It Is What It Is

Well, let me put it like this, I definitely prefer my Victor Trevor alive, doing quite well in India at his tea plantation.

Me, for one, I had no desire to explore what kind of family trauma made Sherlock Holmes a detective in the first place, a violinist, a misanthrope, a cocaine addict.

It is always family trauma, we all know that. The degree of seriousness might vary, but still, the healthy thing we can do is being to name our family trauma, recognize the consequences and deal with them. Having Sherlock forget his own was a cruel idea, which was meant to make series four “darker”, a valued quality in series nowadays, being “darker and darker”, apparently.

What’s more, I had no desire to see Sherlock Holmes cured. Not because I’m cruel myself, but because there’s nothing wrong with Sherlock Holmes to begin with. He’s got a cosy place in London, he makes himself useful, he’s able to love Watson allright, that’s more than enough for me.

I read that this depressing arc of “making Sherlock a good man” was meant to produce canon Holmes, so that what we have now at the end of season four is supposed to be the Sherlock Holmes we know, the one there’s nothing wrong with, while so far we’ve had a disabled Holmes who wasn’t really in touch with his feelings because he couldn’t remember his family trauma.

Well I don’t buy it. They simply decided to boost the action, the implausibility, the ugliness, sorry, the “darkness”, in order to get more hype.

Of course he must have some family trauma of his own, who doesn’t? Everyone is damaged. But I don’t want to explore the trauma itself, instead I want to know how he deals with it, how he carries on in his own life. Actually, I used to like the understatement of 221B everyday life an awful lot exactly for this reason.

Anyway, all the many references to the ACD canon throughout the season were quite nice. But the thing I will remember fondly is that Sherlock kind of landed Eurus’ plane in a crosswind, like Martin Crieff.

eurus_toy

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