Sherlock 2x03 "The Reichenbach Fall"

Ну... мы это посмотрели.
Да.
Бафту всем.
Нет, правда, мне кажется, Фримен и Камбербетч должны поделить все телепризы за главную мужскую роль, какие там есть.
Но, вообще, всё и без меня скажут.
А я тут помолчу.

Апд. А знаете, что ещё прекрасно? Нам предложили три полтора года побыть Шерлоком. Нам дали подсказки и время на то, чтобы разгадать загадку. Ах.

Апд. 2

4 мысли

1. Это история о вере.
О вере Джона в Шерлока, в первую очередь.
О вере, кстати, спецслужб в Кольцо Всевластия Ключ от всех дверей.
О вере Молли в Шерлока, кем бы он ни оказался на самом деле.
О вере Шерлока в красоту игры.
О вере Джима в Шерлока.

2. Это история о цене, которую приходится платить, и жертвах, которые приходится приносить.
Майкрофт жертвует братом ради долга.
Присяжные жертвуют долгом ради близких.
Мориарти (умирает), чтобы выиграть.
Шерлок (умирает), чтобы спасти друзей.

3. То, что происходит на крыше, странным образом перекликается с "Этюдом в розовых тонах". И там, и там антагонист (а, по сути, в обоих случаях - Мориарти) приводит Шерлока к самоубийству. Но насколько разными методами. И если в первой серии это игра на "слабо", то в последней он манипулипует Шерлоком как... человеком; человеком с привязанностями, человеком чувствующим. Вот это - путь, пройденный за 6 эпизодов.

4. Я не помню, после чего мы говорили, что Моффат может писать (пишет?) один сценарий на два сериала, меняя только имена.
Ну вот да.

запись создана: 16.01.2012 в 22:06

@темы: Sherlock, God save the Queen!, Сериалы

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Пост с обсуждением того, как

спойлер

выжил Шерлок, попал в один из топов жж

@темы: Sherlock

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Это просто невозможно не вынести в отдельный пост

Пишет  Wildnessy:

17.01.2012 в 19:02

У Молли есть трупы, у Майкрофта тоже.
У Шерлока череп, на Джона похожий.
У Джима есть всё и немного впридачу,
У Грега есть имя, а как же иначе?
У Джона есть труп лишь один, но бесценный!
Есть быстрая сеть у Людмилы Дьяченко.
У Салли коленки и Андерсон бритый,
У мальчика - масло льняное и бита.
У Ричарда Брука лохматость сверх меры.
У Хадсон есть травы и крепкие нервы.
У киллеров пушки, у Мартина БАФТА,
У шарфика Шерлок, у зонтика Майкрофт.
У Дженнифер Уилсон есть розовый плащик,
У девочки - кролик, из клетки пропавший.
Есть кэб у таксиста, собака у Генри,
А Морана нет, но он есть непременно.
У Диммока в будущем свет и признанье,
У Гэтисса муж, у Антеи заданье
И тетрис, конечно. А Моффат без трупов,
Зато Моффат с Доктором, это так круто!
У каждого что-то, да было всегда.
И лишь у Ирэн нету даже стыда.
Но всё поправимо. Фандом всемогущий
Даст каждому именно то, что так нужно.
И Мартину БАФТУ, и Шерлоку череп,
Ведь главное - искренне-искренне верить,
Что каждому всё по заслугам дано
И в жизни, и в сказке, и даже в кино.

URL комментария

@темы: Sherlock, "А я сошла с ума... Какая досада!"©, Чужое творчество

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Навскидку вспоминаются два бага перевода Первого.

Первый - неизвестно в каких словарях откопанное слово "прохвост", напомнившие переводы последних томов ГП с обилием архаизмов. Нет, правда: - Они решат, что ты прохвост - Лолшто?

Второй баг вообще классический.
- Чего ты хочешь?
- Тебя.

Неудивительно, что цивилы решили, что это было про секс.
Как это ни печально, "want" часто переводится как "нуждаться".
- What do you want?
- You.

- Что тебе нужно?
- Ты.

А вот  Тина Фенек подсказывает, что там было вообще "What do you need?"
Первый канал решил разбавить броманс гетом?

@темы: Sherlock

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Внезапный флэшмоб в комментариях ;)

Фраза "У Молли есть трупы" в разных вариациях делает мой день. Прямо хоть ник меняй на флэшмобный какой.

Апд.  Sexy Thing приглашает всех-всех-всех на перепись населения

запись создана: 17.01.2012 в 11:06

@темы: Sherlock, "А я сошла с ума... Какая досада!"©

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Я привыкла, что англоязычная часть френдленты пишет исключительно о фандомном, и поэтому, когда кто-то там пишет о проблемах в личной жизни, у меня происходит разрыв шаблона. Однажды я начну воспринимать англоязычных товарищей как субъект общения)) Пока на уровне подсознания с трудом представляется живой человек на другом конце провода.

@темы: Будни

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16.01.2012 в 21:46

Пишет  elli_jonas:

Не могу пройти мимо.

16.01.2012 в 21:39

Пишет  блядский шотландский акцент Джеймса МакЭвоя:

Т____Т

16.01.2012 в 19:24

Пишет  blind_pilot:

16.01.2012 в 19:20

Пишет  undel:

А еще хочется сделать что-то пафосное. Сейчас можно. Поэтому я запощу стих. О Джоне, конечно.

THE THOUSANDTH MAN

Только один из тысячи, говорит Соломон,
Станет тебе ближе брата и дома,
Стоит искать его до скончания времен,
Чтобы он не достался другому.

Девятьсот девяносто девять других
Увидят в тебе то, что видит весь свет.
А Тысячный не откажет в объятиях своих,
Даже когда целый мир говорит тебе "нет".

Он с тобой, если прав ты и если не прав.
Надо или не надо,
Встанет на защиту у всех на глазах,
Только чтоб ты не падал!

Девятьсот девяносто девять бросят тебя,
Не стерпев насмешек и злости,
А Тысячный, бесконечно любя,
Будет рядом у эшафота - и после!

Редьярд Киплинг

а кто тут маладец и не оставил себе Киплинга?
ну, понеслась. *достал чернил стакан и плачет*

@темы: Утащено, Sherlock

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Вот так включишь "Золотой Глобус", а там Джордж Клуни шутит про размеры Фассбендера

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Оммм, оммм.
Только вечером посмотрю, чо

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Фиг я посмотрю в ночи Рейхенбах.

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Закрытая запись, не предназначенная для публичного просмотра

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Закрытая запись, не предназначенная для публичного просмотра

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Закрытая запись, не предназначенная для публичного просмотра

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Блам о ситуации в фандоме

Я уже говорила, как люблю Джонатана Блама? Так скажу ещё раз)

Тащу цитаты из его последнего эссе, посвящённого тем же темам, о которых столько говорят после "Скандала в Белгравии", чтобы перечитывать и радоваться.

The thing about the latest round of "Is Steven Moffat sexist?" that's currently flapping round the blogosphere, is that if within the same week you can manage to get accused of hating women by a Guardian blogger, and simultaneously accused of championing women and hating men in the Christmas special by the Daily Mail ... you're probably doing something a little more complex than either side is giving you credit for.
***
Thing is, as fans, we are absolutely stone-cold brilliant at making connections to other episodes -- it's the heart of what we do, the construction of a greater web of meaning connecting wildly different pieces of story. We're great at spotting patterns... but once we've locked onto one, it actively makes it harder for us to notice the parts which don't fit that pattern. We're flat-out geniuses at comparing, not so good at contrasting. Being similar equals being identical.
...
That's part of the filtering process I've been talking about -- we seize on a connection, and it becomes a definition; the contrasts and bits which don't match quietly disappear. Anything which is like something else is treated as being that something else. Our talent for pattern-matching blinds us. Our great strength is also our great weakness.
***
As a child, Tom Baker's Doctor being staggeringly rude was just fun; he's fast and funny and smart and no one else can keep up with how wonderful he is. It's only much later, as a grownup, as someone who's used to living life not as a star, that you begin to realize just how cruel he's being. When the Doctor abuses Harry Sullivan, or Sir Colin Thackeray, or Ralph Cornish, or the Brigadier, for no greater crime than that they're a bit ordinary compared to him, only now do you begin to register that the Doctor's being a bit of a gratuitously nasty bastard, really.
...
If there's a difference between the old Who and the new, I think it's that now it actively tries to draw attention to these paradoxes of character. When the new series makes Mickey or Rory the butt of the Doctor's wit, they're the ones you sympathize with. (Contrast the opening scenes of Rise of the Cybermen with "Harry Sullivan is an imbecile!", see how much you're encouraged to notice that Mickey is actually hurt by his treatment.)

But it doesn't do this instead of showing the Doctor as a hero; no, the show keeps presenting him as incredibly brave and heroic and dazzling and kind and a self-involved arse. Love And Monsters even presents this subtext as text; the Doctor practically looks into the camera as he tells his fan Elton "Don't ever mistake me for nice." There's a dissonance, but we're expected to recognize that both these things are true.

And so it is with Sherlock. If there's an emphasized spine running through the whole show, it's what Lestrade says in the very first episode: Sherlock Holmes is a great man, and one day he may even be a good one. As he stands, the story makes clear, he's both a fascinating, charismatic genius and a thoroughly rotten human being. More than that, the text points out that there's development at work; John Watson is there to humanize him. If there's a first big turning point for the character, it's probably the end of The Great Game, which is the first time Sherlock shows any sort of genuine concern for the welfare of another person. Before then... check out how appalled Watson is earlier in that episode, when Sherlock's reaction to Moriarty killing an innocent is "Well technically I won". Sherlock is explicitly painted as a man who's a long way from decent.

Molly, of course, is there to drive home that point. Because as with Tom Baker, it's easy to shrug off Sherlock being rude to minor police functionaries or even Watson; that's all part of the fun. Even in the Christmas-party scene before he turns his gaze on Molly, he's already being beastly to his closest friend -- demolishing Watson's hopes that his sister has quit drinking, shattering his plans for a happy family Christmas. But hey, that's just Sherlock being Sherlock, it's all part of the game. It's only when he starts dissecting Molly that the scene breaks out of our comfortable expectations; now we recognize that Sherlock Holmes really is an arse.
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...fandom doesn't do ambivalence. We want wholeheartedness. And if the thrust of the story is different than what we're looking for, we'll seize on only the bits of the text which tell the story we want to be told... the rest can just vanish. For example: the episode of Torchwood which Kate still only knows as "The One Where Ianto Got A Haircut".

We can even tell, roughly, what some of those stories are going to be. In Buffy, it didn't take much to predict that as Spike became a breakout character, some of his fan following would try determinedly to file off his rough edges -- even to the point of "well he didn't kill all that many children, and they probably deserved it anyway". Which in turn led the writers to get more extreme in asserting what they saw as the character's true nature ("Hello! Still evil here!")... and that in turn led those fans to accuse the writers of writing their own characters out of character. Go figure.

But the thing is, you inevitably have a clear picture the Spike these fans wanted, just a bit off to the side of the Spike we actually got.
...
The thing is that we're all aching for our own personal simple, unconflicted stories -- just like young me thought that Tom Baker's Doctor was an unalloyed bundle of wonderful. They're like unfulfilled archetypes in our heads, we're yearning for anything to match these outlines -- and if we get something even slightly close, we start reshaping it to fit.

And sometimes outright ignore that the story isn't what we're making it. Or alternatively, blame the makers for telling their story instead of ours.
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Foz [a novelist] describes the story she wants to see thus:

"Adler is meant to be the only woman who ever beats Sherlock: she has no sexual interest in him whatsoever - in fact, the story ends with her getting married to someone else - but her intelligence and skills impress him so profoundly that he keeps her photo and, as a direct result, stops devaluing the abilities of women."

And that phrase "meant to be" seems to be the key. Because the thing is, this isn't really a very good description of what Irene Adler is in the original story. It's more like, as Foz says, the story we've been telling to ourselves.

Because that description is partially true, but drastically incomplete. Really her reputation as The Woman Who Out-Thought Sherlock Holmes is entirely down to a couple of paragraphs of good press from Watson as narrator, rather than what she actually does in the action of the story. In that story, she doesn't actually keep pace with Holmes; she's genuinely taken in by Holmes' various deceptions -- even though she's been warned in advance to look out for him in particular. The victory she wins over Holmes is simply a matter of spotting when she's given herself away, and getting the hell outta Dodge before Holmes comes back -- having decided that she can't go up against "so formidable an opponent". Far from engaging in an intellectual battle of wits with Holmes, she's actively trying to avoid such a clash.

And as strong female characters go... well, the original Irene is way more Fatal Attraction than anything. She starts her whole blackmail scheme to ruin her ex, because she'd rather see him humiliated than let him marry someone else. (People who've been complaining about Adler being sexualized in the modern version may be forgetting that this is a story about a Victorian sex scandal.) She finally abandons her scheme for no better reason than that she's found the love of a good man, with Godfrey Norton. And her new husband -- conspicuously absent or downplayed from most of the commentary on Ms. Adler -- makes a respectable woman out of her; after the wedding, she ends up more explicitly defanged and harmless than the free agent at the end of Moffat's sсript.
...
Something which the various commentaries tend to overlook is that the equivalent of the original short story reaches its end not even halfway through the episode. Pretty much immediately after that... we get his turning-point apology to Molly, as discussed above, and later his various expressions of intense regard for Mrs. Hudson. The episode is directly showing Sherlock's changing attitude towards women, as noted in the original story. Just as Foz asks, he's out-thought him, she's impressed him with her knowledge and skills, he retains her texts (the equivalent of the picture), and his attitude in general starts changing -- after the point when he's been beaten by Irene that first time around.
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That's the flipside of fandom's tendency to excuse texts because we love them: when we find a story which fails to live up to our personal preferences, that same passion leads us to declare it reprehensible. Any positive features just vanish.
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In fact, if you look at their respective goals in that story -- Irene wanting security, Holmes wanting to maintain his superiority and detachment... she does a better job of winning than he does. Far from ending the story with him sitting back talking about love with a gibe and a sneer, it turns out she's successfully pulled Holmes' strings to the point where he gives up on his resistance to sentiment. He actually cares about keeping her alive.
***
The thing is, I think that's another one of those unfulfilled archetypes in our heads at work... in fandom's mind, Irene Adler has been turned from a symbol of strength to a symbol of independence -- which she never really was, in the text.
***
Yes, [the story] contains these readings people are finding... and other ones besides. Some of them are progressive, some aren't. The presence of one element doesn't negate the presence of the other.

Он, кажется, в числе прочего, поднимает там тему, которую я эмоционально затронула здесь после финала 6 сезона ДК.

@темы: Утащено, Фандомное, Сериалы, Meta

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Закрытая запись, не предназначенная для публичного просмотра

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Пусть будет.

13.01.2012 в 17:36

Пишет  le scaphandre:

spoilers!к третьей серии

1. GET SHERLOCK
2. "Come and play. Tower of London. Jim Moriarty x"
3. "Every fairy tale needs a good, old-fashioned villain"
4. Rich Brook is important
5. "Take my hand"
6. Grimm’s fairy tales are also important…
7. A nod to A Clockwork Orange, in the form of music.
8. "You look sad when you think he can’t see you"
9. "You want me to shake hands with you in hell. I shall not disappoint"
10. A certain item of headwear makes a return.
11. Stealing the Crown Jewels? There’s an App for that…
12. We hope you’ve been paying attention. Something said in A Study in Pink becomes very important.
13. Keep an eye out, Sherlock fans, for more than one nod to the Basil Rathbone film The Woman in Green.
14. I.O.U.
15. The first rule of the Diogenes Club: You do not talk in the Diogenes Club. The second rule of the Diogenes Club: You do not talk in the Diogenes Club.
16. James Moriarty, aka, Mr. Sex.
17. It’s grim. It’s very Grimm.
18. The writing’s on the wall(s). Keep an eye on it.
19. Silence will fall.

grim Гримм, мистер Секс, правила "Диоген", Рэтбоун, тишина.

зачем я это прочитала

13.01.2012 в 22:29

Пишет  ShinySean:

апд.

еще?

1. Moriarty gets a right royal makeover
2. Never put Sherlock in a courtroom. It only ends badly
3. Tea with Moriarty?
4. “You’re on the side of the angels”
5. Moriarty tells the tale of Sir Boast-a-lot
6. “You need me or you’re nothing”
7. Mycroft’s ‘relationship’ with Moriarty is explained
8. “She’s dying Sherlock!”
9. We’ve already met Richard Brook apparently
10. “You’re not seriously suggesting he’s involved are you!?”
11. “Hostage? Yes, that works”
12. Sherlock has a heart-to-heart with Molly
13. “I owe you a fall, Sherlock…”
14. Moriarty is Stayin’ Alive
15. 01110100 01101000 01100101 01110010 01100101 00100000 01101001 01110011 00100000 01101110 01101111 00100000 01101011 01100101 01111001

Пишет  le scaphandre:

13.01.2012 в 22:34

апд.

и еще

‘This is the story of Sir Boast-A-Lot ...’
‘Would you mind slipping your hand into my pocket?’
‘Put the hat on!’
‘Are you an idiot, a drunk or a coward?’
‘Police! Sort of.’
‘No one could fake being such an annoying dick all of the time.’
‘Do you think you could survive for just a few minutes without showing off?’
‘Molly, I think I’m going to die.’
‘Here we are at last: you and me, Sherlock, and our problem – the final problem.’

URL комментария

запись создана: 13.01.2012 в 18:36

@темы: Sherlock, Сериалы

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Воронеж, приём!
Шерлоковцы предлагают оффлайн: 22 января, 14:00, "Рокабу" у Пролётки. Если кому интересно - присоединяйтесь)))

13.01.2012 в 01:40

Пишет  SpesialK:

Воронеж, оффлайн
Приветствую воронежцев! Как показывает пост "фандомная перекличка" нас не так уж и мало) Пост создаётся для предложений/обсуждений офф встреч

@темы: Будни, ПЧ

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Легла спать
@
Устроила холивар

Вот так мы и живём

@темы: Будни

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Том Спилсбери, редактор DWM, пишет в твиттере:

Exciting secret meeting this evening. I am now even more excited than I was already about the next series of Doctor Who!!!

<...> it's way too early to say anything more anyway, but the next two years will be a very exciting time.

@темы: Doctor Who

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 lira_m, ещё раз привет!

@темы: ПЧ