I'm quite illiterate but i read a lot

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itsallblogtome asked: I understand why Gatiss & Moffat keep tight-lipped about characters' motivations and operation johnlock etc. but I often think it would be fascinating to read/watch an interview with a well-versed interviewer, hearing the Mofftiss reasoning behind their sub-textual choices. God, that would be an interesting discussion. Unfortunately we won't get to hear that conversation until the final episode has aired I suppose :(




I am actually terrified that someone will do that before John and Sherlock get together on the show. I don’t want to have to see them try to joke around very pointed questions. I like watching them lie and I don’t want their master lie to fall apart in print or on TV or something for all the casuals to witness. When John and Sherlock get together I want the interviews to have the full glory of Moffat laughing and Gatiss smiling that way he does and both of them saying, “Well, what did you think was going to happen? Of course we were lying! It was so obvious!”

I also want Steve Thompson to apparate into the room in his full sorcerer regalia and wave a pen to make everyone gay. One last plot twist.

After it happens, I have every intention of trying to interview them myself, but I don’t know how plausible that would be. I have a running list of very specific questions about subtexual choices…

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Oh man, at the very least, I would love it if you could make it to one of their panel discussions that are open to the public, and stand up during the Q&A and introduce yourself by your Tumblr username before saying “I have a five-hundred-part question, actually. The first part is…” (Mark would be like, “Oh, I love your blog! You were on to us all along. Did you see your theories on Anderson’s Wall o’ Fandom in series five?”)

LMAO “I have a five-hundred part question” <3

"I have a five-hundred part question. The theme of the first seventy-eight is ‘Was this intentionally gay, or am I just trash?’ For ease of answering, we’ll proceed chronologically. Question one: in the The Blind Banker…"

And they’re like


1,577 notes

The Princess Bride, Moffat, and TJLC






In my reading, TJLCers!

If you didn’t know, one of Moffat’s favorite movies (and books) is The Princess Bride:

I’d recommend reading The Princess Bride. It’s a wonderful book; it’s about storytelling. It’s supposedly…

ROUS…rodents of unusual size…giant Rats of Sumatra!!


He wanted to be a pirate.

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We decided early on that we needed someone very beautiful, in contrast to Benedict! Well, I was asked, they forced me. It’s hard. I could have been very noble and said no but life’s too short. I would kill to play Mycroft Holmes, so I just am!

Mark Gatiss on the arm-twisting that persuaded him to play Mycroft

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1,577 notes

The Princess Bride, Moffat, and TJLC


In my reading, TJLCers!

If you didn’t know, one of Moffat’s favorite movies (and books) is The Princess Bride:

I’d recommend reading The Princess Bride. It’s a wonderful book; it’s about storytelling. It’s supposedly him adapting a story his father used to tell him, for his son — by cutting all the dull bits out, and any kissing, and getting rid of it all.

I think it’s both a wonderful book —and a film, which is a double whammy.

— Steven Moffat (x)

Consider this as a summary of The Princess Bride (which has some of its own parallels with ACD canon):

The audience for the story is a kid who explicitly says he doesn’t want to hear a kissing story; he thinks they’re gross. His grandfather sells him the story by making it sound like an adventure story. As the adventure story goes on, the kid starts shipping Westley and Buttercup and caring a lot about their relationship.

Westley returns from the dead in a disguise and pisses off Buttercup, his true love. She forgives him rather quickly, however. Unfortunately she is engaged to someone else she doesn’t truly love because she thought Westley was dead for years; she says the engagement all happened too quickly. Westley rescues her from a kidnapping plot and fire but then has to return her to fiance, who turns out to not be in love with her at all, but rather is a murderous psychopath who is lying to her as part of an elaborate plot. Buttercup is unaware for a while, however, because her fiance seems so nice. Buttercup has nightmares because she’s in love with Westley but thinks she must marry her fiance. She makes a last-ditch effort to break things off with her fiance and get with Westley. Meanwhile her fiance kills Westley, who comes back via a “miracle” wherein someone asks him what he wants to live for: he awakens gasping “true love.”

At this point the kid REALLY wants Buttercup and Westley to be together, and for Buttercup’s fiance to be killed because he’s so awful: he killed Westley, and has been lying to Buttercup.

Westley manages to outsmart Buttercup’s fiance with the help of some friends. Westley and Buttercup literally ride off into the sunset and, according to the grandfather, the kiss is more passionate and pure than every other kiss ever. By the end of the story the kid is heavily invested in their relationship and wants to hear the kissing part, going so far as to become agitated when his grandfather tries to skip it.

Now reread that, but replace Westley with “Sherlock” and Buttercup with “John.” And substitute “John Watson is definitely in danger” for “true love” as the trigger that brings Sherlock back to life — which, of course, according to TJLCers isn’t much of a substitution at all.

Meanwhile the audience, who would have not willingly watched a romance they perceive to be gross, is taken in by the adventure story facade and gradually comes to root for Johnlock. By the end, they care more that John and Sherlock end up happy together than they care about any particular adventure in the story. Softly, softly, isn’t it?

Also fun: the entire cabbie confrontation in ASiP is an homage to The Princess Bride. Westley engages in a battle of wits with a man over which of two glasses of wine are poisoned: the man has to pick which of the two he’ll drink, and then they’ll both drink their glasses to prove who is smarter. He does this by working through whether it’s a double bluff, a triple bluff, etc.

Mind blowing!

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INTERVIEWER: Was it difficult getting the complexities of the different [Sherlock Holmes] characters from the original books? A lot of adaptations turn Watson into a bumbling idiot, completely different to his personality in the books.

MOFFAT: […] With Watson, the problem is when you remove the narrator function from him—because he’s really just the ideal audience for Sherlock Homes in the book. You actually have to do something more with him.

Our Doctor Watson is very sardonic and snarky and funny. But if you actually look at the original Doctor Watson, he isn’t; he’s endlessly credulous, constantly amazed—not quite Nigel Bruce—but [he] nonetheless has an epic ability to be wrong about everything.

[In Conan Doyle canon] he’s not as thick as he can sometimes be presented, but he is comically astonished by Sherlock Holmes’ deductions for the entire thirty years of their friendship. You think at a certain point he might know Sherlock Holmes has probably got this one — not saying, ‘You cant possibly know that, Holmes!’ Not three decades in!

We’ve got an actor like Martin Freeman, and I think the thing that’s important for Doctor Watson is that he’s definitely hugely competent.

He’s not any kind of genius, but he’s a very competent military man, and a good doctor with a stout heart, and the best friend you could want, and the first man a genius would trust—which is a huge compliment.

A genius chooses him.

A genius who understands everything about everybody chooses John to be the man he trusts.

So that’s about as big a compliment as you can get, really.

Steven Moffat

(Emer Sugrue’s University Observer interview transcript, February 2012 [x])

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