i only watched this show for the plot

I got so emotional watching the last, final Teen Wolf Comic Con Panel. The love each cast member had not only for the show itself but also for each other, and the fans was truly beautiful to watch. Teen Wolf may not be perfect, it has some flaws, plot holes and moments that many may not agree with. But my god, it’s a show that I grew up watching for the past 6 years, it’s a show that became my happy place. Each and every character (no matter if they were my favourite) has taught me so much and the storylines I will always go back and reminisce on. Words can’t explain how thankful I am to Jeff for creating a world that I can sit down for 40 minutes and just escape in. And I’ll also never be able to put in words how thankful I am to the cast for bringing these characters and stories to life. Teen Wolf for me ended up being more than a show and I know for years to come I will treasure this little show and how it changed my life. Thank you Teen Wolf for 6 amazing seasons. Thank you for taking me on a journey over these past 6 years. From the bottom on my heart, thank you so much!. ❤️‍

consider watching black sails

it’s a tv show that is a treasure island prequel, so it’s a pirate show but it’s also so much more than that. it’s 4 seasons long and just ended so I can finally recommend it without fear of regretting it. it has

  • lgb representation (5 characters, 4 mains, spoiler: only one of them dies)
  • well written female characters who get to interact with each other!! very often while watching s4 I would see 2 women talk to each other and be important to the plot and I would just suddenly realize how rare that is in other shows
  • sex workers who are written like human beings (and spoiler: manage to leave that behind)
  • amazing writing in general
  • gorgeous cinematography
  • GREAT soundtrack
  • complex characters!!!! 
  • gay love is the center of the show

warnings: rape tw for season 1, and it’s a pirate show so it can get violent and bloody

feel free to add anything, it’s past 1am so forgive me if i’m forgetting stuff

For people who want more genre anime with LGBT+ characters like Yuri!!! On Ice

Samurai Flamenco. Please. 

It’s got an adorably dorky, enthusiastic, and justice-loving main character named Masayoshi Hazama. He’s a gorgeous model, but he dreams of being a superhero. And he does it! Kinda.

He meets cynical cop Hidenori Gotoh, who chastises him for being a vigilante, but the two grow closer and closer. (And closer, and closer…)

There’s also an important side character, Mari Maya, who is an idol. She is bisexual, and is in a relationship with Moe Morita, who is a lesbian. (There’s a third member of their group, Mizuki Misawa, who I believe to be coded asexual, though anybody can headcanon otherwise.)

(this happens multiple times!!!!)

The show is incredibly silly in nature (up until a certain point), and both pays homage to and parodies the conventions of the superhero genre. From the western vigilante, to the Japanese sentai, it’s got it all. (Even magical girls!)

However, it also deals with toxic relationships, conflicting ideas of justice, and mental illness. It takes all of these ideas very seriously, and treats all of its characters with respect.

So anyways, if you love Yuri!!! On Ice, and want to watch more genre anime with respectfully treated LGBT+ characters and canon relationships, I HIGHLY recommend Samurai Flamenco. It’s a wild ride, but Samurai Flamenco is an incredible show that deals with justice, morality, relationships, mental illness, and love, and puts all of these issues in the limelight. The romance between Masayoshi and Gotoh isn’t even the main focus of the plot, but is still developed incredibly naturally as they become closer and closer.

So go watch Samurai Flamenco!

EDIT: It has been brought to my attention that some people are indignant about me using the phrase “coded asexual”. One person explained to me that this is because it seems like I am trying to erase a character’s sexuality, and that they cannot ONLY be asexual. So let me explain. I have watched Samurai Flamenco 5 times, each time with an even more analytical mindset. (Because I just love it so much). The character in question here is Mizuki Misawa, and yes, I believe she is coded to be asexual. There is a very large cast of characters, and almost all of them are shown at some point or another seeking romance and sex. This heavily includes the other two members of the idol group, Mari Maya and Moe Morita. However, Samurai Flamenco deliberately shows Mizuki refusing and showing no interest in those same pursuits. The show purposefully showed her as uncomfortable in sexual situations, and she frequently refuses the poly advances Mari and Moe make. Since this is very deliberate, I am still firmly behind my phrasing, because she is implied to have no interest in sex and no sexual attraction. So, because I’ve watched SamFlam so many times, each time has only cemented that feeling in me. Any other part of her identity is up to headcanon, as that is the only aspect really shown about her.
excuses ive heard from people who did not want to watch the get down
  • idk, the plot looks boring –> it’s about ambitious young people who try to find a place in the society they were thrown into and i think anyone can relate to it
  • i watch too many shows! –> bruh, the first part of the season is only 6 episodes. i’m sure you can plan it in you schedule
  • i don’t know about hip hop or disco! –> me neither and it did not stop me from understanding the plot!
  • i don’t like musicals! –> it’s not Les Misérables, there is only like 4 major scenes where the characters sing/rap and it’s not corny in any way - it makes sense and the songs are hella catchy and amazing

so time to wake up y’all! part 2 is dropping on April 7th! just give it a try, i swear you’re gonna love it 

Please Watch “Orange”

Ok everyone. I’m sure some of you have probably heard of this anime, and those people who have heard of it have probably strayed away from it for the same reasons I did. 

I am a huge fan of romance anime. I’m basically addicted to anything involving love, but I was weary of this show, called “Orange,” because (1) you learn from within the first few minutes of the first episode that the love interest is going to die, (2) it looks really cliché, (3) it is not very popular, and (4) it looks sad. 

I was wrong. So very wrong. 

(1) Yes, the anime has its bleak, raw moments, but those moments were the ones that I never had anticipated that I would appreciate the most. Something that definitely became an admirable point of the anime was its very real, non-sugar-coated portrayal of depression, mental illness, suicide, and grief. This series does what most shojou romance series shy away from and actually shows the audience what depression is like through Kakeru, the fated-to-die protagonist, and the seriousness of suicide. 

As someone who has personally battled with clinical depression for years and has been to therapy and counselling, this anime hit home for me. The faking smiles, pretending everything is okay, the self-loathing, thinking you are at fault, thinking you are a burden to others, denying yourself happiness, not allowing yourself forgiveness, and the thoughts of death; they are all things that I could relate to. They even included how you can still experience moments of true happiness even if you are depressed, but how it never really goes away. Sure, this anime might not be as light-hearted as others, but it’s the heart-rending instances in this show that give it so much impact and substance. 

(2) This anime does have some clichés (i.e. cultural festival, giving chocolates on Valentines Day, new kid at school sits next to the main character), but the plot completely colors these events in ways that make them so much more meaningful and different than you have ever seen them. One of my main concerns going into this show was that I would be bored, but I ended up watching it all in one sitting simply because of how much I needed to know what would happen. Additionally, the secondary characters are wonderfully fleshed out and are actually important to the plot, instead of feeling like accessories. 

(3) I know this anime was based off of a manga (which I had once picked up on a whim, but put down once I saw how sad it was probably going to be), but I have never heard people talk about it, like ever. Even when the show came out (which it did recently), there was no buzz about it. Although the lack of chatter surrounding Orange only made me more pessimistic regarding the quality of the show, if there is anything I have learned from watching hundreds of anime, it is that sometimes good shows can fly beneath the radar. I am glad I decided to pick it up after it’s completion and give it a chance, because I just found a series that has easily earned a spot on my top 10 list. 

(4) Is this anime sad? Yes. Is it too sad to watch? No. The biggest obstacle that stood in my way for this show was the fact that it pretty much promised from the get-go to be sad. “But love is supposed to be happy and have a happy ending,” you might say, “so how can that be possible when one of the protagonists is destined to commit suicide.” I don’t want to spoil it, so all I can tell you is that I was very pleased with the conclusion and it ends much differently than you are lead to believe it will. Trust me guys. My heart is made of glass. I would not recommend this show to anyone if I didn’t think the denouement was really good

So, in conclusion, set aside a few hours one day and let this series show you its magic! 

marlene-fletcher  asked:

what if before spiderman or deadpools identities are revealed keith/spiderman has a huge crush on lance and lance/deadpool has a thing for spiderman but keith just sees deadpool as a big mouth merc and lance just sees keith as some introverted emo and so of course this results in pining idiots... sorry;;

Mmm smth like that! Of course people can play with this au however they like but here is how i see it..

Keep reading

If I were to write a TV cartoon, the show would be a balance between standalone episodes and an overarching plot. Almost every episode needs to work as both its own story and a part of a bigger story.

Each season would be split into arcs of 3-7 episodes each. With some standalone non-arc or subplot related episodes in between from time to time.

Most arc episodes would be fairly loosely connected though, and could be viewed on their own without watching the rest of the arc first. And the episodes that do follow up established plot points would be written in a way that even without seeing the previous episodes you could quickly catch up. But also in a way that doesn’t spoil too much of the previous episode in question.

This way the show would be enjoyable both for people who binge it or watch it regularly and occasional viewers watching from the middle or out of order. Suitable for both on-demand viewing and TV reruns.

I’m not saying it would be easy. But I think it’s possible if you follow guidelines and synergise all of the different writers.

Here are a few guidelines to accomplish such a thing:

1. Dual Focus. Only the beginning and ending of the episode in each arc are obviously key to the overarching plot. The rest of the episode is purely for the sake of the episode. With a few exceptions.

2. Setup. For the first episode in an arc only the ending is explicitly setting up the rest of the arc. The beginning needs to set up the episode itself.

3. Climax. For the final or midpoint episode of an arc, the entirety of the episode can be relevant to the overarching plot.

4. Non-Obfuscation. Details from previous episodes that come into relevance back later shouldn’t stand out too much or interfere with the plot of the current episode.

5. Brevity. Every detail that comes into play later needs to be summarised very shortly when it does. It needs to be explained to people who haven’t seen the previous episode and reminded to people who did. But it also needs to be explained in a way that doesn’t spoil the rest of the episode it’s from. This is the trickiest part, as it requires each episode to be multilayered.

6. Clear Timeline. Each arc should have some sort of signifier or tell to when it takes place in the series. The presence of a character or item. Or abilities the protagonists have. Or a certain attitude reflected by the characters. This way it’s clear to anybody watching in any order which episode takes place before or after any other episode for almost any two or more episodes.

seriously guys, just watch 3% on netflix!

it’s the first brazilian show produced by netflix and it needs some recognition bc:

- DIVERSE CHARACTERS!!! i’m not kidding, there are so many different storylines and people and just fucsjsk watch it now
- good plot!
- good acting!
- good cinematography!
- blurred lines between good and bad (i mean, there’s not just only the Big Bad Guy™ and the main character, they all have their motives and it’s just great)
- addresses issues like mental health and disability (not just on the sidelines like most shows!! main characters guys!!)
- really cool things about our society in general and what it may become

i mean, i see people complaining about tv shows not being diverse enough or not portraying people in a realistic way but when shows like this one air, they just get ignored so…. yeah! watch it!

You know I’m still pretty blown away by how smoothly Svtfoe has transitioned its overall mood. Most shows will have a pretty significant alteration between the themes of the first episode and those of a season or two into the series, but this one is really going whole-hog.

To put it this way…

Ludo in the beginning of the series was a comic-relief villain. He was incompetent, whiny, the butt of jokes, and overall not a threat in the least. Now, come season two, we see that he is the result of severe childhood neglect and that the exposure to his wand has brought on a drastic collapse in his mental health. With the introduction of his family, and especially his little brother, he becomes a well-rounded character that I wouldn’t say is relatable, but at least one we can feel for. 

Star was a character I was worried would always be over-eccentric and enthusiastic, though the quiet moment between her and Marco in episode one definitely gave me hope. Much like Ludo, she started off as a very flat character with an exaggerated image, and has since evolved into someone multi-faceted and sympathetic. Her flaws are realistic, and that is something I greatly appreciate.

And Moon was introduced as the typical straight-laced, no-nonsense queen that I figured would play as an antagonist for the entirety of the series, but instead we get someone who struggles with the burden of her duties and preparing her daughter for the same job. When she put on her armor and let down her hair, I was awestruck as I remembered my first impression of her.

Overall I’m just really impressed with this show, considering that when I first started watching I thought I would most likely lose interest. Instead I got characters I can be invested in and a plot well worth following. Svtfoe really pulled a fast one on me in the sense that the only character I liked at all in the beginning was Marco, and now I’ve come to adore the majority of the cast.

I randomly bumped into a new Netflix show called Ingobernable and when I saw mexican actress Kate del Castillo was on it I just had to watch it. She’s fantastic, I loved her job on La Reina del Sur (another great show available on Netflix).
Now, back to Ingobernable, this show is SO GOOD. I mean it. The plot is really good and the acting is on point. There’s real mexican people, not only the white-washed ones. There’s LGBT people. There’s women kicking some ass.
Please, watch Ingobernable!!!!


To Recap

As of now (3/30/2017), Hyper Projection Engeki Haikyuu has four total shows. 

I’m getting a lot of questions about this lately.  And while I’d like to remind everyone that I have an information page that explains all this: (x) I thought a refresher post would be helpful.  

The shows have only been running for a year and a half; if you feel like you’re super far behind, you’re not really.  The names of the shows are

  1. Hyper Projection Engeki Haikyuu!!
  2. Hyper Projection Engeki Haikyuu!! - The View from the Top
  3. Hyper Projection Engeki Haikyuu!! - Karasuno, Revival!
  4. Hyper Projection Engeki Haikyuu!! - Winners and Losers

I have explained before that when organizing content from these shows on this blog, I tag them as below.  When asking me a question about a specific show, it is best to mention the secondary title, not the number of the show to avoid confusion.  Many people don’t count the re-run as a show in and of itself.  While Winners and Losers is the 4th play to be made, it is the 3rd play in the plot.  

  1. Shoen
  2. Saien
  3. Revival
  4. Winners and Losers

I provide easy links to these on my Tags page: (x

As always, I keep an updated FAQ Page: (x) in which I answer most questions you might have, including the ever-popular: How can I watch these shows?

As of now (3/30/2017), please keep in mind!!!  The Revival production’s DVD is still not yet released.  There is NO footage for this show anywhere online (except videos of press-showing previews), the DVD is not out yet.  And Winners and Losers has only just started touring; its DVD isn’t scheduled to be released until September 2017.  

Let’s talk about White Diamond

By now I think it’s blindingly obvious that our Pearl used to belong to White Diamond. Truthfully, I’d thought it was fairly straight forward since the moment we first saw the Diamonds way back when.  

Looking at Blue Diamond and her Pearl, they both have:

  • Long flowing skirts
  • Concealed eyes
  • Same gem placement

Then the Yellow team has:

  • Overly large shoulder pads
  • Similar hair styles
  • Same gem placement

So how does White Diamond compare to Pearl? Well:

  • We can’t really compare outfits, since Pearl clearly isn’t in uniform
  • Slicked back hair
  • Same gem placement

Another point to consider is that once White Diamond is properly introduced, she’s going to need a personal connection to the main cast, and that’s shaping up to be Pearl. Even if you ignore all of the evidence, it almost has to be Pearl by process of elimination since we know the least about her backstory. 

“But wait!” I’ve heard people say, “Pearl isn’t pure white! She has a variety of colors in her pallet!”

… Okay, and? Seeing as how she rebelled against her owner, I don’t see how that proves anything. 

Anyway, why is all this important now?

Because they are very deliberately not saying who Pearl used to belong to. This has been a consistent part of SU’s storytelling. In fact, it’s the very thing that Steven was railing against in the last episode. If the characters (or the writers, however you want to think of it) aren’t ready to bring up a topic, they just kind of avoid talking about it, and to date, White Diamond’s name still hasn’t been spoken aloud on the show.

I’m going to say that again. Despite some hints that she is the Supreme Leader of all gemkind, nobody has said the words ‘White Diamond’.

At this point, I have to wonder if they’re saving White Diamond in case the show gets renewed. As it stands, there’s only about a season and a half worth of show left, and there are still a lot of existing plot threads to tie up without getting into new ones. White Diamond’s name getting dropped could very well be a sign that the show is moving into it’s endgame. 

The Story of 2213 (So far)

Part 1: The History

2213 has its origins in my undergrad program and in my undying love for BBC’s Sherlock. I came to the fandom just after watching series 3 and was astounded by the wonderful meta and investigation that fans had put into examining the show and the original stories on which it was based. I was in my junior year of college at the time and looking for a project for my thesis. The idea of adapting one of the Conan Doyle stories to feature a female Holmes and Watson seemed only natural.

My co-producer and I chose to adapt The Boscombe Valley Mystery, mostly because of its straightforward plot and the fact that it was easy to translate into modern times. Holmes and Watson were made women, remained British, and continued to live in 221B in London. In all honesty, that production read as a BBC Sherlock fan piece (even the original music we had recorded for it had essences of Sherlock scoring) but we had fun with it nonetheless.

Two months after closing night, my adviser and I met to go over my grade for the project.  She gave me a wealth of positive feedback and asked me if I would ever consider adapting such a thing for television. I hadn’t considered it, I told her, and she told me to start thinking about it. She had a contact at Syfy who was commissioning work for their web series division and was willing to put in a word for me if I could get some material together. How could I turn down an offer like that?

The next few months were overwhelming – I graduated from college with a B.F.A. in Theater, emphasis in Acting. It was difficult to keep up with writing during that time, but I managed to draft three episodes and map out a first season before the end of the year. By that time, unfortunately, my adviser’s contact had left Syfy. Disappointed, and overwhelmed with other facets of my life, I put the idea on the back burner.

For the next year, I worked on the show sparingly. It underwent many changes since the original performance in 2015. Watson and Holmes were named “Johanna” and “Charlotte” respectively, they were moved to the U.S. (Seattle, my home – which I know well), and they were moved into a dingy apartment above “Hudson’s Deli” at 2213 Bell Street where they live today.

Part Two: The Show Now

By making the characters women in the modern day United States, I realized that there was a unique opportunity before me to have Charlotte Holmes not only be a “consulting detective,” but also a sort of vigilante for those wronged in the criminal justice system. What if, I thought, she tackled the crimes that were found in the system itself?

Conan Doyle himself was a staunch advocate for justice [x] and often stood up for the wrongfully accused, a character trait he passed on to his great detective. I’ve been inspired while writing this series by incidents of police brutality (and subsequent failure to prosecute officers involved), stories of wrongful convictions, and allegations of cover-ups of police wrong-doings.

That’s the cases themselves, though. At the end of the day, I’m most interested in the relationship between Holmes and Watson (Charlotte and Jo) and how adaptations have been getting that relationship wrong for over one hundred years. It is, after all, the greatest love story ever told.

Part Three: Moving Forward

I’ve been inspired the last few weeks by several Tumblr users to start getting this project off the ground. To those of you who listened to my self-indulgent ramblings about this piece of work, I thank you – you were ever so encouraging. 

I’m now reaching out to the masses to ask for your help. I’d like to self-produce the pilot episode (I have some people I can reach out to to help with this), but I need funds to do so. There will be a kickstarter campaign coming in the next couple of weeks.

I’m also looking for people to read the first thirty pages of the pilot and provide feedback to me. From that feedback, I’m planning to edit/write the rest of the episodes for season one.

And lastly, I’m putting feelers out there for graphic designers, musicians etc. who might be interested in contributing to such a project.

Thank you for reading if you’ve stuck through to the end of this post! If you can help by putting the word out, reblogging, or messaging me about any of the above points, I would appreciate it!



  • Nino: Alya?
  • Alya: Yeah.
  • Nino: Instead of always just standing around watching Marinette and Adrien, wondering what they’re doing, what if we… got lives of our own that were a little more interesting?
  • Alya: Now, son, you just hit the bulls-eye. It’s like we’re supporting characters, in some TV show that’s only about them.
  • Nino: Yeah. Yeah! It’s like all we do is advance their plots.
  • Alya: I’ll tell you the truth. I’m sick of it.
  • Nino: Man, me too!
headcanon: jack is one of those people whose personality changes based on the language they’re speaking
  • the first time bitty notices it is during his freshman year. he walks in on jack during a phone call and jack is speaking downright animatedly in french to whoever is on the other end of the line, his eyes rolling and his voice all bouncy with inflection. 
  • bitty’s a bit taken aback. like, jack hasn’t turned into a completely different person or anything (he’s still talking pretty softly, not using a lot of words to express what he means), but bitty’s just never seen jack talk with so much expression before
  • the other thing is, he talks with his hands when he’s like that. while on the phone. bitty has actually witnessed him gesture so hard while trying to hold his cell up to his ear that it flew out of his hand and across the room. bitty had to bite his tongue not to laugh.
  • bitty doesn’t really speak french so he has no idea who jack is even talking to, let alone what he’s saying. maybe it’s a girlfriend he keeps calling? that would explain the change, kinda. (he later finds out it’s usually his parents jack’s talking to)
  • then one day bitty hears jack speak french to ransom. ransom isn’t like a native speaker or anything (he grew up in toronto dude, not gaspésie or something), but he took french until the tenth grade, when he stopped cause he couldn’t fit it in his schedule anymore, and he likes to watch french tv to keep up his fluency. so they’re actually in the middle of watching a random episode sex and the city dubbed in french because there is A GRAND TOTAL OF ONE (1) CHANNEL THAT AIRS FRENCH TELEVISION IN SAMWELL MASSACHUSETTS AND EVEN IF IT SO HAPPENS TO BE BROADCASTING SEX AND THE CITY THEY ARE DAMN WELL GOING TO WATCH IT, THANK YOU VERY MUCH FOR THE INSIGHTFUL OPINIONS FROM THE PEANUT GALLERY, MR. WILLIAM J. “DEX” POINDEXTER.
  • (rest is under the cut, jesus christ this got long)

Keep reading

On plot holes in general

To clear the air: I’m not just talking about Moftiss. But I’m also talking about Moftiss. 

The thing about plot holes is that there are two types: ones which are unresolved plot threads, and things wherein the writers failed to show us something and assumed we would fill it in ourselves. An example of the first type would be John’s letter to Sherlock at the end of TST. Why introduce the letter if it was never going to be shown, read, or referred to again? An example of the second type is how John got out of the well and still had feet in later scenes. There, the writers could have showed us John realising that only his shoes were chained and showed him removing them and climbing up the rope, or they could have showed someone climbing down to cut through the chains. But it feels like a hole because they didn’t. 

Eurus *could* have used all of her brainwashed fellow inmates/patients to make all of those arrangements, but without seeing any of it, it feels difficult to swallow. If they’d shown even one scene of her doing some of this, we might have been more willing to extend some benefit of the doubt, some extrapolation of “oh, I guess there was more of that, then, ok”, but we didn’t see any of it. There was nothing there to explain how supposedly-dead Mary kept sending posthumous home videos. 

Then again, most Bond/spy movies do the same thing, honestly. If Bond’s credit cards were cut off, how did he rent that Aston Martin? Where did he get that new suit? Last time we saw him, he was wearing jeans and a ripped t-shirt and had no luggage with him. Has he been wearing the same underwear for the entire movie? Does he ever brush his teeth? Personally, I’m one of those irritating watchers who always wants to be shown the parts that make it feel real. I suspect that screen writers leave this stuff out deliberately for three reasons: 

1) They think it will be dull. They figure audiences don’t want to see Bond trying on shirts or going to the bank to take out cash or maxing out on a credit card. Better put in some more car chases! 

2) They’re already trying to edit things down to fit into a prescribed run time. Therefore Bond doing cardio to keep fit for all those foot chases gets cut. 

3) They actually don’t want the protagonist (or villain, as the case may be) to seem human; they want us to see them as almost super-human, so Bond clipping his toenails never gets written. 

The thing is, the day and age of willing suspension of disbelief is over. Audiences are more analytical than they used to be. We’re used to getting explanations when we want them, because information is so widely available now. When things don’t add up or make sense, we find it irritating, not artistic. I honestly think that Moffat and Gatiss think they’re being artistic by not explaining things fully (though that doesn’t excuse them by a mile for constantly underplaying the realistic emotional fall-out of the things their characters suffer), but the fact is that their audience simply finds it underwhelming and sloppy. I think it may be partly a question of generations, too, but I also know fans of Sherlock who are their age and older, who find their plot holes as irritating as fans in their teens do. Personally, the more realistic something is, the more it will draw me in. I want to know where Bond got those dry socks from to replace the ones that got wet in the rain. I want to see him jet-lagged after flying halfway around the world. I want to know how he paid to get to that island or that city without any working credit cards or debit cards. You can’t book a flight with cash, not a commercial one, at least. “He took a charter,” the screen writer says, shrugging it off in an interview. Sure, fine: then show it. 

Moffat mentioned somewhere that Sherlock delivered Rosie, which is a frankly appalling thought, especially given that there was an actual doctor in the car, and given Sherlock’s horrified face at the thought of an event involving female genitalia unfolding in his very presence, I somehow can’t picture this in the slightest. 

Part of the problem is also that their episodes span too much time too rapidly to address the questions of how their day-to-day relationships function, what those dynamics really are, etc. Too much is skipped over for the sake of advancing the plot. I would personally rather see more attention given to detail and less to unbelievable plot arcs. I expect Doctor Who to be wholly unbelievable (and even there I used to snark about dropped plot threads and unsatisfactory resolutions as well as under-handled emotional fall-out, when I still watched it). I expect Sherlock to be believable, though, and there was just so many holes. 

All I’m saying is that Sherlock is not the only show that does this. There are a LOT of holes in series 3 and 4, but my larger issue is the emotional fall-out thing and the dropped threads. (Why make such a big deal with the memory altering drug? Why was there a dog bowl that Sherlock recognised? What did that damned letter say??? What did Ella tell Sherlock to do for John? Because I bet it wasn’t “go to hell, Sherlock”, yet that’s the advice he chose to take. Why???) Yeah: we like to be shown these things. It’s not enough to explain it later in an interview or a panel at a conference. Put it right there in the canon as though you meant to all along. That’s what ticks my boxes, at least. 

Rambling aside. Back to the current fic. As you were!