[ SECRET POST #2333 ]

[case]

⌈ Secret Post #2333 ⌋

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

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Notes:

Secrets Left to Post: 01 pages, 019 secrets from Secret Submission Post #333.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 1 2 - too big ], [ 0 - repeat ], [ 1 2 - ships it ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

I haven't watched DW since the first half-season with Eleven, so I can't talk there, but on Sherlock Scandal in Belgravia was where it hit. The first season was a bit dodgy in places but overall pretty cool and exciting. Then Scandal happened.

[(Anonymous)]

Yeah, this. I wasn't ever much of a Nu!Who fan proper (though I did watch fairly regularly whenever the catchup marathons were on), but with Sherlock the travesty they made of SCAN was definitely the end of the line, for me,

[(Anonymous)]

Oh god me too, that fucking episode I side eyed so hard my eyes nearly fell out.

As for DW, Moffat era has failed to dazzle me emotionally but it's got plenty of interest in other ways, I like the mystery, but I'm just not feeling it as much. And some episodes leave me dead cold. Strangely, I've quite liked season 7b, even the finale, but still feel I'm slightly out of it or removed from it most of the time (actually, I liked the Crimson Horror a LOT).

[(Anonymous)]

AYRT

The only bits of Nu!Who I personally enjoyed were the ones with Catherine Tate. But it kind of took me back to that Six/Mel vibe, only a bit more chill, a lot more funny, and pretty cool standalone eps. (All of which is what I preferred in Classic!Who in the first place.)

[intrigueing]

Re: your last paragraph, and liking the plots but still feeling removed and left cold:

IA, Moffat's guest writers did a good job with the plots in 7b and Moffat did quite a good job of guiding the underlying themes to the finale (I'm actually pretty damn impressed in retrospect at how far back his foreshadowing and setup goes!), but his problem (which was also present in most of season 6) is he didn't do the legwork of building character arcs and traits and relationships that are necessary to give some sense of basic certainty and foundation to 45-minute TV episodes.

And I don't mean in some big sappy soapy feelings-y emotional-investment way. I mean in a basic "what is going on inside this character's head, what are their motivations, what are their problems and concerns, where exactly do they stand on X Y Z very obvious issues that are really kind of important, what was the impact of Event X or Problem Y or Expression Of Feeling Z on their relationships and personality and future behavior, what are the boundaries of that personality and behavior, and what exactly is their knowledge and opinions of their closest associates and in what ways would it be in-character and believable of them to act towards them?" way. Just the stuff that kind of has to be known in order for those plots to work.

And that stuff doesn't have to be complex unless the writer chooses to make it complex. That stuff can be very short and direct and concise and bare-bones simple with a neat small scope. But if the writer wants the character stuff to be simple and small-scope, the writer has to write his plots with character roles that are fairly simple and small-scope too. The writer can't write very vaguely-defined characters with vaguely-defined relationships and then try to write a plot that heavily relies on being a relationship- and character-study revolving around them.

[(Anonymous)]

Anyone care to elaborate what was so bad about Scandal? I'm curious.

[ohawesome]

There were a lot of terrible things:

- a "no homo" moment with John (that consequently ended with Irene saying she was gay but still attracted to Sherlock, which while an awesome moment of sexual fluidity, also is a tired lesbian trope),

-making irene a love interest,

-making irene, who canonically is always three steps ahead of sherlock, foiled by her ~womanly emotions and affection for sherlock~ (she makes her cellphone password SHER, so it reads out "I am SHER locked"), meaning Sherlock, who is above such emotions, can outsmart her and stop her plans,

-makes her work with moriarty,

-at the end has her rescued by sherlock when she is about to be executed because she is a damsel that needs rescuing of course.

I am sure there are more problems but those are the few I can articulate.