step away from the microphone karen
>steven, you’ve said that the moment that john is wounded in the three garridebs is your favorite moment in the stories. what was your thought process when it came to adapting that emotional climax in the final problem?
>sherlock employs the narrative device of mirroring to great effect–irene adler, for instance (one of my favorite lesbian characters, by the way) presents us with such an interesting lens into sherlock. how do you create mirror characters that still have their own distinct personalities? what are your top priorities when you first start imagining a mirror? do they always come in pairs?
>sherlock and john have spent a lot of time apart these past two seasons. what does that add to the story? do you think that sherlock holmes works just as well with other characters in the “watson” role? in fact, does sherlock need a watson at all?
>let’s discuss the elephant in the room. how do elephants add to the show’s aesthetic?
>for mark, in the past you’ve talked at length about your disdain for modern horror films like saw, and wrote a poem when a dissenter compared sherlock to the action-packed james bond. what compelled you to pay such extensive homage to these films in the final problem?
>how do you think sherlock’s repressed memories of eurus influenced him in series one?
>in your opinion, what are the most major events to influence sherlock’s character development over the course of the series, and how did they change him?
>what was the thought process behind having certain scenes and shots repeat and change in t6t and tld?
>several characters in the lying detective draw attention to john’s diminishing role and his blog’s decreasing quality. is this at all self-reflective? if so, why not fix the flaws rather than draw attention to them?
>why name the floating hellprison after sherlock’s first draft name?
>how do you think john felt over the course of series four?
>did mrs. turner’s married ones survive the patience grenade?
>did I survive the patience grenade