six'4

at the beginning of an ace attorney case: so this is just a straightforward homicide case
at the end:  actually this case was set in motion by the events of the fd-4 incident 19 years ago which was caused by the tr-2 incident 5 years before that which was related to the mk-7 incident six months prior, but 4 years later the qw-1 incident happened which indirectly caused the px-3 incident 15 years later, triggering the js-4 incident 2 months after, which caused th

2

favourite six of crows moments (4/∞)

Kaz leaned back in his chair, one knee bent, his bad leg stretched out before him. “Why do you think I’ve been keeping you around?”

“I’m good at demo.”

“You’re passable at demo. You’re excellent at hostage.”

That was cruel, but that was Kaz. And the Barrel was a far rougher teacher than Kaz could ever be. At least this explained why Kaz had been coddling Wylan and sending jobs his way.

Moriarty: Kill you? No don’t be obvious. I mean I’m going to kill you anyway, some day. I don’t want to rush it  though. I’m saving it up for something special. No no no no no. If you don’t stop prying-

Me: I WILL BURN YOU I WILL BURN THE HEART OUT OF YOU

Sherlock Series 4 as “Epic Theatre.”

Largely inspired by @toxicsemicolon‘s theatre related posts- here; here and here

“Why would you do this, this pantomime, why?”

Mycroft’s anger is in response to Sherlock creating a theatrical performance, a lie to scare him. The mention of “pantomime” makes me think of false stories, and many metas have been written on the unreliability of series 4 in general, to not take it as face value: it’s a false story, all smoke and mirrors.

What if we take Mycroft’s words as both literal and symbolic, though? Sherlock Series 4 is both literal theatre and a constructed false story.

toxicsemicolon’s posts are mainly about Sherlock and the Theatre of the Absurd (to me, it’s like ‘what would happen if Sherlock suddenly made no sense, the point is there is no point! etc etc). And I was taking a screenwriting course, and something called Brecht and Epic Theatre was mentioned. I didn’t know what it was, but it sounded interesting, so I looked it up!

^This video really helped me start understanding it- I’m by no means an expert! This quote from it was particularly helpful:

“And we’re not meant to sit comfortably and predict what’s going to happen, because that’s not what this play is about. And I think the more they throw in things that are unexpected, the more that they shake you up when you feel like you know where this is going.

Basically, I think Series 4 is showing what happens when the normal ‘rules’ of the story we’ve been watching no longer apply. Now, we’re in the land of (UNCONVENTIONAL) theatre, and reacting in similar ways to how the first audiences of the theatre of the absurd and epic theatre reacted: disorientation, confusion, resistance. 

Introduction from wiki:  Epic theatre (German: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of a new political theatre. These practitioners included Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht.

Shared elements in Epic Theatre & Sherlock

While not invented by Brecht, the Verfremdungseffekt, known in English as the “estrangement effect” or the “alienation effect,” was made popular by Brecht and is one of the most significant characteristics of Epic theatre.[7] Brecht sought to “re-create the relationship between the actor and audience as dialectic” so that the audience would not longer “willingly suspend disbelief.”[8] The Verfremdungseffekt makes the audience feel detached from the action of the play, so they do not become immersed in the fictional reality of the stage or become overly empathetic of the characters with the hope that Epic theatre will turn “the spectator into an observer” and arouse “his capacity for action, force[ing] him to take decisions.”[9] 

This is what The Final Problem is all about to me. We’re encouraged to no longer view this as a ‘normal’ episode, to pay attention to the discrepancies- for example, the glaring ‘missing 10 minutes’ of John’s therapy appointment, and him apparently being shot by a tranquilizer gun. (x) And, there’s the general dissonance in tone of the entire episode- things that would normally give us a poignant, emotional reaction such as the burning of 221B are handled poorly (see If you want to make me laugh OR cry then do one, not both!This makes us resist our usual willingness to “suspend disbelief”, distances ourselves from emotionally investing like we usually would. 

And, that turns out to be a good thing, because now, we shouldn’t be emotionally investing in these particular portrayals of our usually beloved characters. They are deliberate caricatures of themselves. Turns out, that’s also part of Epic Theatre, specifically the way the “alienation effect” is achieved: 

Some of the ways the Verfremdungseffekt can be achieved is by having actors play multiple characters

This doesn’t happen quite literally in Sherlock- as in, say, Una playing both the role of Mrs Hudson and Norbury, or something like that. Rather, because our emotional investment has been removed, we are able to see the characters as stand ins for Something Else. For example, Mycroft is no longer ‘Mycroft’ but a stand-in for Mark, the writer watching his own creation crash and burn, and get high-jacked by The Final Problem story. 

More techniques:

rearrange the set in full view of the audience 

And yes, this one does quite literally happen. Our “set” of 221B is destroyed, and the audience gets to see it, “the stage”, re-made in front of their eyes:

And our own set designer of Sherlock, Arwel Wyn Jones, gets to have a cameo there- again drawing attention to the very fictionality of the show itself, its own set designer is doing work in front of our eyes that is usually reserved for off screen/on stage.

“break the fourth wall” by speaking to the audience.

Well, this phrase is definitely taken to the extreme… see this post:  Sherlock breaking the fourth wall by LITERALLY BREAKING DOWN FOUR WALLS AROUND HIM.

Lighting can also be used to emulate the effect. For example, flooding the theatre with bright lights (not just the stage) and placing lighting equipment on stage can encourage the audience to understand that the production is merely a production instead of reality.

Such a moment happens in The Six Thatchers, where we see a camera in the right-hand corner of the screen as John confronts Mary:

Seen more clearly in this post.

For more posts showing how S4 draws attention to the very fact that it is FICTION, see:

Deciphering Mycroft at the Movies

Remind you of anything? A facade? (Please let the projector light be our smoking gun)

moriarty: *is evil*

me: you’re my honeybunch sugarplum
pumpy umpy umpkin you’re my sweetie pie
you’re my cuppycake gumdrop
snoogums boogums you’re the apple of my eye

Martin Freeman Edit - from filming ‘The Six Thatchers’ - (x)

Other S4 Edits here: Sherlock & Doggie (01) (02), (Sherlock b/w) (Sherlock 2 part) (In the snow) (Sherlock scan) (close-up) (Colour changed) (At his microscope) (Clue hunting) (TST in 221b) (white bg), (Holmes brothers), (Mycroft) (Mycroft promo) (Mycroft close-up) (D-Notice meeting), (John) (B/W John) (John knitted tie) (Close-up), (Watson family manip) (John, Mary & Rosie), (Group edit), (Flooded 221B) (02) (03) (04) (05) (06), (Hudders) (Hudders & Mistletoe), (Greg) (Greg in 221b) (Lestrade promo) (Santa Greg) (In 221B 02), (Mary) (Mary in cream) (Close-up), (Molly) (Molly long).

actual image of me trying to fix the hole sherlock has left in my life:

Questions NEVER Explained in Samurai Jack Season Five.

1. Why did it take only 1 day for all of the side characters to find Aku’s lair when Jack couldn’t find it in fifty years?

2. Why didn’t Jack go and find Aku’s lair and kill him in the first place and then find a time portal?

3.Who was the shadowed lady creature and why was she important in episode six?

4. Why do Jack’s parents look young when they looked old and worn down in the first episode?

5. Why did the Spartan King look young when he looked old and sickly in season 2 episode 12?

6. Why did Ashi take so long to fade out of existence?

7. Why was the Scotsman and his daughters glanced over when he was the most important ally and friend to Jack before Ashi?

8. What happened to the wolf?

9. Why didn’t the High Priestess tell her daughters or Aku who their true father was?

10. Why can’t Jack jump good anymore?

11. Who was the High Priestess

12. Why didn’t Jack try to get his sword in the past if it was easy to just get a giant bird to fly down, get help from one of his friends or even jump good?

13. If Ashi easily survived the fall over a hundred feet in the air from the tree trunk, why didn’t her other sister who was just tossed over the side by Jack?

14. Is Ashi gone forever or did she go somewhere else?

15. Can Jack age again or is he still ageless?

16. Where’s the cricket girl?

17. If it was that easy to just kill Aku rather than entrap him, why did Jack’s father trap Aku in a tree rather than just kill him?

18. Is Aku really dead or just in the pit of hate?

19. Why didn’t the High Priestess just tell Aku of her plan and include him in currupting the Daughters of Aku to kill Jack in the first place?

20. Why didn’t Aku keep spying on Jack?

21. How could Aku not know that Jack lost his sword if he kept close ties with his minions and could spy on Jack whenever he wanted?

22. Why was Jack wearing a loin cloth in episode six when he wore pants in episode five?

23. Why was the finale only 25 minutes long instead of an hour long or split into two parts like the pilot episode?

24. How does Jack remember Ashi and the future if it never happened because he killed Aku in the past?

25. Will Jack ever get Ashi back in some way?

26. How could Jack get back to the past with Ashi’s help if she never even existed after he killed Aku before she was even born? Wouldn’t that mean he didn’t really get back at all?

27. Why didn’t the Daughters of Aku have any powers if they’re really his daughters?

28. Are there two versions of Jack now since Aku was killed in the past and now there’s a new future without Aku? If that’s the case, what happens to the second version of Jack who was sent into the new future?

29. What happened to the Guardian? Why didn’t he get a flashback in the season? 

30. Did the future really change into a new reality or did it just become an alternate reality? Can Jack travel between the two realities? Are there two versions of Jack living in both realities or just one?

31. Can Aku come back like last time?

32. If the future characters would never exist when Jack got back to the past, why would he sometimes give up his chance to go back just to save people who won’t even be born at all?

33. If the people who were loyal to Jack and learned from Ashi that he might be in danger, why didn’t they go out looking for him too?

34. Did Ashi send the ladybug to Jack

35. Why were six of the seven daughters of Aku easily killed off by Jack in less than a day in their second fight when Ashi slaughtered an entire army with thousands of soldiers and her own mother in that same time pattern alone?

36. Why didn’t the Scotsman look for Jack to attack Aku’s lair in the first place instead of taking Aku on with an inadequate army?

37. Why did the wolf help Jack?

38. Is Jack still crazy?

39. Was the High Priestess really human?

40. Did Jack hallucinate the whole battle and going back home?

If you have any questions to add to this list, please be my guest. If you can answer any of these questions, good luck with that. If  you do answer these questions, then you must have worked on the show somehow and you have a lot of explaining to do for the bitch slap you left on my face with the last episode and for not answering these questions in the show in the first place.