the thrill of the chase, the blood pumping through your veins
the thrill of the chase, the blood pumping through your veins
DI Greg Lestrade
i was so alone
Infiltrating the Mind Palace.
Someone asked me what I make of John’s office at the surgery. Aside from the teddy bear (which is probably there to soothe small children with earaches- dull) there isn’t much there, is there? INCLUDING COLOR. Everything is blue. All of it. Except Mary. Orange. Complimentary color. We can presume John’s headed for Sherlock’s grave with Mary’s support. Does he look like somebody who’s moved on? He’s moved on. It’s a good life. But not a vibrant one.
It’s called using complementary colors to make a scene visually nice. Also, to make her stick more on the scene…don’t try to search for a deeper meaning when there’s none.
Don’t search for deeper meaning?!? You’ve evoked the wrong blog my friend… Lol.
I’m afraid this hit a nerve. Everything that happens in front of the camera happens that way for a reason - if for no other reason than putting things in front of a camera costs money, so there’s an economic incentive to make everything there count. Sometimes the reason is “we needed a lamp and that one was just over there.” But if you spend any time - any time at all - reading interviews from production staff - set dressers, costumers, cinematographers, etc. - you discover that a lot of the time the choices are very deliberate. Even if it’s “to make it look nice,” that desire to make something look nice is motivated (i.e., a Merchant Ivory film - say, Howard’s End. Pure visual porn, and it got me in the theater. Titanic - silly movie, gorgeous visuals).
In the case of Sherlock, a cursory read of Arwel Wyn Jones’s Twitter account alone suggests that they’re quite aware of what they’re doing with the set design, color inclusive (mise en scene. It’s called mise en scene). What is blue? Sadness, perhaps. Calm. It depends on the shade and hue and context, but to dismiss it out of hand is to close off a whole world of potential meaning. Is that meaning necessary to the story? Does every viewer have to appreciate it? Of course not; but for some of us it’s a palpable pleasure.
You want absurd ‘deeper meaning’ theories? Watch Room 237, which is what people often think film analysis is (they’re wrong). And then do yourself a favor and have a look at David Bordwell's blog, in which he dissects film frames within an inch of their lives and comes away with some really rich interpretations - which, it should be noted, have been confirmed by many of the filmmakers he has studied over a long career.
**in the case of the above shots, I would just mention that it’s harder to shoot in a dimly lit room than not. And you don’t normally see a lot of dark blue and/or moodily-lit doctor’s offices (assuming this is where he is), so verisimilitude is out. So, then, why so blue and moody? We won’t know till the episode has aired, but my money is on John being a bit torn here. Mary’s light and brightness, and John’s (apparently) attracted to that. But. He was also attracted to Sherlock’s (blue-tinged) darkness. Hmmm.
Yeah, given the density of visual metaphor and allusions to other movies that Sherlock is packed with, there is just no way to argue that every single shot isn’t 100% deliberate in every way. If it were some random police procedural or sitcom then yeah, maybe they’re just using colors they like or that work together, but on this show? No.
Of course, there are definitely multiple ways to interpret this, especially before we see the context. To me, it looks like it’s showing John’s life as a bit drab, with Mary as the only bright spot. (Also: The lack of mustache plus Mary’s coat makes me wonder where in the episode this fits and when the mustache comes off, exactly.)
Yeah— I was obviously wrong about the context cause I block out the Johnstache— my mind refuses to see it! But look here at this bedroom shot. Blues, grays again with that blink of orange light. The watch on the stand next to the phone, mug, pocket change. Wide awake and looking up and old. The first time we’ve seen John in bed since the amber-greens of Pink and just as haunted.
And then there the fact that this bed shot with Mary spins.
It’s a blatant way (never been my favorite shot— not since it was done to death in Malcolm X) to spin Mary out of the shot (since the shadow of his face eclipses her anyway) and underscore that we’re in John’s disoriented head now. She is near, grounding him you could say— I think the fact that there’s a giant black shadow between them is Highly Symbolic but to each their own interpretation.
Fact is John is having big dark manly emotions. And in these scenes they have nothing to do with his feelings (however deep, however loving) towards Mary.
What or who keeps you up at night, wide awake in the darkness while your lover sleeps soundly by your side, unawares?
Wow this analysis has really chapped some people (and not in a happy after-glow kind of way.) I’m reblogging my response to some private messages and other posts that have been commented on w/out my bedroom points above b/c I like my bedroom points and want to keep them here with this stuff below.
The outcry (such as it is) is that we’re “reading too much into things.” If I had a dollar for every time a student told me that (or started a research paper with “since the dawn of time”) I’d be a wealthy, wealthy woman.
Why the policing? Because that’s basically what it is. What is the problem with reading something carefully and reading it consciously and intentionally to meet your own desires— to actively read your ship into and out of what everyone watches but not everyone sees? One wonderful tumbler said to me about my original lost that not everything is about romance— but not just that (I guess that’s kind of an obvious thing to say)— the gist of the response was again, a kind of admonition not to “go there” or that by going there we were doing something wrong or excessive or misguided or trite. Is the “fear” that we’re deluding ourselves by looking for sex or love that isn’t there (obviously it is)— is the concern for our sanity and well-being? I have to ask what’s behind the urge to tell us to stop. It’s a strong one— visceral— important enough for people to reblog a post and comment on it (which hardly ever happens— a tiny fraction of my notes are anything other than a like or uncommented reblog.)
What exactly is it— what precisely is it that people don’t want us to see? What or who do we threaten by reading John’s feelings in every aspect of what we see and hear (color, lighting, camera movement, music, dialog, etc.)
What’s the danger of reading too much into? Too much is never enough.
#I love everything about this analysis.#Excellent example of fangirls being viewed (and perhaps even viewing themselves) as being over-obsessed#as having no life#as projecting their desires onto what they see on the screen.
I love picking things apart like this; identifying all the symbolism and allegory in English class was one of my favorite projects. Who gives a shit if we’re right or not? For some people, it’s fun. It’s like a game of hide and seek with set dressers and directors and costumers and cameramen. A secret language, one could argue, in some cases.
Yes, go ahead and be right and tell those analysis-loving fools that they’re reading too much into things. Consume your media with a 2-dimensional lens and move on after it’s done. Some may choose to dig deeper. It doesn’t really matter if they’re wrong or not, does it?
Sherlock Series 3 Online Viewing Party
Between now and January 1st, the Three Patch Podcast will be posting information on Sherlock Viewing Parties (both online and in-person) from around the world. Look for updates on decorations, games, food, and livechatting resources.
If you’re holding a viewing party, have terrific party ideas, or want to share photos of your viewing party, use the tag #partylock.
We have more in common than you like to believe.
casual, casual, casual, casual, causal, casual, DEVASTATION
Arwel gives an early Christmas present to everyone who’s wasted too much time pausing their DVD in a futile attempt to read Molly’s work ID.
To anyone wondering what a ‘specialist registrar’ is (or, better, was) here is Wikipedia exhaustive page.
So, for anyone still wondering: Molly IS a doctor, AND she is completing a very advanced and specialised training, access to which also was very hard and competitive.
So, Molly’s detractors, put this in your pipe and smoke it! She is a wonderful, strong, very determined and very clever female character!
Three Instances in Bed by Ark
Length - 4,668
John/Sherlock - Three times they ended up in bed together
At first blush, this is your standard trope favorite of a first-time John/Sherlock. And if it were just that, it would be a lovely little read. But it’s more. If you are in the mood for some thinky sex, for some unexpected and non-standard, beautiful language, then give this a go. It’s such a joy to find something different, and I love this story for that.
Points for gratuitous use of ‘Holmes’ and ‘Watson’, which makes my fangirl heart flutter.
Sherlock should be fencing in a wood-paneled hall somewhere surrounded by family crests, sipping brandy at the ancestral fireplace by the tapestries, not riding the push of John’s hips in jeans with John still molding him into the leather of their couch.
“If we do this I won’t go back,” John says before he can stop himself from making that clear. The truth is better; he knows how he’ll be, after. He knows how he’s been until now, consumed. Sherlock should be able to read and interpret this from the way John’s hands return to gripping and pushing and shaping him, making the improbable angles of their bodies slot up like the best sort of puzzle.
benedict being a dexterous bastard.“I’m a sucker for picking things up and twiddling them…It’s not in the books, it’s not in the script. It’s just me having fun with the props.”
Sherlock Holmes don’t have time for your cockamamy slow ways of picking things up.
"The coat was actually a couple of years old. What happened is that another chap did the pilot and he found that coat. When I took the project on, I inherited all those original costumes from the pilot. It was the only thing I kept. It was such a lovely coat - a classic. We had three of them because we obviously do stunts and need doubles. It is a lovely coat - really perfect for Benedict. He loved it, I loved it and everyone else seemed to."
- Sarah Arthur, costume designer