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The Bad

  • Irene Adler. She wasn't a bad character, but, really, Moffat? A high-end dominatrix? A smart, powerful one (in every sense of the word), but to choose *that* as Adler's template was... unoriginal. Why not a banker? An MoD engineer?

  • How Irene Adler lost. Oh, come *on*. That was an insult to her, to Sherlock, and to us. This is *not* that kind of story.

  • Irene's side of the ending. Come ON. Way to write her down.

  • John's sweaters. I'm grasping here, but I'm guessing the order of the day was to make him the domestic one or something.

The Good

  • The Mycroft-Sherlock moments. They felt more like family than ever, which of course meant everything was more painful.

  • The Baker St. tenants' relationship with Mrs. Hudson. They are becoming family, as evidenced by, among other things, Sherlock's reaction to the break-in.

  • The Watson-Sherlock relationship. Besides the fun fact of everyone saying that they are a couple, I loved their dynamic here: their wordless first exchange in the palace (it was gesture-gesture-gesture, a whole conversation in one quick second), their shared laughter, John out-writing Sherlock, the way he kicked his ass.

  • Holmes' side of the ending. Because, yep, FIRST HE WANTED TO BE A PIRATE.

And that makes all the sense in the world.



( 5 comments — Leave a comment )
Jan. 2nd, 2012 09:21 pm (UTC)
I can't wait until I get to see this - so instead I will comment on Irene Adler, and the failure of reimaginings to translate "adventuress" into someone that isn't mostly stock femme fatale. It's disappointing to hear that Moffat fell into that trap too.
Jan. 2nd, 2012 09:29 pm (UTC)
In a (partial) way, River Song escapes that paradigm, although not fully.
Jan. 3rd, 2012 02:54 am (UTC)
What's MoD?
Jan. 3rd, 2012 02:56 am (UTC)
The Ministry of Defence.

Edited at 2012-01-03 02:56 am (UTC)
Jan. 3rd, 2012 02:57 am (UTC)
Ah. I'll look that up and watch it then. Sounds fun, if not as fun as it could have been.
( 5 comments — Leave a comment )


cass, can you not

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