[ SECRET POST #1839 ]

[case]

⌈ Secret Post #1839 ⌋


Warning: Some secrets are NOT worksafe and may contain SPOILERS.


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Notes:

Secrets Left to Post: 07 pages, 156 secrets from Secret Submission Post #263.
Secrets Not Posted: [ 1 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeats ]
Current Secret Submissions Post: here.
Suggestions, comments and concerns should go here.

Comments

[(Anonymous)]

We can discount theories, for starters. Moffat isn't clever enough, nor would he portray a partnership like that.

I disagree that the emotions = weak fallacy was disproven. How? It's hardly clear that Sherlock has particularly strong feelings for John in the first place. Sherlock was clearly portrayed as having 'won' his battle with Irene because of his ~masterful control~ of his feelings; I think the fact it was written so poorly is evident by the fact you have to make up a theory to explain it.
When there is so little portrayal of strong, clever women, not to mention strong, clever lesbian women it's a little trite to haul out the 'fluid sexuality' explanation when Moffat has such a shitty history writing female sexuality. Those camera angles were not made via the female gaze. It was the old 'a man clever enough to turn even a lesbian' trope.

I didn't like the slaughterhouse scene at all, but no, it didn't render particularly sexual for me. Sure, it was your traditional damsel in distress saved by the big strong men but it didn't ring as awfully for me because 1.) it's Hollywood, and I don't expect a thing whereas a BBC TV show has more scope to explore complex themes 2.) Irene didn't trade on her sexuality. BBC Irene pranced around with her mouth just as poutily parted; worse, we had to listen to her breathy orgasm tone every five minutes just to remind us she was a sex object.