j-hope’s rap is so well-written from a native korean speaker’s point of view i mean the verses are put together really nicely – he uses rhymes that are fun(ny) and quirky yet easy and original?? and they are not heavy in a sense that it’s got more chic imagery and wordplay rather than traditional poetic elements idk i aint a rap expert but i just really like his rap & word choice with korean
In sitcoms, even the guy who serves your coffee is a comedy genius. Every third line is a punchline, and every routine task turns into slapstick shenanigans. You can hear this reflected in the audience, who are rarely able to contain themselves in the face of such hilarity. It’s a world full of laughter and fun!
First, while we the viewers have the benefit of hearing the laugh track or live studio audience, the people actually living in the sitcom do not. They hear nothing but the endless silence of the void. You may have seen this clip in which the audience is removed from The Big Bang Theory. Without the canned guffaws, each quip is met with a dead silence oozing with bitter contempt:
Nobody here finds anybody else funny. Rajesh spends the clip making sexist demands at Penny, who is clearly not amused, and her justified denial results in the comeback, “Looks like somebody’s been taking bitchy pills.” Without the laughter you realize that’s not a joke – that’s just being an asshole.
I’ve noticed a contrast between people who still like Sherlock, and people who think it’s changed in a bad way. I think the ones who are disappointed have been surprised, because they assumed Sherlock would follow the all-too-common arc of shows that let the (white) (male) lead be cruel and petty and dismissive, and people find it funny because he’s the hero! He’s soft at heart! He’s a genius, that’s why he’s so mean–no one understands him! That does happen a lot. And if that’s what the show was doing, it’d be awful.
But I believe Sherlock is actually
meant to be a show slowly subverting that awful trope of the genius
white guy who gets away with everything. Greg Lestrade lays out the
show’s character arc in the very first episode: “Sherlock Holmes is a
great man. And one day, if we’re very lucky, he’ll be a good one.” BBC
Sherlock is the story of how Sherlock becomes a good man.
why in this iteration of Sherlock, John Watson isn’t a sidekick, not
just a biographer; he’s the one who keeps Sherlock right. Who teaches
him to change his focus from solving the crime to saving the life. Who
repeatedly reminds him to think about the effect his words have; who
teaches him kindness and respect and self-sacrifice. Slowly, Sherlock
changes, from the man who took to heart Mycroft’s idea that love is a
dangerous disadvantage, to the man in Season Three who holds the hands
of a heartbroken client and shouts at the man who took advantage of her;
who (according to John’s blog) takes a case just to get a woman out of a
loveless, abusive marriage so she can be with her true love; who cries
on the stag night when a client talks about lost love. Who gives his
life for love of John. He’s learning to be softhearted; slowly. He’s not all there yet. This next season will change him again.
fans of Sherlock think the show’s lost it’s way. They’re the ones who
came for the “pissy white dude” show. They loved his snarky, bitter,
biting defensive act in Season One. They thought it was funny. By and
large, they’re the ones who couldn’t stand Season Three, because he’s
changing; we’re seeing him becoming kind, humble, patient, giving.
That’s a part of his character that’s still growing, not fully developed, but slowly unfolding–mostly thanks to John.
have yet to see what they’ll do with his character in Season Four, but
they’ve promised to dig into the ghosts of his past, the things that
have made him cold, and closed. They gave us a view of their end goal
when they created The Abominable Bride, which textually is all about the
ways in which Sherlock’s ignored, devalued and dismissed the feelings,
contributions, capabilities of the extraordinary women who surround him,
and John’s as well, sometimes; and subtextually is about his inability
to show emotion, not to be vulnerable and tender; his claim that it’s a
choice, a self-improvement and the reality that it’s a wound and a flaw
that needs healing. This is a deep subversion of the hard-edged hero
trope. This is turning it inside out and upside down; he becomes who
he’s meant to be not by being above everyone, but by learning how much
he needs them.
And that’s why I also believe that none of the
romantic set-up between Sherlock and John was meant as a joke. What
they’re writing is, again, a subversion of queerbaiting, no-homo
bromance shows. Any moment that the audience could take as a joke
(John’s jealousy of Irene and Janine, Sherlock’s jealousy of Mary and
Sholto; John being confronted with his feelings at Battersea, Sherlock
being faced with his on the dance floor at the wedding) isn’t funny to
the characters. A good look at their faces shows it’s perfectly serious
to them–and heartbreaking. And as the “jokes” get more and more serious
and the relationship between John and Sherlock becomes more deep, more
tender, more romantic and self-sacrificing, the casual audience becomes
more and more uncomfortable because it isn’t funny any more. Some of
them start to fall in love with John and Sherlock’s love; start to see
it. Others leave the reviews we’ve all read about how “this isn’t like
Sherlock”–“Why does it look like they’re about to kiss?”
they are. Gatiss and Andrew Scott are gay; Benedict’s portrayed gay
characters multiple times with sensitivity and depth. Martin’s played a
gay man before and kissed men onscreen. Moffat’s written two detective
couples before, one explicitly a Holmes/Watson pair, who are queer and
in love. They wouldn’t bait an audience. They wouldn’t make love between
their leads a joke; they’d make it a mystery, a revelation, a tale
within the tale. They promised terror and romance and adventure this
coming season. “The story of two men and their frankly ridiculous
adventures” is what the audience came for, but the bigger story Sherlock
promised at the wedding is approaching its climax now.
Guys…during the List scene? Tree Adams is a genius I swear.
The scene starts off with a motive of the notes A, E, C, B. This little motive? This is the C/exa theme! And it continues throughout the piece with new material before eventually ending up where? Take a wild guess?