Update About the WorldFest Incident, Including Recent News Articles

Edit (4/26): The newest, (I think) the most clear and useful, and (I hope) the last article about this incident, from whatculture.com’s contributor Aeryk Pierson, who was a third-party witness to the incident.

Edit (4/25): One last Houston Chronicle article, that was posted online on Wednesday (4/24).

Edit (8pm): Just as I was writing this post, a sort-of apology was posted on the World Fest Facebook page.  Please feel free to read the post on their Facebook page, but I will also quote it at the bottom of this post so it is easier to find.

Ladies and Gentlemen, I would like to give an update on the WorldFest incident and what has been happening in the last two days.  I thought the initial post was becoming too heavy with edits and updates. On the other hand, I’m worried that people will not see this update because the news stories have so far linked to my initial post.

In any case, just to fill everyone in who may (or may not) care:

As of 7:00pm on Tuesday, three separate online news sources have covered the story:

Houston Press, The Houston Chronicle, and Culture Map Houston.

These articles attempt to portray both sides of the story: my brother’s and Hunter Todd’s, and for the most part they have been fair.  The Houston Press article ran mostly based upon my blog and my brother’s facebook post. They attempted to contact Hunter Todd without success, but later added his response when he contact them.  The Houston Chronicle article interviewed Hunter Todd, but only ran with the information  from Mike’s facebook post. Mike later contacted the Chronicle because they had a few facts wrong, which they have now changed, but they did not add any additional comments from Mike. The Culture Map article did interview BOTH Hunter Todd and Mike.  I think Hunter Todd’s responses in each article speak for themselves.  I found it terrifying that Hunter Todd does not deny searching the Muslim student’s bag, and even explains that he did so BECAUSE she was wearing a hijab and demands: “What am I supposed to do?  Allow a terrorist to blow up 200 people?” (quoted in the Houston Chronicle article). THAT, my friends, is the DEFINITION of profiling.

I am concerned about a few things, however. Hunter Todd is resorting to character attacks on my brother, calling him a liar – particularly in regards to Mike’s claim that Hunter Todd tried to take his phone.  AND YET, at least one University of Houston student and one other WorldFest attendant (who commented on my initial blog) have CONFIRMED that Hunter Todd did in fact try to take Mike’s phone.  Unfortunately, neither the Houston Chronicle article nor the Culture Map article have included this information (and the Houston Press article only briefly mentions it), despite the fact that both witnesses said they were willing to go on record to corroborate the story. Thus, the news stories make it LOOK as if it is merely a case of he said/he said, with no proof on other side — when in fact TWO witnesses CAN and are WILLING to confirm at least parts of my brother’s version of events.

On TOP of this: from what I understand, The School of Communications at University of Houston have written a formal letter in defense of both the Muslim student and my brother.  Apparently, Hunter Todd has given a response.  I do not know what either letter contained, however, because the School of Communications has so far made neither their letter nor the response public.  This is unfortunate, as the fact that no one is aware that the University has become involved makes it even easier for Hunter Todd to attack Mike’s character with impunity, because the news articles present Mike as if he is a lone unsupported voice.  I fervently hope that the School of Communications, and preferably the whole University, will publicly support both the Muslim student and my brother and help to defend them both from accusations of lying.

And let me add this: Obviously, I was not at the event and I did not witness this incident. I am only involved so far as spreading the word is concerned. But I believe and trust my brother.  Besides which, what POSSIBLE motive could he have for lying about ANY of this?  I hope you all who have showed an interest and concern about this will continue to support us, and particularly my brother, as this situation moves forward, because I fear it is going to get worse before it gets better, and I do not want my brother to run under the bus because he was trying to do the right thing.

Thank You.

PS: on a side note, some of the comments on the Houston Chronicle article are absolutely HORRIFYING, and just go to show how far and how deep these ignorant, racist, Islamaphobic attitudes run. It makes me horribly sad.

The “apology” post from the World Fest Houston Facebook page:

WorldFest sincerely regrets any actions that were misconstrued or deemed offensive due to the recent situation during the organization’s master class at the Westchase Marriott this past weekend. WorldFest organizers acted on instinct for the safety of all based on the recent events in Boston. The emergency alarm and evacuation of the hotel resulted in great concern for the organization which felt its actions were justified to protect the well-being of all participants. WorldFest apologizes for responding in a way that may have seemed insulting but ultimately, everyone’s safety was the primary concern.

WorldFest plans to increase security in 2014 so festival staff can focus solely on enriching Houston’s film culture. WorldFest strives to provide a safe environment for persons of every background to collaborate with and learn from international film and filmmakers through cultural exchange, dialogue and master classes. As always, the festival and all of its events are open to the general public. We hope every culture, religion and nationality will be represented in the 47th annual WorldFest-Houston, April 2014.

Hunter Todd
WorldFest Founder and Chief Executive Officer

I hope you’ll forgive me for giving my own opinion of this post (I suppose I should just let you come to your own conclusions, but it is my blog, so I guess I’m entitled to share my opinion). This is the worst kind of false apology, one I’ve seen many times under a variety of circumstances, in which the person apologizes but insisted it was all a big misunderstanding, and thus not REALLY his/her fault, and implying that it is really the victim’s fault for “misconstruing” and therefore over-reacting. Furthermore, this “apology” such as it is only apologizes for what he claims was a legitimate security concern (which is ludicrous), and does not even admit to the secondary problem: that Hunter Todd did, in fact, have physical contact with my brother and tried to take his phone.  I hope the public will see this frantic face-saving move for the B.S. it is.

“Make It Rain” by Chris Spisak

Hello folks! I wanted to take just a few moments of your time to pitch an Indiegogo project that is trying to raise money right now. It’s for a short film called “Make It Rain” by Chris Spisak, a local Houston filmmaker. I’m a big fan of supporting local artists and indie filmmakers. Also, my brother knows the filmmaker, which is a good enough reason for me.

Here’s the pitch for the film:

MAKE IT RAIN (2013)

Written and Directed by Chris Spisak
Starring Dave MaldonadoCandice BarleyJohn McClainJohn LopezA story about basketball, youthful innocence, and the power of hope, Make It Rain tells the story of a young boy’s efforts to help his family overcome the effects of a devastating drought which result in a magical night he won’t soon forget.The film is currently raising funds for a summer 2013 shoot.  To learn more about how you can be a part of the Make It Rain team and gain exclusive access to the making of the film and receive other fantastic perks, visit our fundraising page here!

Once more, here is the link to the Indiegogo page, including their salespitch video: “Make It Rain” 

If that doesn’t give you enough to go off of, and you’d like to know a bit more about Chris Spisak before you decide if you’re going to back him or not, you can check out his previous short films (which have been presented at several film festivals in Texas) on his website here: Two 21 Entertainment.I’d appreciate it if you could take a look. And even if you can’t afford to donate right now (though even a few dollars helps), please consider spreading the word.

Thanks!

And the Dark Knight Rises Again

I would like to begin by saying that the violence in Aurora, Colorado is a horrible shock and tragedy, and my thoughts are with all the victims and their families.  I saw the news this morning, and I have trouble comprehending how such a thing can happen.  I just don’t understand how a person can do such a thing.  I understand that some people are nervous about the possibilities of a copy-cat, but some of the comments from people who think that Warner Bros. should pull Dark Knight Rises from theatres just do not make sense to me.  You can blame the movie or the movie industry for the actions of a madman (and this man clearly has mental issues), and it would be unreasonable to penalize the movie or the industry because of this.

My brother and I had made plans to go see Dark Knight Rises today, and even after we heard the news about the shooting, we decided to go anyway.  We went to an early afternoon IMAX showing, and it was still a sold-out show.

I’m afraid I won’t actually be able to say much, because I’m TERRIFIED of accidentally revealing too much — and this is NOT a movie that should be ruined for anyone.  So I’m just going to say a few vague words and assure you all that it is DEFINITELY DEFINITELY worth seeing.

Let me start with the obvious: I love Batman, I love Christian Bale, and I love Christopher Nolan movies.  I was BLOWN AWAY by both Batman Begins and The Dark Knight.  And while I had been watching the casting for this third movie with some trepidation (it seemed like Nolan was casting too many big names, which hinted to me that he might have bitten off more than he could chew), I was still extremely excited to see this movie.  I had some pretty high expectations.  This movie met (and in some cases exceeded) all of them.

As always, Christian Bale was brilliant.  I was also seriously impressed by Anne Hathaway as Catwoman/Selena Kyle.  Of course, Tom Hardy is also amazing, and he was fantastically threatening as Bane.  And Joseph Gordon-Levitt was wonderful as Blake as well.  I especially really liked Joseph Gordon-Levitt’s character, in fact.  He’s a younger cop, working with Gordon, and he’s just really REALLY likable.

Visually, this movie was STUNNING.  I saw it in IMAX, and the cityscapes: OMG! Seriously. AMAZING.  Also, one of the complaints I’ve had about Nolan in the past is that his fight scenes are often extremely difficult to follow.  He uses ultra-close close-ups so that everything is blurry and you’re too close to the body to see who’s hitting who, etc.  He seems to have learned his lesson in this movie, and the fight scenes were MUCH more clear and easy to follow.  They were also BRUTAL.  The fight scenes between Batman and Bane: oh WOW.  INTENSE.

And, of course, the writing was fantastic.  I have a few small complaints, but I don’t want to get into them because they would all reveal too much, and they were small enough not to injure the movie much.

A couple other complaints I have: another problem that seems to be common with Nolan is some imbalances with the sound.  There are a number of places in the movie were the score drowns out the dialogue so you really cannot tell what the people are saying.  Also, despite Nolan having gone back in to fix things after initial complaints, there are a few points where it is difficult to understand what Bane is saying through the mask.

Also, there was not NEARLY enough Michael Caine as Alfred.  I won’t get into why, but he just didn’t get as much screen time as he deserved.  I also have some detail-oriented issues with a few plot devices, especially at the end.  One thing about Nolan: he is a fantastic, brilliant “BIG ideas” man, but he sometimes trips up on the details.  That is obvious in a few places in this movie.

And I haven’t quite decided how I feel about the ending.

Despite these small complaints (and they really are only small complaints) this was an absolutely brilliant movie.  Intelligent, intense, visually gorgeous, with some great writing, and just about perfect casting/acting.  It is a fitting end to this particular Batman era, and definitely does justice to the hopes and expectations raised by The Dark Knight, and you should all go see it as soon as possible.

As for me: I’ll probably be seeing again soon.  It’s definitely a more-than-once kind of movie.  That’s for damn sure.

Side note: I had a pretty cool experience on Thursday night (which is why I didn’t go to a midnight release showing of Dark Knight Rises in the first place), and hopefully I’ll be able to write it all down on sunday.  ‘Cause it was pretty damn cool.

They Finally Got It Right: A Review of The Amazing Spider Man

On Sunday I went to see The Amazing Spider Man, the newest reboot of the Spider Man franchise.  When I first heard that Marvel was once again trying to make a Spider Man movie I was pretty skeptical about it.  But when I saw the first full trailer I got pretty excited, and I had pretty high hopes going into it. And, for the most part, I’d say this movie met them.  They’ve finally done Spider Man RIGHT.

The Amazing Spider Man (directed by Marc Web) once again revisits Spider Man’s origin story, this time paying a bit more attention to the original comics than the Tobey Maguire movies did.  I assume by now that most people (if not everyone) knows what the basic origin story is, right?  I don’t want to give too much away, but I think it’s safe to talk about the basics: Peter Parker’s parents disappear one night when he’s young, leaving him in the care of his Uncle Ben and Aunt May, and never returning.  It’s presumed they are dead, though it is never confirmed.  Peter Parker, now a teenager in high school, is a bit of a geek/outcast, with more smarts than he really knows what to do with, and who has a crush on beautiful, popular Gwen Stacey.  Then, in a series of events that I’ll let you watch (the way they did in this movie was actually pretty funny), Peter is bitten by a genetically-altered spider, and everything gets crazy for him from there.

One of the main things this version did right was the simple fact of Gwen Stacey’s presence in the movie.  Most non-comics fans are only really familiar with Mary-Jane as Peter’s love interest, but in the comics Gwen Stacey is around first and for a long time before Mary-Jane shows up.  Mary-Jane only because the love interest as Gwen has died – no, I’m not giving away anything, I swear: Gwen does not die in the movie, and I have NO IDEA how or even IF the movies will deal with that plot line from the comics.  In any case, I was so happy Gwen was in this movie.  I’ve always found Mary-Jane to be a fairly annoying character, actually, and I’ve always liked Gwen much MUCH more.  And, of course, Emma Stone did a superb job portraying her: she’s whip-smart, spunky, and compassionate.

Then, of course, there is the casting choice for Peter/Spider Man.  Andrew Garfield was the PERFECT choice.  He looks right – he’s got the long, thin, wiry look to him that just works for Spider Man.  He gave the character so much of the sarcasm and feistiness that was missing in the Tobey Maguire versions, and while he has a few moments of angst, he’s not whiny like Tobey Maguire’s version was.  He really just did a fantastic job with the character. Also, the suit looks AWESOME.

And the chemistry between Andrew Garfield and Emma Stone! I’ve been reading comments about it on various pre-release comments and reviews for a while, and they are not exaggerated.  The chemistry was wonderfully palpable.  It’s easy to believe that these two actors ended up dating in real life.  They just look RIGHT together.

The one complaint I’ve heard is that while the scenes between Peter and Gwen are well done: well-written, well-acted, etc, the constant back and forth between the slower relationship scenes and the more action-y plot-important scenes slows the pace down too much in the movie.  I haven’t decided yet exactly how I feel about it.  For the most part I disagree.  As I was watching it, I didn’t feel that the pace suffered much, if at all.  However, when I think about it, I can still see how someone might make that argument.  I myself was fine with the way they did it: the movie is, to me at least, more about the relationships, and about Peter’s personal growth, and the focus doesn’t necessary NEED to stay exclusively on the action/adventure stuff.  But if you go into really wanting it to be a high-energy action film (like Avengers, perhaps) you will be just a touch disappointed by the slower pace.

That is, however, the ONLY criticism I think anyone can really make about the movie.

The plot, despite the relationship stuff, is still important and tense.  And I really like the villain, Curt Connors (aka, Lizard).  What I liked is that he’s not REALLY a villain.  I mean, he’s not evil.  He’s sympathetic, and we as an audience get to watch his slow slide into bad decisions and madness.  He feels very human and flawed and desperate, rather than some kind of cliché, over-the-top, one-dimensional comic book villain.  And I really appreciated that.

And then, of course, the cinematography (by John Schwartzmann) was wonderful.  Absolutely GORGEOUS to watch.  Rich color, detailed settings – with some really great shots of New York City, and some great angles and panning shots too.  I’ve read a criticism about the musical score (by James Horner, of course) somewhere (I can’t remember where now) but I don’t really agree.  I thought the score had great power and emotion, some dark lows and some bright highs, and a big epic feeling.

All in all, The Amazing Spider Man was a fantastic, wonderfully enjoyable movie, and I highly recommend it to anyone who looks comic book movies, or just a good adventure film.

Now, for a look at some of the science behind the movie, please check out my friend Andrew Kincaid’s discussion: “Comic Book Science Is Right For Once (Sort Of) – A Qausi-Review of The Amazing Spider Man.”

Family Troubles in Disney/Pixar’s Brave

So, I saw Disney/Pixar’s Brave on Sunday.  And let me just say: it was gorgeous!  Visually it was absolutely stunning, and every other review I’ve read so far agrees on that point at the very least.  The scene design, the colors, the lighting, the character design – all rich and detailed and full of depth and emotion.  A feast for the eyes.  Art in motion.  Seriously.  It’s obvious that the animators took a lot of time to study Scotland’s landscapes, fell in love with it, and decided to share that love with the world (of course, who doesn’t fall in love with Scotland’s landscapes?)

Now, as for the rest of it.  I’ve read a few reviews that have been absolutely and completely glowing, but I think most people seem to agree with my general impression: while Brave was definitely enjoyable, and I liked it, the storytelling was simply not up to par with Pixar’s usual work.

The previews give you the basic premise: Princess Merida, with her boisterous, somewhat goofy father, the king, and her strict, prim and proper mother, the queen, is supposed to choose a first-born son from one of the other clans to marry.  But Merida is head-strong and boisterous like her father, enjoys the unladylike pursuits of horseback riding and archery, and has no intention of getting married any time soon.  So she goes to a witch (always a bad idea) to get a spell that will “change her fate.”  As always in these things, she doesn’t quite get what she’d intended and things go downhill from there.

What I liked about this movie was that it was family-centered.  The drama and conflict is between a headstrong daughter and her strict mother; it is about a family that is tearing itself apart because the mother believes in upholding tradition and the daughter wants to break away and “make her own fate.”  There is no prince in this story, there is no romance sub-plot and there isn’t even really a “real villain.”  It’s all about the family.  And I liked that.

I also really liked Merida.  She’s feisty and strong and stubborn and smart.  And, of course, she’s flawed and makes some less-than-stellar choices.  However, I don’t think the writers give her enough to do, quite frankly.  While I liked the idea of a conflict centered on the family, there just wasn’t enough going on in this movie.  And I think the mother, Queen Elinor, kind of steals the show.  In a lot of ways she’s as much the main character as Merida is.

Some people have complained about the way the father, King Fergus, is portrayed.  He is a bit goofy, a bit hapless, and it is clear very quickly that Queen Elinor is the one in charge of that particular household.  And some people have not been happy about that, complaining that this portrayal makes the father an idiot, which is an insult to fathers (I would imagine that complaint mainly comes from men).  But here’s the thing: I don’t think they make King Fergus an idiot.  He’s big and loud and friendly.  He’s a warrior who’s more comfortable on the battlefield or hunting, rather than playing diplomat or administrator.  Queen Elinor just happens to be the one who’s better at the social niceties, the administrative duties and the public speaking.  That doesn’t make Fergus an idiot.  And, let’s be frank, it is very common for the father to be the fun-loving, I-don’t-want-to-discipline-the-children type, and for the mother to be the one in charge of keeping the family under control.

All that being said, the plot was a bit formulaic.  A princess that refuses to choose a husband, making a wish that backfires, etc… it’s all be done before.  Of course, everything’s been done before, and there’s nothing wrong with taking an old premise and building something new on top of it, but I don’t think Pixar did a particularly good job of building something new on top of it this time around.

While I enjoyed the movie, and it was certainly a pleasure to look at, it was not particularly riveting, or emotionally impactful, or even particularly new.  And it certainly won’t be replacing any of my current favorites.  In terms of family-centered drama, it comes nowhere close to either Finding Nemo or The Incredibles (my two favorite Pixar movies).  And in terms of feisty female leads, or humor, it can’t even touch Mulan or Tangled.

So, in recap: Brave was fun, it was beautiful to look at, I enjoyed it, and I definitely recommend it if you like Disney/Pixar movies, but don’t expect it to blast any earlier Disney/Pixar movies out of the water.

My Theory on “The Reichenbach Fall”

Okay, hopefully this will be the last Sherlock-related post you have to deal with from me for awhile.  Maybe…  We’ll see.  I’ve watched the whole show twice through now, and I’ve watched the final episode, “The Reichenbach Fall,” three times.  (I’ve also gotten both my mother and my friend, Nathan, to watch the first episode, and will soon be making sure they watch the rest of the series too.)

While watching “The Reichenbach Fall” I actually sat down and took THREE PAGES of notes (and my handwriting is small, so that’s a lot of notes).  And I THINK I may have found a small detail/clue that might be the one Steven Moffat was hinting at.  Now, I haven’t read every single comment, tweet, blog post, etc ever written on the subject of the last episode and theories about how Sherlock faked his death, and I doubt I’m the only who to ever notice this.  HOWEVER, based on the blog posts, comments, etc. that I HAVE read, it doesn’t look as if many people have noticed it yet, at least.  This little detail, that I’ll actually tell you about in a minute, doesn’t (I think) really change the basic theories that have been thrown around about how Sherlock faked his death, but I think it does help to confirm the theory (at least if I’m not seeing things).

So, before I get into explaining my theory, here are a few of the things that I took notice of while watching the episode that directly impact my theory.  All of these are things that others have mentioned/noticed before, though some people don’t notice them all at the same time.  I’m just laying them all out for you here. (Don’t worry, I’m not typing out all three pages of notes, just some of the major things).

- we know that Moriarty creates an alias, Richard Brook, who is an actor; we can assume he had access to other “actors”

- Molly notes, long before Sherlock admits that he knows that Moriarty is trying to ruin his reputation, that he looks sad when he thinks no one is looking (or more specifically when he thinks John isn’t looking), thus implying that Sherlock already suspected that the end game would be his death

- the girl who was kidnapped by Moriarty (or more likely, Moriarty’s men) sees Sherlock and screams, thus implying that Moriarty has some kind of Sherlock impersonator (an actor?) who looks enough like Sherlock to convince a girl she has seen Sherlock before

- we, of course, know that Sherlock goes to Molly for help – though he does not, of course, specify what he wants her to do, we know that Molly is the coroner, which gives us some ideas

- and of course it is obvious that Moriarty does not think about Molly and so can’t anticipate Sherlock’s plan, because he claims to be threatening the only three people in the entire world that Sherlock cares about: John, Mrs. Hudson, and Lestrade (one would assume he doesn’t bother with Mycroft because Sherlock ACTS as if he doesn’t care about him, AND Mycroft would be ridiculously difficult to get to, even for Moriarty)

- I have watched and watched and watched and I’m almost certain that Sherlock and Moriarty are alone on that roof top (of course, if they were playing tricks with the camera angles, we’d have no way of knowing, and that’d be cheating)

- I’m almost certain that Moriarty is really dead (though no one mentions finding his body at the end of the episode, so who knows?): Sherlock is standing RIGHT IN FRONT OF HIM when he shoots himself in the head, they show the body quite clearly at several angles, and there is no one else on the roof, so I’m pretty damn sure Moriarty is staying dead

- Sherlock is definitely the one who jumps off that roof, (in other words, there is no way he just threw an already-dead body off the ledge): they show him quite clearly standing on the roof with the phone, talking to John who’s standing below (and the camera angle again leaves little doubt that there is no one else on the roof, and Sherlock is not holding up a dead body in front of him or something like that); his arms and legs are actively flailing as he falls (so its definitely not a dead body) (Also, on a side note, Sherlock is crying in this scene. CRYING. It’s so hard to tell how much of that is real with him, though.)

- The camera actually blinks out for a second right before the body hits the ground and changes angles, so we DO NOT see one straight shot of Sherlock jumping, falling, and landing.  AND there is a truck full of bags – trash? old hospital gowns? – RIGHT beside where the body lands.

- John is standing below, near the building, but he’s at an angle to the point where the body lands, and he has to round a corner to actually see the body.  Plus, he is struck by the man on the bike (which I am, like everyone else, assuming was planned – perhaps one of Sherlock’s homeless network?), so that he is not the first to reach the body.  By the time John gets up and over to the body the truck has driven away and the body is surrounded by other people.

And now we come to the detail that none of the other theories/blogs I’ve read have mentioned: in all the scenes prior to Sherlock jumping off the roof (sitting in the lab with John, telling John to go check on Mrs. Hudson without him, and going up to the roof to meet Moriarty), he is wearing his purple shirt.  Now, I could be wrong, and I want some others to take a look and tell me what you think, but I’ve looked and looked and looked, and I’m pretty sure the shirt the body is wearing a dark navy or gray shirt.  What do you think?  Am I just seeing things?

This, to me, confirms that the body John sees on the sidewalk is NOT Sherlock.  Obviously, plenty of people had already assumed that (though I also read one or two theories that he said he took something to make his heart slow to near-death), but this would seem to be proof.

So, here’s my theory, which is not at all different than most of the others, though perhaps a bit more specific.

Having figured out what Moriarty intends, and having guessed that Moriarty must have had some kind of Sherlock-impersonator in order to frighten the kidnapped girl – Sherlock finds (or has someone) find the impersonator (who, I would assume, Moriarty had already had killed and hidden somewhere).  He enlists Molly’s help to prepare the corpse, and to later (after the jump) to make sure she is the one who does the autopsy/coroner’s report.  He enlists the help of his homeless network or others to have the body ready in the truck (and to keep John distracted for a moment).  When Moriarty kills himself, taking away Sherlock’s last ditch effort to avoid the faking-his-death scenario, Sherlock does in fact jump from the roof, landing in the truck, at which point the person helping him throws out the body of the impersonator (dressed, of course, in Sherlock’s clothes), which John does not see because it’s around the corner.  And then the truck drives away, with Sherlock probably injured but relatively whole.  John, being distraught and, of course, looking into a face that’s smashed and bloody, is fooled by the impersonator – though I would guess that a very thorough report on Molly’s part to keep him from suspecting after the fact.

So, there’s my theory.  At least for now.

I’d like to think I’ve got it figured out.  But I have no delusions of grandeur and I have no doubt that Steven Moffat and Mark Gatiss are WAY smarter and way more devious than I am, so they’ve probably got something up there sleeve that I’ll never see coming.  But it was a ton of fun trying to figure it out.

For an even better run-down, check out this beauty from Flick Filosopher.

There are plenty of other little things of note through out the episode that are fun to point out, but don’t bare specifically on my theory.  For instance: the “I O U” message spray-painted on a wall across the street of 221B Baker Street when John is jumping into the cab to go after Sherlock.  Moriarty’s ring tone is “Staying Alive” which cracks me up and plays to the whole theme of the episode.  I’m wondering if the gunman who was trained on John might be Sebastien Moran (maybe?).  All the references to Bach seem important: Reichenbach, Rich Brook (Brook being “bach” in German); “Bach couldn’t stand an unfinished melody,” the fake key code is a melody by Bach (Partita #1, I think Moriarty says) – but I’m not entirely sure what all of that points to.

Of course, I still have questions.  For one, the sudden introduction of the Chief Superintendent, who orders Lestrade to arrest Sherlock, seems important to me.  When you’re dealing with the kind of economy of time/movement/character that you are in a movie or tv show, every new character needs to be there for a good reason.

Also, WHY IN HELL’S NAME, if Mycroft had Moriarty captures and in a secure facility, would he EVER let him go again? I keep wondering if Mycroft has more to do with this than we realize.  Perhaps he orchestrated the whole thing to get Sherlock out of the country for some covert job?  He would certainly be able to get a hold of a Sherlock look-alike for the body-swap.

And lastly: how in hell’s name is Sherlock going to clear his name?!

Okay, I’ll stop bothering you with posts about Sherlock for awhile now (maybe…).  Oh, except to give you the best Sherlock fan-girl Tumblr blog EVER: We’re Basically Filling In For Your Skull; which is the perfect thing to help keep you sane while we wait for the new episodes.  Just be aware that there is some spoilery stuff on there if you haven’t seen season 2 yet.

God, those EYES! I can’t even–! GAH!

Totally, Completely, and Ridiculously Obsessed With Sherlock, Pt 2

Totally, Completely, and RIDICULOUSLY OBSESSED with Sherlock, Pt 2: 

*drools*

Okay, where was I?  Oh yeah, raving about Sherlock like a lunatic.  That sounds about right.  Again, I want to remind you, if you have not watched Sherlock yet and intend to, DON’T read this.  There is absolutely no way to talk about this show without giving away too much, and these are MYSTERY stories after all.  It’s no nearly as much fun if you know what’s coming.  So, once again, if you haven’t seen this show yet, you can watch season 1 on Netflix streaming and season 2 on PBS.org (but PBS only has season 2 on their website for a limited amount of time, so you might want to get cracking).

As for me, I just caved and bought the DVDs on Amazon so I could watch the series again straight through, even if PBS gets rid of their videos.  Also, I want to show it to my mother and she doesn’t like watching things on the computer, so the DVDs will be useful.

And just to prove how obsessed I am, I also bought the Sherlock Holmes 2: Game of Shadows movie on Wednesday and watched it straight through twice.  And I’ve got a new hobby browsing through Sherlock fanart on DeviantArt.  Yeah, I’m pathetic, I know.  But that’s okay, I’m used to it by now.

So, let’s get down to business, shall we?

Next episode: “Hounds of Baskerville” –

Now, anyone who knows anything about Sherlock Holmes knows that The Hound of the Baskervilles is one of the most famous of the Sherlock Holmes stories.  It’s the third of the four novels Arthur Conan Doyle wrote along with the short stories about Sherlock Holmes.  Basic premise of the original novel: When Charles Baskerville, a baronet, is found dead on his estate of an apparent heart attack, his doctor James Mortimer fears that the only heir, Henry Baskerville might be the next to die.  It is revealed the Charles Baskerville believed in the legend of family curse that claimed a hellhound would kill all of the Baskerville family in retaliation for the death of a girl several generations ago.  Sherlock Holmes is called in to find out what really happened to Charles Baskerville, investigate the mysterious threatening letters Henry Baskerville has received, and decipher the truth behind the reports that a gigantic hound has been seen out on the moor.

In this modernized version of the story, Mark Gatiss has written something AWESOME. (Also, apparently Mark Gatiss the co-creator is the series is also the actor who plays Mycroft Holmes! Why didn’t I notice that before? WTF is wrong with me?)  In this incarnation, Henry Baskerville is a man who suffers from severe PTSD after seeing his father killed by a gigantic hound as a child twenty years ago.  He has been convinced by his therapist to return to the moor where his father was killed in order to jog his memories and prove to himself that he didn’t really see a monster.  However, when he goes he find enormous paw prints and is convinced that the monstrous hound is still there.  So he goes to Sherlock for help, who does not at first seem interested, until he learns that the moor is near Baskerville, a top-secret military facility where all kinds of scientific experiments are reported to take place.

Mark Gatiss takes a somewhat convoluted story about a pair of greedy people trying to literally scare a man to death in order to inherit his wealth, and turns it into a crazy awesome story about genetic experiments, the moralities of science, coming to terms with truth, AND greatest of all – Sherlock dealing with self-doubt and fear for practically the first time ever.

And Sherlock is definitely the highlight of this episodes (well, okay, all the episodes, but you know what I mean), because in one scene he is convinced that he has also seen the monstrous hound, even though he knows logically it cannot possibly exist.  He is actually afraid, and begins to doubt his senses, which practically never happens.  He takes it out on John more than a bit, which was part-sad, part-funny, but it was just so fascinating in terms of character development to witness Sherlock having to deal with doubt and fear even though he constantly claims to be in perfect control of his emotions.  The scene in the inn, when he’s sitting in front of the fireplace and freaking out (those of you who’ve seen it know the scene, I’m sure) was fantastic!

Of course, I felt REALLY bad for John in that scene too.  When John says that, as a friend, he’s worried about Sherlock, Sherlock shouts at him, tells him he has no friends, and to leave him alone.  It was SAD, damn it!  I just wanted to jump into the tv and hug Martin Freeman.  He’s just so damn adorable and likable!   Gah!

Ahem… anyway… yes, Benedict Cumberbatch and Martin Freeman were wonderful as always in this episode (I am more than little in love with both of them), and they had a chance to stretch their emotional ranges a lot, which was a joy to watch. This is especially true for Benedict Cumberbatch, obviously, since he had to show Sherlock afraid and shaken, but still arrogant and sharp-tongued as ever. But Martin Freeman has this fantastic scene inside the Baskerville labs, where he thinks the hound has gotten loose inside and he’s locked in with it.  I love the way he tries so hard to stay calm and in control, but eventually completely panics and calls Sherlock to help him.  His voice cracks because he’s freaking out so bad, and it’s so funny!  And then it turns out that Sherlock was doing it all as an experiment, while he watches it on a CC-TV, and that made it even more hilarious.

There’s also a little part when John gets to use his army training, and pulls rank on the military base as he and Sherlock are pretending to be inspectors.  We don’t get to see the soldier-y side of John very often, and it’s always a pleasure, because John is completely bad-ass in those moments.

And the plot of the episode was absolutely awesome.  I tip my hat to Mark Gatiss for making the story of The Hound of the Baskervilles into something new and exciting and clever.  It fit the times, it fit the characters, it kept enough elements of the original story to satisfy all of us old-school fans, and it was just plain COOL.

And now – drum roll please – we come to thing we’ve all been waiting for, the big season finale, the epic episode of epicness: “The Reichenbach Fall” – (THERE ARE SO MANY SPOILERS IN THIS YOU WILL PROBABLY WANT TO KILL YOURSELF IF YOU READ IT BEFORE YOU WATCH THE EPISODE)

“The Reichenbach Fall” is based off the Sherlock Holmes story “The Final Problem,” one of the most famous stories and the one of only two stories in which Moriarty makes an actual appearance.  As you may have noticed from some of the comments I made on Facebook and Twitter, this episode was MIND-BLOWING. Just… just… MIND-BLOWING.  I can’t even…! Gah!

Okay, okay… deep breaths.

It opens with Sherlock becoming a minor celebrity as he helps solves higher-profile crimes, with higher-profile clients, and with the media and paparazzi taking notice and following him around.  While the title of the episode comes from the Riechenbach Falls (the waterfalls from which Sherlock Holmes falls to his apparent death in the original stories), in the context of the episode it comes from the name of the famous Turner painting he helps to recover, after which the press call him “The Reichenbach Hero.”  His growing fame apparently irks Moriarty, however, who (in order to get his attention, among other things), breaks into The Bank of England, Pentonville Prison, and the case where the Crown Jewels are kept – ALL AT THE SAME TIME.  Like I said, MIND-BLOWING.  The scene, as he dancing around in front of the Crown Jewels and pressing buttons on his cell phone to open the prison, is hilarious and fantastic.  And then he climbs into the case with the jewels, sits on the throne, puts the crown on his head, and just SITS THERE waiting for the police to show up.

I mean, MY GOD, the man is INSANE.

All of this leads up to the main point, though, which is that Moriarty is slowly and subtly poisoning everyone against Sherlock, so that one a couple children are kidnapped, all the evidence could be construed to point to Sherlock.  And Sherlock and John go on the run.

In an interview, Steven Moffat and Mark Gatiss claimed that they thought they’d actually gone one better than Doyle himself had, in their version of The Final Problem. This is, of course, the height of hubris and probably said at least partially in jest, but honestly – THEY’RE NOT WRONG.

Sherlock’s brilliance turned against him?  Sherlock made a fugitive?  Moriarty’s perfect revenge being the destruction of Sherlock’s legacy?  Totally and completely BRILLIANT.

It was nice to see Lestrade trying to stay on Sherlock’s side even though the rest of the police force has turned against him.  And, of course, John is the only who completely believes in him, and stays with him, and even goes on the run with him.  Would we have it any other way? Of course not.  It was also fascinating when John realized that Mycroft is the one who gave accidentally gave Moriarty all the ammo he needed against Sherlock, as Moriarty uses bits of truth and his abilities to fake records and change identities, to make it look as if Sherlock has fabricated Moriarty as a fall guy to cover up the fact that Sherlock is the real perpetrator of all the crimes he attributes to Moriarty.  And then he tells Sherlock to kill himself.  Or Moriarty will kill John, Mrs. Hudson, and Lestrade.

BRILLIANT!  And, okay, I sound (and feel) a bit like Sherlock when he’s admiring a particularly clever crime rather than lamenting the evil of it, but SERIOUSLY.  BRILLIANT.

I mean, my God, Moriarty in the books is a genius, but all he’s really after his money.  In the movies, it’s the same thing.  He’s not crazy at all, just very greedy, very smart, and very willing to hurt people to get what he wants.  But in THIS series, Jim Moriarty is NUTS.  Seriously, seriously NUTS.  And it is AWESOME.  (I have thing for really crazy villains – The Joker and Knives from Trigun are the first two that come to mind – the whole chaotic evil alignment category.  I LOVE IT.)  Anyway, I was a bit unsure about Moriarty in “The Great Game,” but this episodes won me over completely.

And then there’s the ending. OMFG.  Now, I’ll admit, I have a hard time figuring out what to make of Sherlock’s little phone call “suicide note.”  Obviously, when he tells John that the accusations are true and he’s a fake, that’s the lie, but what about the fact that he’s getting choked up?  Is he really getting emotional, or is that part of the act for John’s sake?  And then again, even though he knows he has to “kill” himself to protect John and the others, why doesn’t he TELL John that’s the reason, rather than claiming that he really is a fraud?  I suppose it could be to spare John the thought that it’s John’s fault he’s dead, maybe?  And why demand that John watch him as he jumps?  (I am again assuming that everyone still reading this has seen the episode already, so don’t blame me if I’m ruining anything.)  My initial thought is that Sherlock wants John to be a witness, to be able to say definitively that yes, Sherlock did jump from that roof, yes, he saw it with his own eyes, yes he’s certain that Sherlock is dead – thus, insuring that Sherlock can fake his death in safety.  But it still seemed a little weird – and cruel, to make John watch it.

And John’s face!

(both gifs from this Tumblr page – thank God for gifs!)

His expressions in that moment were pretty brutal.  But it was just as bad later on at the cemetery, when he asked Sherlock for one last miracle, to not be dead.  OMG! I nearly cried (it takes quite a lot of work to actually get me to cry, but my eyes did sting a little).  Martin Freeman does such an amazing job conveying powerful emotion without going overboard.  No screaming, no bursting into tears. He speaks quietly, just starts to get choked up, and then he does that soldierly stoic thing, suddenly straightens up and turns on his heel away from the grave as if he was in uniform, and walks away.  And my God, it was hard to watch!

So, now I get to wait probably a year or more for the next season to come out – which is RIDICULOUS, by the way! They aren’t even starting production until NEXT January.  WTH?  And I have so many questions!  I’ve been trying to figure out exactly how Sherlock faked his death.  We know he enlisted Molly’s help, who probably found a body in the morgue that could be a replacement for Sherlock.  But when did the switch take place?  Because as far as I can tell, Sherlock really was the one who fell from the roof.  It doesn’t LOOK like he threw a dead body off.  Though maybe they did something in that shot to trick us.  It’s hard to tell.  But they don’t just show that scene from John’s point of view on the ground, they show it from Sherlock’s, up on the roof, as he leans forward and lets himself fall.  It really does look like its actually Sherlock falling.  So then, okay, there’s a moment when John is trying to reach the body and he is hit by a man on a bicycle (which yes, I’m definitely assuming was planned) so he’s not the first one to the body.  So maybe the switch happened then?  But then we’d have to assume that Sherlock actually landed, in which case even he managed to survive he would be a mass of broken bones and there’s no way he could moved that quickly.  So I go back to the switched-before-the-fall thesis, though I’m not convinced that’s possible.

Then there’s the fact that in an interview, Moffat claims that “there is a clue everybody’s missed … So many people theorising about Sherlock’s death online – and they missed it!” (from this article).  So, I’m flummoxed. (Also, I have never used that word before in my life! Cool!)

Then, of course, we have to wonder HOW THE HELL Sherlock is going to clear his name.  AND what happened with Moriarty?  Is he really dead?  I’m guessing he is, but its not outside the realm of possibility for him to have faked his own death as well.  I’m also DYING to know how long Sherlock will be gone.  In the books his faked death lasts for THREE YEARS.  Honestly, if the writers do that to John I may break the tv (or my laptop, whichever), because that would be CRUEL!  Really REALLY cruel.

And now we’ve come to the end. This post is ridiculously long, and I should probably cut it in half again, but I’m not going to bother.  If you’ve stuck around through the whole thing, I’m impressed and grateful.  And if you haven’t actually watched the series yet and you read this, well, I pity you, because you just took half the fun out of the experience of first-time viewing.  But you should go watch the series anyway.  SERIOUSLY.  Now I’m going to shut up.  See you folks later!

I leave you with one last image of John, sitting with his therapist a month after Sherlock’s “death,” looking quietly, stoically heart-broken.  It’s about the same way I feel having to wait for a year or more until the new episodes appear (except I’m not stoic at all…).

Gorgeous, Intense, and Creepy: A Review of Prometheus

So, let’s talk about Prometheus (and then I’ll get back to my insane fan-girl raving about Sherlock, I promise).

For those who are unfamiliar with the background of Prometheus, it is a science fiction film produced and directed by Ridley Scott (director of Alien, Blade Runner, and Gladiator, to name just a few) and is considered a prequel of sorts to the original Alien movie.  Prometheus (which is also the name of the spaceship the cast lives on) takes place in the year 2093 (Alien takes place in the year 2122), and follows a group of scientists who believe that aliens called Engineers seeded life on Earth, and who are in search of those aliens in deep space, on a moon called LV-223.  Of course, as anyone familiar with the Alien movies would expect, things do not go according to plan, as the scientists find nothing but death on the moon (and boy, it’s going to be hard to talk about this movie without giving too much away…).

Okay, so let’s start by talking about the direction and cinematography in this movie, because it was BRILLIANT.  The opening sequence is one of the most beautiful I’ve seen in ages and ages.  The camera pans through images of wild, almost-but-not-quite barren landscape: rocks, mountains, snow, waterfalls, etc.  It’s like something out of the Planet Earth nature documentaries, in astounding high definition, with a powerful score building up around you.  And then it focuses in on what is clearly an alien – mostly human in shape but with musculature that no human could possibly have, and a slightly different shape in the nose and forehead.  The alien drinks something, and then starts to dissolve, his DNA literally breaking apart – one would assume, to seed the earth.  The image of the alien dissolving is pretty cringe-worthy, but so well-shot and so fascinating and creepy.  It was the perfect way to open the movie, that’s for sure.

Throughout the rest of the film, the cinematography is equally wonderful.  Ridley Scott, the screen-writers, the set designer, and the cinematographer all took tremendous care with the visuals of the story.  The visuals are highly important in this movie.  The attention to detail, the atmospheric nature, the grand scale and immensity of everything, not to mention how CREEPY a lot of it is.  And the camera captures all of it so beautifully.  Seriously, if nothing else, go see it for the visual interest – it’s like a moving piece of art.

Then there are the actors.  The casting for this movie was so well done.  Swedish actress, Noomi Rapace plays Dr. Elizabeth Shaw, an archeologist, who along with her partner/boyfriend Charlie Holloway (played by Logan Marshall-Green), are the scientists pretty much in charge of the mission on the Prometheus. Noomi Rapace is really making a name for herself.  She played Lisbeth Salander in the original film version of The Girl with the Dragon Tattoo, and she was in the second Sherlock Holmes movie (and she only learned to speak English in time to film Sherlock Holmes!), and she is a very very good actress.  She does such an amazing job in this movie, with a character who is incredibly smart, more than a little naïve, sympathetic, and tough.

Then there’s Charlize Theron.  My GOD, she looks GOOD in this movie.  It’s just not fair.  And, as usual, she is phenomenal as the cold, calculating, self-serving corporate leader of the Prometheus mission, Meredith Vickers. This character walks that fine line between being emotionless and self-serving to the point of being almost-but-not-quite evil.  She’s CREEPY, and she’s not even really a bad guy.  Just kind of a bitch.  And Charlize Theron plays it so well.

Last, but certainly not least among the main characters, there is Michael Fassbender as David, the android (like Ash, from the original Alien movie, though in Prometheus, everyone already knows he’s an android).  This character was absolutely fascinating, a total enigma.  And Michael Fassbender was EXCELLENT.  Seriously excellent.  David is an odd character – childlike in ways, sometimes sympathetic, but also with this weird underlying… I don’t know, jealousy? bitterness? arrogance?, because of the way the humans treat him.

No one pays much attention to him or is even mildly polite to him except for Shaw – and, of course, we should all know by now that is a BAD idea to mistreat a robot who is WAY stronger and smarter than any human.  You get this weird sense that David wants people to acknowledge how smart he is, and feels superior to humans because of his strength and intelligence, but also wants to be human at the same time.  He does some pretty despicable things in this movie (I’m trying very hard not to give away too much!), but you can’t quite hate him and you can’t really blame him, because the humans do NOT treat him well.  And Michael Fassbender plays him with this kind of blankness, this vacancy in his face and movements, and yet with very subtle touches of expression, of tone, or movement, that hint at something lying just beneath the surface, as if David can feel more than he or anyone else imagines – despite the fact that androids purportedly have no emotions.  Michael Fassbender’s light touch is just so well done, so balanced and subtle.  It’s definitely impressive.

All of the other actors, including Idris Elba as the captain of the ship, do not get nearly as much screen time and are not nearly as important to the plot, but they still do a good job.  They give the whole film a sense of realism and immediacy, a sense of real people in real crisis situations, that would not be believable with a less talented cast.  All without overtaking the film, being too melodramatic, or stealing the scenes from the important characters (and Idris Elba’s interactions with Charlize Theron are pretty fun too).

As for the plot itself…  It’s complex and it keeps you guessing, keeps you on your toes, without every getting so convoluted that it risks bogging itself down – at least not to me, others might disagree (after all, where I found Inception totally lucid, though complex, some people complained that it made no sense whatsoever – of course, I worry about people like that, but that’s beside the point).  There is a LOT going on in this film.  The first half-hour or so is a little slow-moving.  It’s not a BAD thing to me, it’s not slow as in boring, more as in atmospheric. It’s like a slow crescendo at the beginning of symphony.  Just because the music isn’t fast or frenetic doesn’t mean it’s not full of power and interest.  And you know your patience will be well worth it anyway.  So, yes, the opening is slow in pace, but it WORKS, at least for me.  And then, once it picks up, OH BOY does it pick up.  The last forty minutes or so?  CRAZY INTENSE.

All of this is helped along quite liberally by a very well-written, beautiful, and intense score by Marc Streitenfeld.  The music fits the movie so well: atmospheric, creepy, with slow build-ups and intense explosions of power and sound.  I already mentioned how the score bolsters the opening sequence.  The whole movie is like that.  I’m definitely going to have buy the soundtrack later.  There are few things I love more than a really good movie score.

Last, but certainly not least, is the long list of connections to the original Alien movie.  Now, there is not a 1 for 1 correlation between things in this movie and things in Alien.  It doesn’t quite work like that.  But if you’re a fan of Alien and pay attention, it is a TON of fun to catch all the little references.  I had to have my brother’s help with that.  I love the first and second Alien movies, but I have trouble remembering as many of the little details as my brother does.  Still, here are justa couple things to keep in mind.

First, Prometheus takes place on the moon LV-223, whereas Alien takes place on the moon LV-426 – so the ships the Prometheus finds and all the details in this movie do NOT correlate with actual scenes from Alien.  The alien ship that the Nostromo finds in Alien is a DIFFERENT SHIP than the one that the crew of the Prometheus find.  However, it is the same KIND of ship.  And the Space Jockey from Alien?  Yeah, some kind of alien as the main aliens in Prometheus.

Second, because Prometheus focuses on the Engineers, the humanoid-looking aliens who seeded the Earth (and who are the same kind of alien as the Space Jockey) you are NOT going to see the traditional black-skinned long-faced alien or the face-huggers and chest-bursters from Alien.  However, because it is a prequel, it is easy to guess that the plot of Prometheus leads INTO the aliens from the Alien movies (and oh my god, I’m getting sick of typing the word “alien”).

For a more in-depth look into the connections between the movies, check out this explanation Screenrant: “Prometheus – Alien Connection Explained.”

I could probably go on and on if I really wanted to, but I think this covers all the big stuff, except for the ending.  Without giving too much away, I will say that the ending is a bit cliff-hangery and you are left with WAY more questions than you had the beginning of the film, but I think this is intentional.  My brother and I have been debating how many of the holes and questions are intentional for the purposes of leading into a sequel and how many are accidental due to holes in the writing itself.  The only way to find out, of course, is to wait for a sequel, which we’re both PRETTY sure is in the offing.

The main thing you should get out of all of this is: if you haven’t seen Prometheus yet, YOU NEED TO.  GO NOW.  It is absolutely phenomenal.  The intensity, the attention to detail, the beautiful cinematography, the excellent cast, the fun references to Alien… it all equals a movie that is WELL worth the money and the time.  In fact, I recommend seeing it more than once.  I’m hoping to go again soon and see how many small details I may have missed the first time.

Seriously, just go see it.  You can thank me later.

Also, you should check out Andrew Kincaid’s rundown of the biology behind the film over on his blog.

AND, here’s the trailer again, too, just to cover all my bases:

Totally, Completely, and Ridiculously Obsessed with Sherlock, Pt 1

(Note: I’d originally planned to talk about all three episodes of Sherlock Season 2 in one post, but by the time I’d finished raving about “Scandal in Belgravia” I’d already reached 1600 words, and so I figured it might possibly be a better idea to break them up.)

I TOLD you this would happen.  I warned you, and I warned myself, and still I was knocked over backward by how quickly and vehemently I have become obsessed with Sherlock.  Seriously.  I’m a total mess now.  You should see the tweets and facebook posts from last night when I watched episodes 2 and 3 of season 2 (which I stayed up til 3am to do).  In fact, in case you missed them, here:

From Facebook:

First – “I knew this was going to happen! I waited and waited and waited to watch Sherlock because I KNEW this was going happen. By now I’m so obsessed I feel like the show has sucked my brains out through my eyeballs. I’ll be quoting it wholesale by the end of the week. And in the meantime, ‘The Hounds of Baskerville’ episode has me so wired I probably won’t sleep for hours.

Maybe I should say screw it to trying to make it last and just watch the last episode now…”

Followed by – “Yeah, I just said ‘screw it’ and watched the last episode. AND OH MY FUCKING GOD! *headdesk*”

And – “…it’s by Steven Moffat and Mark Gattis. But you still DEFINITELY need to watch it. EVERYONE needs to watch it. WATCH IT! (can you tell I haven’t slept much…? I feeling a little manic…).”

From Twitter:

First – “Oh God, by now I’m so obsessed with Sherlock I feel like my brains have been sucked up through my eyeballs. *drools & returns to watching*”

Then – “Screw waiting til tomorrow, I’m watching the last ep of Sherlock right now. Who needs sleep anyway?”

And – “First 10 mins of ‘The Reichenbach Fall’ : O.M.F.G. #Sherlock”

Finally – “Oh God. I’m going to be a mess for days after that. #Sherlock #ReichenbachFall”

Plus, in response to a comment – “@miriamjoywrites lol, see, I’d waited & waited to watch Sherlock b/c I KNEW I’d end up ridiculously obsessed. I get so addicted to things.”

Did I mention I’m a mess?  I’m a mess.

So yeah, prepare for manic raving.  Also, this is COVERED in spoilers, because there is no way to avoid them when talking about how awesome this show is, so if you haven’t seen the show yet…

DO NOT READ THIS POST. DO NOT STOP AT GO.  DO NOT COLLECT $200. GO DIRECTLY TO NETFLIX TO WATCH SEASON 1 AND THEN GO TO PBS.ORG AND WATCH SEASON 2 (which will be disappearing off their site soon, so be quick about it!) And THEN you can come back and read my rant and see if it meshes with your thoughts.

YOU DO NOT WANT TO SPOIL THE MYSTERIES IN THESE EPISODES. DO NOT READ THESE SPOILERS. YOU HAVE BEEN WARNED.

Now, moving on, let’s go through the three episodes of season 2 in order.

First: “Scandal in Belgravia,” ie, the Irene Adler episode.  Okay, so this episode opens directly from the cliffhanger at the end of season 1 – Sherlock and John with sniper rifles trained on them while Moriarty stands by, and Sherlock threatens to shoot a bomb and blow them all up.  Honestly, I was kinda hoping for some big huge explosion that both Sherlock and John barely escape from.  What can I say?  I like the pyrotechnics.  But the way this scene was resolved was, instead, pretty hilarious, because Moriarty is distracted a by a phone call and changes his mind about killing Sherlock and John (again), and simply walks off.  So funny!  The scenes after that show Sherlock and John solving a whole slew of little problems, with Sherlock interviewing possible clients with his usual and completely HILARIOUS lack of tact, patience (or sanity, really).

But the real fun is when Irene Adler shows up.  I LOVE this incarnation of Irene Adler. She’s a dominatrix who caters to a very high-end clientele.  She’s sexy and fierce and smart and really really wicked.  In the original story, “A Scandal in Bohemia,” she’s more than a little sympathetic, nice even.  But wicked Irene is so much COOLER.  Some critics think this portrayal is too sexist, but I disagree.  She’s powerful, she knows what she wants, and while she is certainly unscrupulous, she is not portrayed in some kind of simplistic whore/angel dichotomy.  She’s WAY more complicated than that.  And the way she plays off Sherlock is fantastic.  Seriously, when she walks into the room where Sherlock is pretending to be a priest, and she’s completely naked, I just about DIED laughing.  His FACE!  And then John walks in, and HIS face! OMG!  I had to pause and laugh for a few minutes.

And that happened several times throughout the episode.  That’s one thing you can always count on with Steven Moffat.  Even in a serious drama, even in a crime drama, he inserts just the right amount and kind of humor, and it is so totally worth it.  OH! GOD! That reminds me, I almost forgot one of the best parts: when Mycroft first brings Sherlock in on the Irene Adler case, Sherlock goes to Buckingham Palace wearing NOTHING BUT A SHEET, and then Mycroft nearly pulls it right off him!  Oh, how I (and every other fangirl ever) wishes he had.  *drools*  Ahem, yeah…

This, right here, best lines of the episode:

Mycroft Holmes: Just once, can you two behave like grown-ups?

John Watson: We solve crimes. I blog about it, and he forgets his pants. I wouldn’t hold out too much hope.

Or maybe these are the best lines?

Sherlock Holmes: ‎Please don’t feel obliged to tell me that was remarkable or amazing, John’s expressed that in every possible variant available to the English language.

Irene Adler: I would have you, right here, on this desk, until you begged for mercy twice.

[A long silence in which Sherlock and Irene maintain eye contact]

Sherlock Holmes: …John, please can you check those flight schedules, see if I’m right?

John Watson[Looking stunned]…I’m on it, yeah.

Sherlock Holmes: …I’ve never begged for mercy in my life.

Irene AdlerTwice.

Honestly, there is so much to love about this episode.  When Mycroft shouts at Mrs. Hudson to shut up and both Sherlock and John exclaim: “Mycroft!” with the most furious, shocked, disapproving you have ever seen.  When Mrs. Hudson is attacked and Sherlock gets SERIOUSLY pissed, breaks the guy’s nose, and throws him out a second story window.  And when John suggest Mrs. Hudson go spend some time at her sister’s house and Sherlock says: “Mrs. Hudson leave Baker Street? England would fall!”  I love Sherlock’s relationship with Mrs. Hudson in this version.  In the movies he is extremely dismissive and rude with her.  In the Granada tv show he’s mainly polite the show writers mostly seemed to forget she was even around.  In this one, she is counted among one of Sherlock’s few real friends, and it’s ADORABLE (yes, I just called Sherlock Holmes adorable, he’ll get over it).

But, okay, back to the main point of the episode: Irene Adler.  The layers and complexities of the plot in this episode were absolutely fantastic.  It was quite a ride.  And the Irene Adler character was so devious and seductive that it just made it extra awesome.  Also, it was really fascinating to watch Sherlock falter just a bit and make a big mistake when he trusts Irene just a bit too much, and then catch himself just in time to shock Irene and fix it.

HOWEVER, I have one complaint, not so much with the episode as with the way most of the fandom portrays the relationship between Sherlock Holmes and Irene Adler.

I know plenty of people are going to disagree with me (as it evidenced by the way Irene is portrayed in the movies, and in Sherlock, and in most fanfiction and in comments from fans, etc), but Irene Adler is NOT some great love of Sherlock Holmes’ life.  Folks, she is in exactly ONE Sherlock Holmes short story, and mentioned a couple times after that.  Now, I am not denying for a second that Sherlock Holmes admired her, respected her, thought that she was perhaps the only really intelligent woman he’d ever met.  He might even be accused of being somewhat attracted to her.  But one adventure in which he goes up against her and is outwitted, and is perhaps attracted, does not mean he’s in love with her.  Or even that she’s in love with him.  They have an interesting relationship, sure, but let’s not over-do it, okay?  Okay.

(I would, at this juncture, also point out that Moriarty is, ironically, only in TWO of the Sherlock Holmes stories (with mentions in 5 others): “The Final Problem,” which is the story in which Moriarty and Sherlock Holmes go over the Reichenbach Falls, and The Valley of Fear, which was written AFTER “The Final Problem” but is intended to take place before it.  This is because Doyle had intended to kill Holmes off in “The Final Problem” and then a few years later brought him back to life.  The point being that even though Moriarty is cast as Holmes’ great rival, Doyle did not originally intend him to be a recurring character.  So, even though I LOVE the character of Moriarty and how he is portrayed in the recent reincarnations of Sherlock Holmes, I still find it rather amusing how much cult status he gained so quickly, though Doyle does at least expressly state that Moriarty IS Sherlock Holmes’ great rival and intellectual equal – so that makes more sense that claiming that Holmes is “in love with” Irene Adler.)

I did think, however, that in this episode Moffat and Gatiss (I never spell his name right, I’ve noticed), keep a pretty good balance.  Sherlock is definitely intrigued by Irene, and possibly a little attracted to her, and there’s some definite tension, and he obviously admires her, but it never falls into Sherlock outright drooling over her or mooning over her (though he does seem to get depressed for awhile when he thinks she might be dead – however, SEEMED is as far as you can ever say with Sherlock, ’cause God only knows when he’s faking and when he’s not).  Moffat and Gatiss also continue to carefully tread that line where the jokes about Sherlock and John being a couple isn’t quite JUST a joke, but isn’t the literal truth either.  They are trying very hard not to come out (so to speak) on one side or the other about Sherlock’s sexuality, which I appreciate.  Because, as I’ve mentioned before, based purely on the original stories I have always believed (and quite a few critics, fans, and Holmesian “experts” would agree with me – though, obviously, not all) that Sherlock Holmes is either completely asexual or he’s gay.

Back to the episode at hand: the ending, when Mycroft and John are worried about how Sherlock will handle finding out that Irene has been killed was really sweet.  But the very very end, when we watch Sherlock actually saving Irene from the death Mycroft and John think she’s suffered: awesome.

All in all, this episode was fantastic, and hilarious, and sexy, and cool.  And yet, the next one, “Hounds of Baskerville” was WAY BETTER.  But I’ll get to that one next time.  BYE!

Sherlock, Sherlock, and More Sherlock

Last night I watched the rest of season 1 of Sherlock.  SO MUCH FUN.

Yes, there will be spoilers in this.  It’s impossible to talk about the episodes without giving some of it away, sorry.

First off, in episode 2, “The Blind Banker,” the scene near the beginning when Sherlock is in the bank, bobbing and weaving around the offices as he investigates: totally hilarious! I could not stop laughing.  And then in episode 3, “The Great Game,” it opens with Sherlock lying in the apartment, shooting holes into one of the walls and yelling that he’s bored bored bored.  And then when John walks off, he curls up into a little ball on the sofa like a little kid! OMG! I thought I was going to die it was so funny and so adorable.

I loved the plots for both episodes.  I’m really impressed how Mark Gattiss can take little whiffs of elements from the original stories and strewn them across his plotlines.  The mystery of how someone can be murdered in a room that is locked from the inside, and the Chinese acrobat to name just a couple.  Also, that Sherlock uses a network of homeless people as his eyes and ears, like the Baker Street Irregulars from the books.  Nice touch.  And again, I’m very impressed by how well they can translate the characters into a contemporary framework without losing sight of the characters themselves.

I honestly can’t decide if I love Sherlock or John more.  Benedict Cumberbatch is AWESOME (and those EYES!), but Martin Freeman is totally amazing too, and so wonderfully sympathetic!  And I love the mix of resigned stoic and adorably flustered reactions he has to everything Sherlock does.

Let’s see… what else can I talk about…?  Oh! Sarah.  Sarah is a likable character, so far as we actually get to know her in episode 2 anyway.  But I have a hard time believing that this woman, who seems fairly normal and quiet and stable, is really going to stick around after her first date with this guy she barely knows ends with her being held hostage and nearly murdered.  Seriously.

Okay, okay… so let’s get the elephant in the room.  Moriarty.  I’ll be honest, I was hugely HUGELY surprised by the appearance of Moriarty – the way he shows up the first time AND the casting choice.  Andrew Scott was definitely an interesting choice, and while his portrayal is different than anything I would have expected, but it was very compelling.  The whole set up of “The Great Game” was fantastic.  I loved how intricate the various tests were.  I also loved Sherlock’s portrayal in the third episode.  How excited and focused and gleeful he was about the tests, how he could save lives and not quite care at the same time.

And the final confrontation scene at the end of the episode?  BRILLIANT.  I loved every second of it.  Sherlock’s face when John walks out with the bomb strapped to his chest.  The way John jumped on Moriarty’s back to give Sherlock time to escape (which, of course, he wasn’t going to do).  How completely PSYCHOTIC Moriarty was.

Best line: 

Moriarty: “Kill you? Um, no. Don’t be obvious I mean, I’m gonna kill you anyway, someday. I don’t want to rush it though. I’m saving it up for something special! No no no no no, if you don’t stop prying… I’ll burn you. I will burn.. the heart out of you.”

Sherlock: “I’ve been reliably informed that I don’t have one.”

Awesome!

And the cliff-hanger was cruel! Too cruel! It reminded me of Star Trek: The Next Generation, the season finale of season three, “Best of Both Worlds” – when Picard has been turned into a borg, and Riker orders the Enterprise to open fire on the borg ship that Picard is on, and then it goes black. SO MEAN!

When I finished the episode at about 2am last night, I was in a panic.  I couldn’t believe no one had warned me that I shouldn’t watch that episode before I was sure I could get my hands on season 2 – because season 2 is not on Netflix streaming, and I hadn’t been able to find it ANYWHERE.

Thankfully, when I complained on Twitter, one of my wonderful Twitter friends sent me a link for the season 2 episodes streaming on PBS.com.  Three guesses what I’ll be doing tonight, and the first two don’t count.

And yes, I already know about the third episode of season 2 – well not everything, but when an episode is called “The Reichenbach Fall” a Sherlock Holmes can guess what to expect, and I’ve heard a few hints as to how the writers pull it off here.  Expect a rant later.

In other news:  I was horribly shocked and upset by Ray Bradbury’s death this week. I thought about writing a blog post about it, but I read a few very well written ones already, and I couldn’t decide what I wanted to say, so I’ll just leave you with a couple links: “Ray Bradbury” by storiesbywilliams, “Ray Bradbury on Sci-Fi, God, and Robots: The Late Author’s Biggest Ideas” from Wired.com, and Neil Gaiman’s beautiful tribute: “Ray Bradbury.”  I might change my mind and write something about him later, we’ll see.

Also, I will be seeing Prometheus sometime this weekend, so expect a review of that, probably on Monday.

See ya later, folks!