So I finally finished Sherlock.
Aug. 23rd, 2010 10:17 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
apocalypsosThe good:
-- On the face of it, I do like the way they portray Sherlock and Watson, although I do lay that mainly at the feet of the actors. They both take some fairly questionable material and do some fantastic things with it.
-- The way clues and text messages appear in the air like that is very cool.
-- The guy playing Moriarty is apparently having the time of his life chewing the hell out of the scenery, so I really can't wait to see how much more fun he gets to get up to.
-- I want more Sherlock and Mycroft. What can I say? I like brotherly stuff.
-- Oh, and also more Anthea. Because she gives me a Pam-from-True Blood vibe and I dig that.
The bad:
-- I'm sort of sick and tired of the "The incredibly smart white guy must have a flaw, so we'll make him a sexist, racist, classist douchebag" cliche. It's pretty much on the same level as the "I wrote a teenage girl character and she needed a flaw, so I made her clumsy!" cliche. My grasp on Original Flavor Sherlock is fairly tenuous -- I read a few stories when I was a teenager, but that's about it -- but I wasn't taking the long way around yesterday when I made the House comparison. By the end, I felt exactly the way I did at the beginning, which was that it felt like the show had been written by someone who either hadn't read the original books or hadn't read them in a while, but knew that House was based on Holmes and worked off that. I'll admit I'm probably getting that vibe simply because of the "incredibly smart white genius is a douchebag" cliche, though.
-- I can't remember whose LJ reaction post I read it on, but it hit on exactly why I was "meh" on the ending -- I'm tiring of season-ending cliffhangers where the main characters are in a life-threatening situation. They're not going to die. What, are you kidding me? Of COURSE they're not going to die, which only makes it interesting if you can then rest the cliffhanger's strength on, "Oh, no, how are they going to get out of this one?!" Which works as a stressful situation if your main characters are everyday run-of-the-mill people who don't figure out shit like this on a regular basis, not when one of them is Sherlock fucking Holmes.
-- On the face of it, I do like the way they portray Sherlock and Watson, although I do lay that mainly at the feet of the actors. They both take some fairly questionable material and do some fantastic things with it.
-- The way clues and text messages appear in the air like that is very cool.
-- The guy playing Moriarty is apparently having the time of his life chewing the hell out of the scenery, so I really can't wait to see how much more fun he gets to get up to.
-- I want more Sherlock and Mycroft. What can I say? I like brotherly stuff.
-- Oh, and also more Anthea. Because she gives me a Pam-from-True Blood vibe and I dig that.
The bad:
-- I'm sort of sick and tired of the "The incredibly smart white guy must have a flaw, so we'll make him a sexist, racist, classist douchebag" cliche. It's pretty much on the same level as the "I wrote a teenage girl character and she needed a flaw, so I made her clumsy!" cliche. My grasp on Original Flavor Sherlock is fairly tenuous -- I read a few stories when I was a teenager, but that's about it -- but I wasn't taking the long way around yesterday when I made the House comparison. By the end, I felt exactly the way I did at the beginning, which was that it felt like the show had been written by someone who either hadn't read the original books or hadn't read them in a while, but knew that House was based on Holmes and worked off that. I'll admit I'm probably getting that vibe simply because of the "incredibly smart white genius is a douchebag" cliche, though.
-- I can't remember whose LJ reaction post I read it on, but it hit on exactly why I was "meh" on the ending -- I'm tiring of season-ending cliffhangers where the main characters are in a life-threatening situation. They're not going to die. What, are you kidding me? Of COURSE they're not going to die, which only makes it interesting if you can then rest the cliffhanger's strength on, "Oh, no, how are they going to get out of this one?!" Which works as a stressful situation if your main characters are everyday run-of-the-mill people who don't figure out shit like this on a regular basis, not when one of them is Sherlock fucking Holmes.
