Just so you all know, any one of you reading these Sherlock scripts, regardless of what you ship or which bloggers on this site you hate, you are absolutely, 100% playing what’s called “The Sherlockian Game” whether you mean to or not. This game has been around for one hundred years, look it up of you’d like. The purpose of The Sherlockian Game is to flush out anomalies, differences, and implied details regarding Holmes’ personal life. You’re playing and you don’t even know it.
Are you seeing the discrepancies in the script? I’m sure you are. One scene shows new lines, another takes them out. These discrepancies change the way you interpret the show. THIS is The Sherlockian Game. I don’t even need to try to recruit you all to play – you’re playing on your own.
Conspiracy theorists in the Sherlock fandom don’t need to do anything to get people to start questioning these anomalies on screen – the BBC is making you do it and you don’t even realize what you’re doing.
You don’t believe there’s a game? Or if there ever was one, that the game is over? Far from it. The game is never over.
Medieval Massive Gold Iconographic Glove Ring with Saints, Spanish, 16th Century AD
A flat-section gold hoop formed as three discoid panels with interstitial square panels and larger bezel; the square panels each with high-relief expanding-arm cross; the discoid panels each with the symbol of an Evangelist, a winged nimbate ox for St. Luke, a winged nimbate man with scroll for St. Matthew, a nimbate eagle for St. John, a winged lion for St. Mark; bezel with pelleted border, reserved image on a hatched field of Corpus Christi with cross and banner above marked ‘inri’ in blackletter script, two nimbate flanking female figures. 29 grams, 29mm overall, 23.93 x 25.21mm internal diameter (approximate size British Z+5, USA 14 ¾, Europe 35.08
Devotional iconographic finger rings were a popular class of personal jewellery in the later medieval period. The present ring features heavy religious imagery.
my fifty-sixth Evangelion book review, here is Evangelion Shin Gekijouban: Q E-conte Shuu (Evangelion New
Theatrical Edition: Q Storyboards Collection), published by Groundworks. This is a new book that just came out this
week, and it is devoted to storyboards for the Evangelion: 3.0 movie. (If you also want to see storyboards for the Evangelion:
1.0 and 2.0 movies, check out my fifty-fourth and fifty-fifth book
reviews. Or for storyboards from the
original Evangelion TV series, take a look at my twenty-seventh review!)
book is not available in English or French, but there are plenty of
pictures. It also has a removable dust
jacket, however there isn’t any alternate cover art hidden underneath. But that’s okay, because the book has plenty
of interesting stuff inside, such as this lovely scene when Shinji sees Kaworu
playing the piano:
column on the left is for dialogue (or sometimes other audio for the
scene), the column in the middle is rough sketches of the visuals for the
scene, and the column on the right has additional instructions such as camera
directions. However, as you can see above,
sometimes the visuals are just too big to be contained in only one column…
the topmost shot of Kaworu at the piano was so large that it extended into the
left and right columns!
reading for the rest of the book review, plus a few more pictures!
You know how Doyle had all those discrepancies and incorrect details in his text, making readers think he must’ve been a lazy writer and apathetic toward his own creation the whole time.
You know how Moffat and Gatiss have all those discrepancies and incorrect details in their script, making readers think they must’ve been lazy writers and apathetic toward their own creation this whole time.
And you all still won’t entertain the notion they’re intentionally recreating the social phenomenon surrounding The Final Problem of 1893?
Last September, while attending the Sherlock convention and listening to Moffat and Gatiss speak, I was struck by a moment of inspiration. I saw a small auditorium of fans ask questions to these people whom I thought were “too important” to spend time mingling with the commonfolk. Heck, even I got ahold of the microphone at one point and got a chance to ask Moffat my question. Someone as unimportant, as ordinary, as me got to participate in actual discussion of something globally pertinent, that is adored by millions of people.
At that moment, I couldn’t help but laugh at the simplicity of it all.
You want to participate in Sherlock discussions? Join them. You want to learn about the television industry? Ask them.
You want to see your stories on screen? Write them.
It hit me then that I could write my own story, that I could produce something new audiences have never seen.
So I did.
And I sent it to 3 different fellowships/festivals.
The feature film runs 109 pages. It features many female main characters and LGBT themes. It includes literary subtext worthy of Wilde, himself. It tackles compulsory heterosexuality and feminism in the media, all while killing zero lesbians – a difficult feat in modern storytelling, I know.
“In the chance of a lifetime, an aspiring young actress lands a role in the next Hollywood blockbuster. Her happiness is short-lived, as her biggest personal secret threatens life with her family as well as the path of her promising new career.”
So thank you, Mark Gatiss and Steven Moffat, for helping me find my own voice. Because now that I have it, there’s no telling what I can do.