![]() ![]() These links do not, however, undermine Sherlock. Even some of the imagery, such as grave-digging, was clearly at the back of Moffat’s mind as he wrote both shows. And female characters being empowered to make their own choices, and not be undermined by a male authority figure, was the idea which stood at the heart of Clara Oswald’s exit stories. Characters moving from dreams to dreams and finally waking in reality, in a narrative encouraging suspicion and paranoia over what is real, was the crux of Last Christmas, which was also full of metafictional content (which stories characters chose to be a part of, and what those stories did to them). Using another story to explain how a main character survived was used to a smaller degree in The Witch’s Familiar. In fact, there were many instances where the show’s close link to Doctor Who became apparent. One of these themes was of identity and roleplaying (as in, what roles we play to conform to what is expected of us), directly carried over from Series Nine of Doctor Who, which was full of themes of integration and culture. Rather than launch Sherlock back into a global conspiracy about Moriarty’s vast criminal network, Steven Moffat and Mark Gatiss instead opted for a story exploring the thematic and metafictional undercurrents of the show at a greater length. To wait two years for a story in which Sherlock gets high, gets off a plane and gets into a car is at once frustrating and exactly what Sherlock should be doing right now. One of the most admirable things about The Abominable Bride was its sheer cheek. ![]() Share on Twitter Share on Facebook Share on Email Share on WhatsApp Share on Reddit
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |