So I was a Sherlock fan until this last season. The treatment of Molly then having her just act like she was okay with it at the end w/no resolution? Also, they ruined Moriarty for me. His entrance was amazing! I loved him as a villain and was hoping somehow he didn't actually die, only to find out not only was he really dead, but he was manipulated by Sherlock's sister! That retcon physically hurt.
The whole thing still makes me feel sick, tbh. I discovered Sherlock by accident after two seasons, and there was so much of everything in there - ugh. That’s always what happens, right? It’s only when you love so much that you can feel the real anger once it’s over and you realize it was never worth it in the first place. Life, and all that.
Molly - I loved what they were doing with Molly, because Molly, more than anyone else, pointed out how flawed Sherlock was; how unthinkingly, or perhaps even deliberately, cruel. That first scene between them physically hurt, because we’ve all been there, right? Slavishly devoted to someone because we like them so damn much, and it doesn’t even matter if they spit in our face. So it was well done, I think, all of it - falling in love with someone who’ll never love you back isn’t a sign of weakness, or that of a badly written character. It’s life. It happens to all of us, and we all need to learn how to get over it (although, perhaps - if fiction provided more models of scorned men making peace with their feelings and accepting that things sometimes don’t work out, instead of the usual parade of abandoned women crying their hearts out in some messy bedroom - well, maybe we wouldn’t have all these men around whose only solution to being told no is outrage and violence and rage and a sense of deep and personal shame). So, well. The beginning of that was not only sweet, but necessary, because we were watching the story through John’s eyes and John was slightly infatuated from the very beginning and, therefore, an unreliable narrator.
And Moriarty was magnificent, you’re right. A jewel of a character. The idea he’d been manipulated from the start (and why, and how) - it ruined everything, because that game - it was between him and Sherlock, no one else. It was built that way, narratively, and I’d be very surprised if Moftiss told us they were aiming for Eurus all along. They clearly weren’t.
Sherlock was supposed to be the best of all things, and it turned out to be the worst. It didn’t respect its characters (or its outstanding actors). It made a mockery of its own story. It turned what had been a hymn to emotions and rationality into a circus. And the worst part is, it did all of that - for nothing. Because in some cases, cheating works. We never question why the hero is always an orphan, and why there’s always only one way to save the world. We accept storytelling is a sleight of hand - a magic trick which is deceiving us and cutting corners to lead us some place better - to make our lungs collapse and our heart burn with too much pain and too much love. It’s like watching fireworks. We never think of the ugly reality of them - we like the pretty lights too much. But here - here, it didn’t work. There was no plan. I had feared the worst ever since Mary’s pregnancy was announced, but I was hoping for them to find a way to make it work - not necessarily Johnlock (even if, come on - some acknowledgement of that would have been decent), but a finale that would stay true to those characters. And instead, we got nothing.
(And the thing is, one writer, slaving alone on his novel and cursing at it? I’ll understand if it’s not their best work. But TV shows - they’re the product of a collective effort. You don’t get to use the Bad Writing Day card. You’ve got the resources to make it work, so if you don’t - well, I’m sorry, but I’m done with you.)