On the Essence of Recovery: The Necessity of Arc V’s Unsatisfactory Ending
lately, I’ve been rewatching Penguindrum. I’ve also been reading a
lot of analyses of Penguindrum, and in turn I’ve been looking up
analyses of some of my other favorite surrealist anime, mostly
Ikuhara’s work. And remembering how Penguindrum ended, I found
myself thinking about how almost all of Ikuhara’s main works end sort
of…bittersweet. Progress has been made, but something huge has
been lost as well, leaving the end feeling almost
that’s gotten me to
thinking about analyzing shows that have similar endings, that aren’t
necessarily made to be…well, as dense
as that particular brand of anime. Specifically, I’ve been thinking
about Arc V, and again about the ending that left a lot of people
upset. I was and still am to a point one of those people who was
disappointed with how it ended, but looking back at it in hindsight,
and especially through the lens of the previously mentioned anime, I
wondered if maybe there was something more to the decision than first
before I start the actual meat of this post, let me disclaim that I
would be among the first to admit that it’s probably “not that
deep.” But there’s the distinct possibility that it is, and
regardless of whether my conclusions were intended conclusions, the
act of analyzing fiction against one’s own individual interpretation
is an important final step in the process of any creative endeavor.
Urs Fischer is a Swiss artist currently living and working in New York. He is known for large scale installations as well as his “problem paintings”, a series of silkscreened pictures of celebrities with vegetables, fruits or hardware in front of their faces.
Want to instill doubt in someone? “Change minor details in their surroundings.”
Yes, this post is about Sherlock. Specifically, about the reason for all of those pesky set design flaws that grew larger and larger as series 4 progressed.
For example, the skull picture we normally see…
…turns into this.
Or when Ella’s office looked like this…
…but turned into this.
There are hundreds of examples but how about simply one more.
John’s flat looked like this…
…but turned into this.
If you watch Many Happy Returns, which takes place before Series 3, you’ll see John’s front door doesn’t actually exist under the staircase – that was an unnecessary change in Series 4.
So what do all of these changes have to do with making an impression on the audience? Well. Everything.
When you want to get a group of people to doubt their own memory – or to plant new ones – you have to change things about what they already know, but don’t let on that you’ve changed anything.
And who does this for a living?
Derren Brown, the illusionist who had a cameo in The Empty Hearse. He’s also a very good friend of Mark Gatiss’. He has a fascinating video you can watch about this exact techniqueI’m explaining. By changing details visually, one can change how people doubt their own abilities to perceive reality, and also question their own memories.
Do you know all the outrageous things series 4 fed us?
– Mary is just an ordinary housewife with a good heart – John would never save Sherlock from a serial killer – John would beat Sherlock senseless – Sherlock simply needs love from family to complete him – John has a bunch of friends that love to look after his baby – John would blame Sherlock for any harm befalling Mary – John would easily forgive Mary for shooting his best friend in cold blood – Mary knows Sherlock and John better than anyone ever could
These things blatantly contradict everything we’ve ever known about these characters. Still don’t believe Mary is a manipulative psychopath? Go read the HLV script; it just made its rounds on the internet today.
You’ve been wondering why series 4 is so screwed up, narratively and visually? It has a purpose. It is to make the audience doubt – to make the audience doubt their own ability to comprehend reality.
shoutout to the raven cycle for being one of the few series where i actually like every single character. a bunch of nerds looking for a dead welsh king? sign me the fuck up. strangely polite hitman? where have u been all my life? a villainous weird couple obsessed with their own aesthetic? double yes. magical psychic ladies, how about 💯 👌👌
This is the part they didn’t show you in The Final Problem.
That rope was for Sherlock to climb down into the well to John. John had been struggling to keep his head clear of the water for a good while, and he was getting exhausted; hypothermia starting to set in. It was going to be another 10 minutes or so before the police arrived to unchain John and get all of them out of there, but that could seem an endless and fatal time for a fatigued man barely able to get a gasp of air.
Sherlock was quite a bit taller than John, so he took it upon himself to clamber down into the well and take on John’s weight so his friend could rest. How overwhelmed with relief he must be to be able to finally save his best friend from that cursed well. At this moment, it’s just the two of them, nothing else and no one else mattered.
(Discontinuity Error: I forgot to add the skull and some bones; I might add them later but who knows)