here.
"I gave you my number, I thought you might call."
-Oh Moriarty, you are insane.
"Is that a British Army Browning L9A1 in your pocket, or are you just pleased to see me."
"Both."
-Actually, it's not a Browning. It's a Sig P226. But whatever.
"Don't be silly. Somebody else is holding the rifle. I don't like getting my hands dirty."
-And this is where Moriarty shows himself to be a counter-point to Mycroft, rather than Sherlock. Moriarty is a man in the centre of a web - he has PEOPLE who do the dirty work. Sherlock, on the other hand, DOES get his hands dirty. More often then not, he confronts the criminals before the police get there - he scratches the backs of the homeless and then disinfects himself. He walks through the mud and blood of crime-scenes and he talks to everyone involved. Sherlock is nothing like Moriarty in that respect, but Mycroft is. Mycroft orchestrates international politics from his office in London. Mycroft has people. Mycroft pulls strings and things get done. I'm not saying Mycroft is evil, don't get me wrong. I'm just saying that Moriarty is also Mycroft's "there, but for the grace of God, go I" warning...yet, while Sherlock seems to recognize that Moriarty is how people like Sally see Sherlock, that Moriarty is a road Sherlock could have gone down, but chose not to - Mycroft, I'm not sure, does.
-Of course, then the question is, does Mycroft NEED the warning? Does Sherlock? Sherlock seems to aspire to be something other than a human - he doesn't like to eat, to sleep, to recognise any HUMAN need. But Moriarty doesn't necessarily embody what Sherlock is aiming for in that regard either...so it's not like a "this is what you're going to become" moment. Mycroft tries to make himself to be something other than human. Something removed from emotion. In truth, I think he's the one that encourages Sherlock to do the same, much to Sherlock's detriment. The question is: Is "caring" the opposite of Moriarty? Perhaps. I'm thinking yes - but we'll get to that in S2, I suppose.
"Consulting Criminal. Brilliant."
"Isn't it? No one ever gets to me. And no one ever will."
"I did."
-This is Moriarty's problem - well, besides being a psychopath - he chose the boring profession. It's easy to break the law - what's difficult is to work within it. Hence why Mycroft is in politics, and why Sherlock works with the police. Being evil is easy, being good is a challenge. Moriarty gets bored, but unlike Sherlock, there's no way to quench the boredom.
Yet, Moriarty IS trying to get Sherlock to back-off - so, perhaps Moriarty isn't playing with Sherlock out of boredom, maybe Sherlock IS just genuinely bad for business. But you'd think that Sherlock being bad for business would make Moriarty's business more intellectually stimulating - as it would make him work harder, think of better covers. So, is he honestly trying to warn Sherlock away here? Trying to kill him? Or is he trying to push him - to make him an even more formidable opponent? Does Moriarty even know which one he's doing? This is the problem when a character is insane. Motivations and logic fly out the window.
"Although, I have loved this. This little game of ours. Playing Jim from IT. Playing gay. Did you like the little touch with the underwear?"
-This is the other thing that gets me about a lot of fic - like, I know that people like to slash - but some people seem to believe that Moriarty genuinely IS gay. He's not. He "played" gay - which means that in reality he isn't.
"People have died."
"That's what people DO!"
-Sherlock's line reflects John's early line about there being actual human lives involved.
"Sherlock run!"
-Oh John - Sherlock doesn't know what to do here.
"Isn't he sweet. I can see why you keep him around. But then, people do get sentimental about their pets. They're so touchingly loyal."
-To Moriarty, anyone of lesser intelligence is a "pet." What he fails to understand about John and Sherlock, at least here, is that they're actually an equal partnership - though it doesn't always seem that way from the outside.
"You've rather shown your hand there, Doctor Watson."
*a sniper rifle dot appears on Sherlock's forehead*
"Gotcha"
-Moriarty is the first to use love against Sherlock (and John) - It's really the question of this entire show: Is love an advantage or a disadvantage?
I also love the poetry of having the snipers aim at John's heart, but Sherlock's mind. It's right on both their metaphorical centre of power.
"Kill you? N-No, don't be obvious. I mean, I'm going to kill you anyway someday. I don't want to rush it though. I'm saving it up for something special. No no no no, if you don't stop prying, I will burn you. I'm will burn the heart out of you."
"I have been reliably informed that I don't have one."
"But we both know that's not quite true."
-Burning ones heart out is a far worse threat then death - because it means you're going to live and suffer. No one cares that they're dead when they're dead - that's the nice thing about death. They do, however, care when they have nothing left to live for.
-I also love the fact that Sherlock says he's been reliably informed that he doesn't have a heart. I think the scariest point for Sherlock is when Moriarty knows that he does. When Moriarty recognizes that Sherlock ISN'T a psychopath, that he does have a capacity for love, and not only that, that he's already engaged that capacity.
"Alright. ARE YOU ALRIGHT?"
"Yeah, I'm fine. I'm fine. Sherlock. Sherlock!"
-Of course, I love that Sherlock immediately drops the act and starts freaking out...they're both going into mild shock, really.
"That a... thing, that you a... did. That you offered to do, that was... good."
"I'm glad no one saw that."
"Hm?"
"You ripping my clothes off in a darkened swimming pool. People might talk."
"People do little else."
-I love how John calms Sherlock down here. Sherlock is shaking, and using a gun to scratch his head for chrissakes...and so John undercuts the seriousness of what just happened. While Sherlock is still grappling with the fact that John tried to sacrifice himself for Sherlock, John just makes a joke about how everyone always thinks they're gay. It works, Sherlock immediately relaxes as he laughs.
"You can't be allowed to continue. You just can't. I would try to convince you, but everything I have to say has already crossed your mind."
"Probably my answer has crossed yours."
-A couple of things I love: 1)The sniper dots are now on Sherlock's heart, not his head. After his reaction to John in the semtex, he's been fully exposed as having a heart. 2)The look and nod exchange between Sherlock and John before Sherlock gives his 'answer' to Moriarty. It shows the intimacy of their friendship, both that Sherlock would confer with John before initiating a suicide play, and also the fact that John knows exactly what Sherlock is planning and agrees to it (not surprising, given that John already attempted a suicide play just minutes before.)
Also, if you want to undercut the tension of the scene - picture all the set PAs off camera pointing little red laser pointers at Benedict and Martin. It's hilarious.
And thus, we end S1.
I remember all the theories about what would happen next. My favourite, of course, was an epic explosion in which John pushed Sherlock into the pool and Moriarty somehow escaped too...but of course, what really happens, is not something anyone expected at all.
Commentary
I don't pause when I watch the commentary (much) so I either catch what they say enough to quote it, or I don't...most of the time I don't.
Mark Gatiss, Benedict Cumberbatch, Martin Freeman (for a limited time though, because he has to leave early).
Benedict talks about how cold it was in the "Minsk" shots.
Gatiss - picked because he needed a place that had the death penalty AND hanged people.
They shot episodes in reverse order.
Shooting the face on the wall - homage to the VR of the original stories. Gatiss felt the modern equivalent would be a smiley face.
Sherlock Holmes is famous for his dressing gown. Benedict accidentally shot a hole through it.
Talk about the Baker St. set. Benedict stole books from the shelves. "I'd be very happy living there with Martin."
Gatiss talks about how Holmes doesn't know things that don't matter to him. "I doubt he can drive a car, but if he had to, he'd learn in a minute." (This puts a new spin on Hounds!)
Martin corrects Gatiss when Gatiss accidentally says solar system thing comes from Sign of Four, but it's actually in Study in Scarlet.
Westie's flat was the top floor of Sarah's "apartment" (house).
Martin prefers having shorthair.
They make fun of trying to find someone who looks related to Benedict when it came to casting Mycroft.
There's the great exchange most everyone knows by now. Where Benedict comments on how they lit him quite angularly, so he threw a profile. Martin comes back with "they lit me quite roundly"...and then Benedict insists that Martin IS chiselled, and Martin says "out of what?!" and Benedict decides on "marshmallow." It's rather adorable.
Martin talks about the style he went for John's clothes - functional utilitarian gear. Officer class and being a doctor - quite posh professions, but John isn't "ultra posh", so he's "proper and quietly stylish." John shouldn't be cool, "but he should know what he's wearing and why he's wearing it."
"Tell us about Rupert Graves, Benedict"
"Rupert Graves is good at football and has five children."
-This is obviously an inside joke between Gatiss and Benedict that we are not a part of - or at least, that *I* am not apart of. Benedict puts on a whole different voice to give the answer - and it's really very funny.
They talk about how awesome Rupert Graves is.
They talk about the Script Supervisor giving a full performance for them when they had to listen to the woman on the phone.
On the third day into the shoot, Martin slipped on ice and had to have the day off - so they did a lot of the first scene with Sherlock and John at St. Bart's without Martin there.
"There's a song in that...*Benedict tries to come up with a song about Martin falling and injuring himself.*"
"Are you on drugs?"
"No"
"...all actors who play Sherlock go mad, Benedict has stolen the match by coming in fully formed..."
*all laugh*
The lab is filmed at Cardiff University. They talk about how nicely it's decorated and lit.
Gatiss talks about how hard deductions are to write - and how he tried to deduce his own trainers.
Benedict admits to still owning shirts and socks that have his name in them from school. Martin and Gatiss make fun of him.
Martin asks Gatiss about how he envisioned the tone of the show - Gatiss admits it came out darker than they intended. "Epic scale tends to introduce that, but there's certainly a lot of room for more comedy and more relationship comedy."
Benedict believes that Sherlock is verging on the sociopathic with his obsession and that John is questioning Sherlock's morals....which, you know, may be true.
Talk about how miserable it was to film the scene by the abandoned car. Cold and muddy and frozen puddles. Apparently the costume supervisor collapsed on Benedict and had to be taken away.
Talks about how Sherlock changes characteristics to get what he wants out of people, rather than changing clothes and disguise.
Gatiss - "The modern version of disguise is to not be noticed."
In the original Janus Cars logo, the J and C were so thin that it looked like "anus ars."
Talk about smoking, drugs - "The Work" is Sherlock's most dangerous drug, in Benedict's opinion.
Benedict talks about how he wanted to play Sherlock - what he borrowed from ACD and other adaptations. Physicality had to be recognizably Holmes - theatrical, bigger than life. "He'd have been an actor and a rare one" - Lestrade said in the original stories by ACD. "And he enjoys it. This is his theatre, around a dead body."
Talk about being in the morgue...then get distracted by British politics (I got distracted here.)
Martin tells us that John Sessions got covered in scratches from the hairless cat. It was actually their first shot of the series. Gatiss found out LATER that John Sessions is a HUGE Sherlock Holmes fan.
"There's no such thing as a trained cat."
"Hell no! They were trained in hurting John Sessions."
The cat-claws tetanus murder was actually a real case from France!
Sherlock has an achievable superpower, and that's what they think make him so compelling.
They say that Sherlock isn't upset at the old woman's death, he's upset that he didn't "win" - I don't think I agree, but hey, whatever CREATORS.
The Important fight between John and Sherlock - "This is as close as they get a to breaking point in these three episodes." All agree that Sherlock has a point though.
Martin comments on his knit jumper and how much he likes it. He names the shop that he/they got it from, but I didn't catch it.
It was originally going to be a six part series, and the Gollum would have been the second episode.
Talk about the writing process - scale of changes between the first draft and the second draft of the script made it better, which Benedict and Martin didn't think was possible before they saw Mark do it. Mark says the trick is to never throw away the bits you edit out.
Martin is super impressed with the text-on-the-screen thing.
Benedict wanted to do an accent in the gallery (as the security guard) but they wouldn't let him (they were right, IMO.)
They talk about the director.
Martin - "I liked his clothes. And I knew that he cared about clothes..."
Gatiss - "You're so shallow."
They talk about how cinematic and beautiful Sherlock is under McGuigan's direction. Martin clarifies why the director's clothes were important to him - "He has an aesthetic. He has a real aesthetic taste."
They talk about using North Gower st. to stand in for Baker St.
Sherlock's homeless network stands in for the Baker Street Irregulars. (Because it would be weird to Sherlock to have a team of young boys in modern times.)
Gatiss talks about mistaking Benedict and Martin's stunt doubles as them, and having that weird moment where he realizes there is something wrong with their faces.
The child's voice on the phone was Steven Moffatt's kid.
Gatiss talks about the fact that Holmes and Watson are always getting cabs...because they always took Hansom cabs in the original stories. Also, the fact that they ALWAYS get a cell-phone signal - things that you have to suspend your disbelief for.
Benedict tries to imitate Martin when Martin has to leave...it's kind of hilarious, but he doesn't quiet get it. Then he tries to do Alan Rickman.
Gatiss does admit that no tube trains actually go that close to buildings.
Benedict talks about how he and Martin felt safe with the interpretation, because Gatiss and Moffat were so knowledgeable about the original books and knew all the little details and such.
"It's very much to get back to the essence of why these two are friends, rather than all the trappings."
Gatiss talks about how they tried to make it so that the show was enjoyable to both the casual viewer and those who knew ACD-canon intimately.
The pool they filmed at was one that Mark swam in as a kid...
"Oh Mark, it's too neat to be true."
"If anyone had ever told me that one day I'd be making Sherlock Holmes in that pool..."
"That you'd written..."
[...]
"I'd have said, [...] 'Sorry I can't hear you, I'm swimming.'"
Benedict talks about having difficulty walking with the gun in his suit pocket and he had to concentrate on not falling into the water.
Moriarty is revealed:
Gatiss: "So not just a cheap gay joke, a supervillian!"
Talk about the reinvention of Moriarty as something other than an old bearded professor. Talk about how Andrew Scott is brilliant.
Benedict: "Oh, marry him."
They asked him to do the Irish accent. They told him about the oscillating lizard-like head - and Andrew immediately incorporated it.
Gatiss talks about original idea where Moriarty wasn't going to have a confrontation, and why that changed (Format needed it - they needed a climax for the three part epic.)
"This is really where, Sherlock having I think convinced himself that were it not for the fact that he chose to, he could actually be Moriarty. They're both on the same - they're both so *so* much cleverer than the little people. That really he realizes, he does have a heart. He's one of us, not one of them."
Gatiss says they worried about bringing in the arch-nemesis too soon. "You don't want to defer the pleasure."
Gatiss: "And here we see a tacit understanding that it's better to get rid of James Moriarty than it is to survive."
"Thank you very much, and I hope you enjoyed it. And hopefully we'll see you in about a years time!"
-18 months, you bastards. :P
And there we have it!
I'm not sure when I'll get to S2. It takes me ~10 hours to do one episode, in case you were wondering...and I do sadly have to work for a living. :P
Let me know if there's anything you desperately wished that I had talked more about...or explained better...or had a different opinion on...
Part 2
"Feeling better?"
-I love how Sherlock is watching John eat before he says this line...and I also love the fact that he SAYS this line. The Care and Feeding of Your Watson. Haha...okay, I shouldn't joke about John being Sherlock's pet, because that's how Moriarty refers to him, and that's just not right. But what I mean is that I love how we are reminded that Sherlock IS considerate of John's needs. And Sherlock is only considerate of those he loves. Also, they are out for breakfast...going out for breakfast is an coupley thing to do, in my opinion.
John's eating right handed. Interesting. Do left-handed people often eat right-handed? Is John still of the generation that was forced to reform their left-handedness as a child?
"Has it occurred to you-"
"Probably."
-Haha, Sherlock.
"No, has it occurred to you that the bombers playing a game with you. The envelope, breaking into the other flat, the dead kid's shoes - it's all for you."
"Yes, I know."
-Sherlock looks so SMUG there. "I'm being flirted with John" or maybe it's "Are you really only getting this now? You are so amusing."
"That could be anybody?"
"Could be, yeah. Lucky for you, I've been more than a little unemployed."
"How do you mean?"
"Lucky for you, Mrs. Hudson and I watch far too much telly."
-So, does that mean that John lost his job at the surgery? Or is he talking about before he got the surgery job? Let's go back to our tenses, since Sherlock claims they are reliable. John uses the present-perfect tense in his first sentence, which means that the action is either still going on, or has stopped only recently, or simply an action that has influence on the present. No clue there. In his second sentence though, he just uses the Simple Present - which means that currently unemployed or not, John is able to watch far too much telly with Mrs. Hudson. So, John is either now unemployed, or at the very least UNDERemployed. Judging from the fact that we never once see him go to work in the days that this episode takes place over (6 days - I counted), I'm guessing that he's either working VERY part-time work, or he's once again unemployed.
-Okay, enough of me analyzing things to death - how cute is the image of John and Mrs. Hudson watching TV together? Adorable, yes?
(English has 17 verb tenses by the way - so next time you're complaining about how hard another language is, think of all the people you know who have learnt English as a second language!)
"Why are you doing this?"
"I like to watch you dance."
-Don't we all, Moriarty? Don't. We. All.
Also, I kind of think that little old ladies are Sherlock's kryptonite. I think he likes mother-figures (in a nonsexual way, of course. Actually, that might be why he likes them, they're more likely to mother him - something he needs, rather than come on to him - something he doesn't need.)
Sherlock/Benedict has a freckly IN his right eye. It's rather mesmerizing when they do close-ups. It's not often visible, because it's usually tucked up under his eyelid.
Also, when I showed this episode to my scientist friends, they started immediately muttering between themselves while Sherlock, John, and Lestrade started to examine the body. I couldn't hear them, but it seemed they did not approve of the tetanus story...
"There's something else that we haven't thought of."
"Is there?"
"Yes. Why is he doing this - the bomber? If this woman's death was suspicious why point it out?"
"Good Samaritan."
"Who pressgangs suicide bombers?"
"Bad Samaritan."
"I'm serious, Sherlock. Listen, I'm cutting you slack here. I'm trusting you; but out there some poor bastards covered in semtex and just waiting for you to solve the puzzle, so just tell me - what are we dealing with?"
"Something new."
-And that's not a satisfactory answer, but Sherlock gets away with it because it makes for good TV. :P But more to the point, Sherlock tries to hide a smile as he says "something new" - how often DOES Sherlock come across something new in his cases? He likes serial killers, probably because there's patterns to find...but probably everything else is theft, blackmail, and murder...a TRUE game though - a game where both players know they are playing...well, that's something new. It's a chess master going up against another chess master. I think Sherlock's allowed to be excited.
-That being said, you can tell that Sherlock doesn't want to tell Lestrade the truth - that this is Moriarty - that this basically all just to get Sherlock's attention....that this is FLIRTING.
"It's a real shame. I liked her. She taught you how to do your colours."
"Colours?"
"You know, what goes best with what. I should never wear cerise, apparently - drains me."
-I love how Lestrade is genuinely interested in one's colours. I've actually had my colours done before, and it's awesome knowledge to have, let me tell you. I have not bought a grey item of clothing since. I have also become obsessed with chocolate brown and army green...I hope I don't die in a hunting accident.
I love how Mrs. Hudson basically gives Sherlock the major clue when she talks about how Connie "messed around with herself too much" and how people "can hardly move their faces."
"So I gather. I've just been having a very fruitful chat with people who love this show. Fan-sites are indispensible for gossip."
-Haha, yes, they are. Though, not very reliable gossip - or rather, they aren't reliable for interpreting facts correctly. Some sites are an absolute sink-hole of insanity.
John is so uncomfortable when the brother sits so close to him on the couch.
I almost wish John was right about the cat - he's so PLEASED with himself. Though, I do like the fact that Sherlock is so affectionately amused by John's conclusions. And this is why I think there's some vicious history between Sherlock and Anderson - because Anderson makes the wrong conclusion, and Sherlock is annoyed. John makes the wrong conclusion, and Sherlock falls a little in love with him. Of course, Anderson always goes for the obvious and then delivers his verdict like he's brilliant...whereas John DOES try to think outside the box and delivers his verdict with joy and expecting Sherlock to be proud of him.
"You saw the state of that floor - scrubbed within an inch of it's life."
-I kind of think this is a funny mirror to Sherlock's comment about the state of Sally's knees in the A Study in Pink.
"You smell of disinfected now. The cat doesn't come into it."
-Okay, Johnlock moment, since Sherlock is actually smelling John. Also, I love the fact that John starts smelling himself.
And John is so annoyed that Sherlock solved it all without him - he thought he was helping, and Sherlock didn't even need him in the end.
Okay, and here is where my scientist friends paused the video and told me how to properly kill someone, and how what Sherlock described was actually wrong. Raoul couldn't have stockpiled botox and given Connie a fatal dose. Botox (the official stuff) comes already diluted so much that it is non-fatal. If Raoul wanted to give her enough botox to kill her, he would have had to fill her like a water balloon with the stuff. What Raoul WOULD have done was to order the research grade poison and dilute (or in this case, not dilute) the mixture himself. That way he could give her what looked to be her regular dose, but was strictly the poison, and not actually the official "botox" solution. Apparently, this is where botox accidents happen: places try to save money by buying the research grade stuff and diluting it themselves, only to get the dilution wrong.
"Hey Sherlock, how long?
"What?"
"How long have you known?"
"Well, this one was quite simple..."
"But Sherlock, the hosta- the old woman, she's been there all this time!"
"I knew I could save her! I also knew the bomber gave us 12 hours. I solved the case quickly and that gave me time to get on with other things. Don't you see? We're one up on him!"
-Benedict and Martin do this exchange brilliantly.
-I love how John might not be able to figure out a case, but he can figure out Sherlock - he knows immediately at Sherlock's explanation that he solved the case long ago.
-And we come down to the problem between them - John's focus on saving people, while Sherlock is focused on getting the upper hand against the criminal. Both are noble causes. I actually side with Sherlock on the subject, but I can certainly see why John would be annoyed. It IS a difficult decision that Sherlock has made - to let one person suffer for a longer period of time, so that Sherlock can get the upper hand against Moriarty. And really, HOW are they one up on him? Sherlock spent the time trying to figure out Moriarty, but did he actually figure anything out?
"His voice-"
"No no no, tell me nothing about him-"
"He sounded so...soft."
"Hello?"
Lestrade: "Sherlock?"
John: "What's happened?"
-I love the tableau of these three at this moment. John putting his hand on the back of Sherlock's chair.
"Well, obviously I lost that round. Though technically, I did solve the case."
-I like the way Benedict reads that line. Sherlock is obviously upset - and he's dealing with his by trying to be flippant.
Important fight time! Broken up into sections:
"...do you think he wants to be caught?"
"I think he wants to be distracted."
*John laughs humourlessly* "Well, you'll be very happy together."
"Sorry what?"
-This is an interesting snipe from John. He recognizes that Moriarty is a match for Sherlock, almost, I think, before Sherlock does.
-I also think this sentiment from John is repeated in 2x01 with Irene - again, with Sherlock being "infatuated" with an adversary...though, in both cases, it's actually narcissism, which, I think more than anything is what annoys John about it. But that's just my opinion.
"There are lives at stake, Sherlock! Actual Human Li- J-Just so I know, do you care about that at all?"
"Will caring about them help save them?"
"Nope"
"Then I'll continue not to make that mistake."
-Again, I'm with Sherlock on this one. Here's a fact for you: I have a job that requires that I have to read about child-molestation/rape/abuse quite frequently. Do I care about these children/people, well yes, on some level...but not on any level that makes my face change, that makes me SAY anything about it. If you were to watch me as I do my job, it would be just the same as watching me read about the weather - actually, I might appear to care more about the weather. Caring doesn't make me do my job better, quite the opposite. If I reacted as most people do, I wouldn't be able to do the job...or at least, I wouldn't have been able to do it for the past four years and therefore get to a point where I'm quite good at it. And that's the same with Sherlock's job. His next case is going to involves human lives too - and the one after that - and the one after that. If he "cared" like John seems to - he would burn himself out emotionally and render himself useless. He has to put those feelings in a box in the attic, because they are of no use. (My scientist/medical-field friends agree with me - "That's what surgeons do!"...which to me, means that John shouldn't really be criticizing him for it, because JOHN SHOULD KNOW.)
"And you find that easy, do you?"
"Yes, very. Is that news to you?"
*smiling* "No, no."
-And I think this is the one time where Sally gets to John. He had it in his mind that she was completely wrong about Sherlock, and on some level she is, but she did warn John that Sherlock was different. (Heck, Mycroft did the same thing). John, though, has never treated Sherlock like he's different - and it's what Sherlock likes about him, it's part of why Sherlock loves him so much...but here, I think John starts to think (however, briefly) that everyone else is right, that Sherlock is perhaps cold-hearted - so no, it's not news to him, he just hadn't believed the news before.
"I've disappointed you."
"That's good. That's a good deduction, yeah."
"Don't make people into heroes, John. Heroes don't exist, and if they did, I wouldn't be one of them."
-Is that what John's done? Made Sherlock into a hero? He's romanticized him on his blog, that's for sure. And in a way, Sherlock IS John's hero. He saved John from his misery. He cured John's limp. So, yes, I do think Sherlock is a hero to John. I actually think he's a hero to a lot of people...just not to himself. But really, who would be, when you've been called a freak and hated your whole life? When your own brother thinks so poorly of you? When you've had a miserable youth? When you emotionally manipulate people to get what you want? When you've taught yourself to repress everything that humanizes you?
-That all being said, I think Sherlock is thinking of a hero as "one without fault" and that is indeed something that John should not make Sherlock into - nor anyone else. Everyone has faults, and if you don't acknowledge that, you are doing yourself and others a great disservice.
-So, in conclusion - Sherlock is both right and wrong. Sherlock is a hero, and he is John's hero...but he is a faulted one, and John knows that. But just because he accepts that Sherlock has faults, doesn't mean that he's going to stop being annoyed at him for them. That's what faults ARE.
"...you check the papers, I'll look online. Oh, you're angry with me so you won't help. Not much cop, this caring lark."
*John takes moment, and then goes over and checks the papers*
"...man found on the train-line, Andrew West."
*Sherlock calls Lestrade and asks if he's found anything on the shore of the Thames.*
*John, blurring in the background, clasps his hands together and looks away.*
-I love the fact that this argument is settled, yet it isn't. They've come to an impasse...nothing has been resolved, and yet they must continue as though it has.
"..but what does this have to do with that painting? I don't see-"
"You do see, you just don't *observe*"
"Alright alright, girls calm down. Sherlock, do you want to take us through it."
-This is what John does for Sherlock. Instead of allowing Sherlock to humiliate Lestrade by trying to get him to make connections that he doesn't have the knowledge to make, he gets Sherlock to walk them through his own knowledge. I think this is the thing with Sherlock - he KNOWS a lot, he REMEMBERS a lot, and his skill - his genius - is his ability to make connections between all the bits of knowledge in his head and the bits of knowledge he is only just learning. Sherlock has a larger database for information in his head than other people do, and not only that, he has a better indexing/search system to his own database than other people have to theirs.
That's a good watch to still be working after nearly 24 hours in the Thames. I once put my watch through the washing machine; it lost five minutes.
"Fantastic."
"Meretricious"
"And a Happy New Year!"
-Hehehe, I love Sherlock and John's brief look of confusion. I also love how for all that John is super annoyed at Sherlock right now, he's still delighted and impressed when Sherlock rattles off the deduction.
Ah, the adorable fence jump.
"Change, got any change?"
"What for?"
"Cup of tea, of course."
-I love codes. I also love that Sherlock's code for his network has to do with tea. In fics, John's always the tea obsessed one - but in the show, we actually see Sherlock drinking more tea than John does. And it's Sherlock who makes the really proper and beautiful tea setting in 2x03.
"We've been sharing about a year. We're just sharing."
-I like how we get a female-male mirror of John and Sherlock's living arrangements here - she has to clarify that they're only sharing the flat.
When people are loud breathers, I always really worry about their health. It takes me right out of the scene. It also drives me nuts. I don't like it when I can hear people breathe...well, I don't like it when their breath is audible when they're at rest. It's understandable if they've just ran a great distance or they've got asthma or something.
Sherlock in the security guard disguise is amusing. Also, Ms. Wenceslas makes me sing Christmas carols.
"The art of disguise is being able to hide in plain sight."
-Yes. I am very good at hiding. It my main strategy for both war games and awkward situations.
I love the shot of Westie's house reflected in the top of the black car. Cinematography in this show is so awesome.
"Everyone's got debts, and Westie wouldn't want to clear them by selling out his country!"
-I would. Oh okay, that's not true.
"He didn't steal those things Mr. Watson. I knew Westie. He was a good man. He was my good man."
-To me, those final two sentences are the most heartbreaking in the episode. Also, it reminds me of John's position at the end of Reichenbach.
"Beautiful, isn't it?"
"I thought you didn't care about tha-"
"Doesn't mean I can't appreciate it."
-This is a fine example of a conversation that's not about what it's about. Sherlock isn't one to comment on the stars without purpose, I think he knew what John's response would be. I think he's returning to their earlier argument and trying to tell John that even though Sherlock doesn't appear to care about certain things, he appreciates the fact that John does...or he's at least saying that there is SOME level where he cares.
-There's no way you can see that many stars in London, though.
"Homeless network?"
"My eyes and ears all over the city."
"Oh that's...clever. So you scratch their backs, and then-"
"Yes, and then disinfect myself."
-I love Sherlock's line. Mainly, because it reminds us that Sherlock has a sense of humour. I also love it because it's Sherlock treating everyone equally - a graffiti artist can be a "professional opinion" etc.
There's no way that the Gollum can't hear them. They're surrounded by stone walls. Their voices (especially Sherlock's) would be bouncing all over the place. Also, when they go "looking" for the Gollum, they don't actually move...they should have really at least made an attempt to change the graffiti between one shot and the next.
The fight in the planetarium is so disorienting, I don't actually like watching it. Too much movement, too many flashy lights and noise...especially the fast-forward/rewind noise. My friend did point out that it may have been a shoutout to Nosferatu - what with the Gollum’s silhouette being very similar.
"...alright, I'll prove it. Give me time. Will you give me time?"
"Ten"
"It's a kid. Oh god, it's a kid."
-See, this is the thing, if Sherlock CARED then he'd be distracted by the horror of having it be a kid - instead, he just locks that away and starts making all the connections with everything he's learned in his head.
Even John, immediately after the kid is saved, smiles in relief and is amused by the answer. As soon as the civilians are safe, John is just as entertained by the answers to the puzzles as Sherlock is. The only difference is that Sherlock is willing to admit it.
"I hate them."
"The police?"
"No, the jumpers. People who chuck themselves in front of trains. Selfish bastards."
"Well, that's one way of looking at it."
"I mean it. It's alright for them. It's over in a split second. Strawberry jam all over the lines. What about the drivers, eh? They've got to live with it, haven't they."
-Death is only tragic to those left behind. But I love this exchange now, because it's well...foreshadowing, I guess.
"How long have you been following me?"
"From the start. You don't think I'd give up on a case like this just to spite my brother, do you?"
-Oh Sherlock. Yes, yes we do.
"...despite what people think, we still do have a secret service."
"Yeah, I know, I've met them."
-Have you? Are you talking about Mycroft's people? Or is there a whole backstory on John that is delicious that we aren't getting? Probably the former, sadly.
Man, imagine your brother killing your fiancé - you're basically losing two people at once, one to death and one to supreme assholery.
"Don't. Don't."
-I love how Joe's instinct is to attack John with a bike. :P
"I started dealing drugs...[...] I don't know how it happened. I just got out of my depth. I owed people thousands. Seriously people."
-I knew (indirectly) someone this happened to. He ended up stealing ten grand from his parents and then fleeing where he lived - that was after being made to witness a murder as a "warning", btw. Don't deal drugs, kids.
Also, don't push people down stairs - they ALWAYS die (on TV).
No one lives THAT close to train tracks...there are regulations about that sort of thing.
"No no no! Of course he's not the boy's father! Look at the turn-ups on his jeans!"
"I knew it was dangerous."
"Hm?"
"Getting you into crap telly."
-I love Sherlock and John all bundled up in their coats in their freezing apartment.
"I won't be in for tea. I'm going over to Sarah's. There's still some of that risotto in the fridge. Milk. We need milk."
"I'll get some."
"Really?"
"Really."
"Some beans then?"
"Mm."
-That really should have been John's clue. Also, milk and beans? Lovely diet you have there, boys. I'm suddenly glad smellovision doesn't exist.
So, John is leaving before "tea" which, in this case, probably means supper, rather than afternoon tea. Still, Sherlock doesn't plan to meet Moriarty until midnight. If John was nabbed after he left Baker St, and before getting to Sarah's - then there's a good possibility that John spend upwards of 6 hours with Moriarty (or his men)...possibly conscious, possibly not.
I used to have a memory stick that looked like that. I probably still do somewhere...unless...unless it's been stolen! Oh no! My missile plans! DUN DUN DUN!
"Evening."
...
"This is a turn-up. Isn't it, Sherlock."
"John, what the hell-"
-There are so many things going on at once here that are awesome. Sherlock's confusion/panic/terror. John's rapid blinking, to try to communicate that things are not as they seem. Then there's the fact that the words "what the hell" actually come out of Sherlock's mouth in a confused tone.
"Bet you never saw this coming. What would you like me to make him say next? Gottle o'gear, gottle o'gear, gottle o'gear-"
"Stop it."
-Again, the way John's voice breaks on the final gottle o'gear - His terror bleeding through. Sherlock's own terror at having to listen...this scene is so well done.
"...I stopped him. I can stop John Watson too. Stop his heart."
-Man, Martin Freeman is just brilliant here.
"I gave you my number, I thought you might call."
-Oh Moriarty, you are insane.
"Is that a British Army Browning L9A1 in your pocket, or are you just pleased to see me."
"Both."
-Actually, it's not a Browning. It's a Sig P226. But whatever.
"Don't be silly. Somebody else is holding the rifle. I don't like getting my hands dirty."
-And this is where Moriarty shows himself to be a counter-point to Mycroft, rather than Sherlock. Moriarty is a man in the centre of a web - he has PEOPLE who do the dirty work. Sherlock, on the other hand, DOES get his hands dirty. More often then not, he confronts the criminals before the police get there - he scratches the backs of the homeless and then disinfects himself. He walks through the mud and blood of crime-scenes and he talks to everyone involved. Sherlock is nothing like Moriarty in that respect, but Mycroft is. Mycroft orchestrates international politics from his office in London. Mycroft has people. Mycroft pulls strings and things get done. I'm not saying Mycroft is evil, don't get me wrong. I'm just saying that Moriarty is also Mycroft's "there, but for the grace of God, go I" warning...yet, while Sherlock seems to recognize that Moriarty is how people like Sally see Sherlock, that Moriarty is a road Sherlock could have gone down, but chose not to - Mycroft, I'm not sure, does.
-Of course, then the question is, does Mycroft NEED the warning? Does Sherlock? Sherlock seems to aspire to be something other than a human - he doesn't like to eat, to sleep, to recognise any HUMAN need. But Moriarty doesn't necessarily embody what Sherlock is aiming for in that regard either...so it's not like a "this is what you're going to become" moment. Mycroft tries to make himself to be something other than human. Something removed from emotion. In truth, I think he's the one that encourages Sherlock to do the same, much to Sherlock's detriment. The question is: Is "caring" the opposite of Moriarty? Perhaps. I'm thinking yes - but we'll get to that in S2, I suppose.
"Consulting Criminal. Brilliant."
"Isn't it? No one ever gets to me. And no one ever will."
"I did."
-This is Moriarty's problem - well, besides being a psychopath - he chose the boring profession. It's easy to break the law - what's difficult is to work within it. Hence why Mycroft is in politics, and why Sherlock works with the police. Being evil is easy, being good is a challenge. Moriarty gets bored, but unlike Sherlock, there's no way to quench the boredom.
Yet, Moriarty IS trying to get Sherlock to back-off - so, perhaps Moriarty isn't playing with Sherlock out of boredom, maybe Sherlock IS just genuinely bad for business. But you'd think that Sherlock being bad for business would make Moriarty's business more intellectually stimulating - as it would make him work harder, think of better covers. So, is he honestly trying to warn Sherlock away here? Trying to kill him? Or is he trying to push him - to make him an even more formidable opponent? Does Moriarty even know which one he's doing? This is the problem when a character is insane. Motivations and logic fly out the window.
"Although, I have loved this. This little game of ours. Playing Jim from IT. Playing gay. Did you like the little touch with the underwear?"
-This is the other thing that gets me about a lot of fic - like, I know that people like to slash - but some people seem to believe that Moriarty genuinely IS gay. He's not. He "played" gay - which means that in reality he isn't.
"People have died."
"That's what people DO!"
-Sherlock's line reflects John's early line about there being actual human lives involved.
"Sherlock run!"
-Oh John - Sherlock doesn't know what to do here.
"Isn't he sweet. I can see why you keep him around. But then, people do get sentimental about their pets. They're so touchingly loyal."
-To Moriarty, anyone of lesser intelligence is a "pet." What he fails to understand about John and Sherlock, at least here, is that they're actually an equal partnership - though it doesn't always seem that way from the outside.
"You've rather shown your hand there, Doctor Watson."
*a sniper rifle dot appears on Sherlock's forehead*
"Gotcha"
-Moriarty is the first to use love against Sherlock (and John) - It's really the question of this entire show: Is love an advantage or a disadvantage?
I also love the poetry of having the snipers aim at John's heart, but Sherlock's mind. It's right on both their metaphorical centre of power.
"Kill you? N-No, don't be obvious. I mean, I'm going to kill you anyway someday. I don't want to rush it though. I'm saving it up for something special. No no no no, if you don't stop prying, I will burn you. I'm will burn the heart out of you."
"I have been reliably informed that I don't have one."
"But we both know that's not quite true."
-Burning ones heart out is a far worse threat then death - because it means you're going to live and suffer. No one cares that they're dead when they're dead - that's the nice thing about death. They do, however, care when they have nothing left to live for.
-I also love the fact that Sherlock says he's been reliably informed that he doesn't have a heart. I think the scariest point for Sherlock is when Moriarty knows that he does. When Moriarty recognizes that Sherlock ISN'T a psychopath, that he does have a capacity for love, and not only that, that he's already engaged that capacity.
"Alright. ARE YOU ALRIGHT?"
"Yeah, I'm fine. I'm fine. Sherlock. Sherlock!"
-Of course, I love that Sherlock immediately drops the act and starts freaking out...they're both going into mild shock, really.
"That a... thing, that you a... did. That you offered to do, that was... good."
"I'm glad no one saw that."
"Hm?"
"You ripping my clothes off in a darkened swimming pool. People might talk."
"People do little else."
-I love how John calms Sherlock down here. Sherlock is shaking, and using a gun to scratch his head for chrissakes...and so John undercuts the seriousness of what just happened. While Sherlock is still grappling with the fact that John tried to sacrifice himself for Sherlock, John just makes a joke about how everyone always thinks they're gay. It works, Sherlock immediately relaxes as he laughs.
"You can't be allowed to continue. You just can't. I would try to convince you, but everything I have to say has already crossed your mind."
"Probably my answer has crossed yours."
-A couple of things I love: 1)The sniper dots are now on Sherlock's heart, not his head. After his reaction to John in the semtex, he's been fully exposed as having a heart. 2)The look and nod exchange between Sherlock and John before Sherlock gives his 'answer' to Moriarty. It shows the intimacy of their friendship, both that Sherlock would confer with John before initiating a suicide play, and also the fact that John knows exactly what Sherlock is planning and agrees to it (not surprising, given that John already attempted a suicide play just minutes before.)
Also, if you want to undercut the tension of the scene - picture all the set PAs off camera pointing little red laser pointers at Benedict and Martin. It's hilarious.
And thus, we end S1.
I remember all the theories about what would happen next. My favourite, of course, was an epic explosion in which John pushed Sherlock into the pool and Moriarty somehow escaped too...but of course, what really happens, is not something anyone expected at all.
Commentary
I don't pause when I watch the commentary (much) so I either catch what they say enough to quote it, or I don't...most of the time I don't.
Mark Gatiss, Benedict Cumberbatch, Martin Freeman (for a limited time though, because he has to leave early).
Benedict talks about how cold it was in the "Minsk" shots.
Gatiss - picked because he needed a place that had the death penalty AND hanged people.
They shot episodes in reverse order.
Shooting the face on the wall - homage to the VR of the original stories. Gatiss felt the modern equivalent would be a smiley face.
Sherlock Holmes is famous for his dressing gown. Benedict accidentally shot a hole through it.
Talk about the Baker St. set. Benedict stole books from the shelves. "I'd be very happy living there with Martin."
Gatiss talks about how Holmes doesn't know things that don't matter to him. "I doubt he can drive a car, but if he had to, he'd learn in a minute." (This puts a new spin on Hounds!)
Martin corrects Gatiss when Gatiss accidentally says solar system thing comes from Sign of Four, but it's actually in Study in Scarlet.
Westie's flat was the top floor of Sarah's "apartment" (house).
Martin prefers having shorthair.
They make fun of trying to find someone who looks related to Benedict when it came to casting Mycroft.
There's the great exchange most everyone knows by now. Where Benedict comments on how they lit him quite angularly, so he threw a profile. Martin comes back with "they lit me quite roundly"...and then Benedict insists that Martin IS chiselled, and Martin says "out of what?!" and Benedict decides on "marshmallow." It's rather adorable.
Martin talks about the style he went for John's clothes - functional utilitarian gear. Officer class and being a doctor - quite posh professions, but John isn't "ultra posh", so he's "proper and quietly stylish." John shouldn't be cool, "but he should know what he's wearing and why he's wearing it."
"Tell us about Rupert Graves, Benedict"
"Rupert Graves is good at football and has five children."
-This is obviously an inside joke between Gatiss and Benedict that we are not a part of - or at least, that *I* am not apart of. Benedict puts on a whole different voice to give the answer - and it's really very funny.
They talk about how awesome Rupert Graves is.
They talk about the Script Supervisor giving a full performance for them when they had to listen to the woman on the phone.
On the third day into the shoot, Martin slipped on ice and had to have the day off - so they did a lot of the first scene with Sherlock and John at St. Bart's without Martin there.
"There's a song in that...*Benedict tries to come up with a song about Martin falling and injuring himself.*"
"Are you on drugs?"
"No"
"...all actors who play Sherlock go mad, Benedict has stolen the match by coming in fully formed..."
*all laugh*
The lab is filmed at Cardiff University. They talk about how nicely it's decorated and lit.
Gatiss talks about how hard deductions are to write - and how he tried to deduce his own trainers.
Benedict admits to still owning shirts and socks that have his name in them from school. Martin and Gatiss make fun of him.
Martin asks Gatiss about how he envisioned the tone of the show - Gatiss admits it came out darker than they intended. "Epic scale tends to introduce that, but there's certainly a lot of room for more comedy and more relationship comedy."
Benedict believes that Sherlock is verging on the sociopathic with his obsession and that John is questioning Sherlock's morals....which, you know, may be true.
Talk about how miserable it was to film the scene by the abandoned car. Cold and muddy and frozen puddles. Apparently the costume supervisor collapsed on Benedict and had to be taken away.
Talks about how Sherlock changes characteristics to get what he wants out of people, rather than changing clothes and disguise.
Gatiss - "The modern version of disguise is to not be noticed."
In the original Janus Cars logo, the J and C were so thin that it looked like "anus ars."
Talk about smoking, drugs - "The Work" is Sherlock's most dangerous drug, in Benedict's opinion.
Benedict talks about how he wanted to play Sherlock - what he borrowed from ACD and other adaptations. Physicality had to be recognizably Holmes - theatrical, bigger than life. "He'd have been an actor and a rare one" - Lestrade said in the original stories by ACD. "And he enjoys it. This is his theatre, around a dead body."
Talk about being in the morgue...then get distracted by British politics (I got distracted here.)
Martin tells us that John Sessions got covered in scratches from the hairless cat. It was actually their first shot of the series. Gatiss found out LATER that John Sessions is a HUGE Sherlock Holmes fan.
"There's no such thing as a trained cat."
"Hell no! They were trained in hurting John Sessions."
The cat-claws tetanus murder was actually a real case from France!
Sherlock has an achievable superpower, and that's what they think make him so compelling.
They say that Sherlock isn't upset at the old woman's death, he's upset that he didn't "win" - I don't think I agree, but hey, whatever CREATORS.
The Important fight between John and Sherlock - "This is as close as they get a to breaking point in these three episodes." All agree that Sherlock has a point though.
Martin comments on his knit jumper and how much he likes it. He names the shop that he/they got it from, but I didn't catch it.
It was originally going to be a six part series, and the Gollum would have been the second episode.
Talk about the writing process - scale of changes between the first draft and the second draft of the script made it better, which Benedict and Martin didn't think was possible before they saw Mark do it. Mark says the trick is to never throw away the bits you edit out.
Martin is super impressed with the text-on-the-screen thing.
Benedict wanted to do an accent in the gallery (as the security guard) but they wouldn't let him (they were right, IMO.)
They talk about the director.
Martin - "I liked his clothes. And I knew that he cared about clothes..."
Gatiss - "You're so shallow."
They talk about how cinematic and beautiful Sherlock is under McGuigan's direction. Martin clarifies why the director's clothes were important to him - "He has an aesthetic. He has a real aesthetic taste."
They talk about using North Gower st. to stand in for Baker St.
Sherlock's homeless network stands in for the Baker Street Irregulars. (Because it would be weird to Sherlock to have a team of young boys in modern times.)
Gatiss talks about mistaking Benedict and Martin's stunt doubles as them, and having that weird moment where he realizes there is something wrong with their faces.
The child's voice on the phone was Steven Moffatt's kid.
Gatiss talks about the fact that Holmes and Watson are always getting cabs...because they always took Hansom cabs in the original stories. Also, the fact that they ALWAYS get a cell-phone signal - things that you have to suspend your disbelief for.
Benedict tries to imitate Martin when Martin has to leave...it's kind of hilarious, but he doesn't quiet get it. Then he tries to do Alan Rickman.
Gatiss does admit that no tube trains actually go that close to buildings.
Benedict talks about how he and Martin felt safe with the interpretation, because Gatiss and Moffat were so knowledgeable about the original books and knew all the little details and such.
"It's very much to get back to the essence of why these two are friends, rather than all the trappings."
Gatiss talks about how they tried to make it so that the show was enjoyable to both the casual viewer and those who knew ACD-canon intimately.
The pool they filmed at was one that Mark swam in as a kid...
"Oh Mark, it's too neat to be true."
"If anyone had ever told me that one day I'd be making Sherlock Holmes in that pool..."
"That you'd written..."
[...]
"I'd have said, [...] 'Sorry I can't hear you, I'm swimming.'"
Benedict talks about having difficulty walking with the gun in his suit pocket and he had to concentrate on not falling into the water.
Moriarty is revealed:
Gatiss: "So not just a cheap gay joke, a supervillian!"
Talk about the reinvention of Moriarty as something other than an old bearded professor. Talk about how Andrew Scott is brilliant.
Benedict: "Oh, marry him."
They asked him to do the Irish accent. They told him about the oscillating lizard-like head - and Andrew immediately incorporated it.
Gatiss talks about original idea where Moriarty wasn't going to have a confrontation, and why that changed (Format needed it - they needed a climax for the three part epic.)
"This is really where, Sherlock having I think convinced himself that were it not for the fact that he chose to, he could actually be Moriarty. They're both on the same - they're both so *so* much cleverer than the little people. That really he realizes, he does have a heart. He's one of us, not one of them."
Gatiss says they worried about bringing in the arch-nemesis too soon. "You don't want to defer the pleasure."
Gatiss: "And here we see a tacit understanding that it's better to get rid of James Moriarty than it is to survive."
"Thank you very much, and I hope you enjoyed it. And hopefully we'll see you in about a years time!"
-18 months, you bastards. :P
And there we have it!
I'm not sure when I'll get to S2. It takes me ~10 hours to do one episode, in case you were wondering...and I do sadly have to work for a living. :P
Let me know if there's anything you desperately wished that I had talked more about...or explained better...or had a different opinion on...