I'm rewatching Star Trek because it's awesome. I love Kirk and Spock and their friendship especially (basically I'm a walking stereotype).
So, of course, Galileo 7 is a bit disappointing, given that there is almost no interaction between them.
Then I realized that they work together to save the ship at the end --( spoiler belowCollapse )
How awesome is that?
(In other news -- Hi everyone! Long time, no see!)
Now I am taking methimazole, and I should be better very soon.
And I just found a metaphor for my life. I hope you enjoy it as much as I did!
(Is Spock the methimazole?)
Note that except for 9 and 8, this list was nearly impossible for me. Well, 1-3 are definitely my top three, but ordering them was nearly impossible, too:
9. The Blind Banker: Every episode of Sherlock is good, but this is just the most boring to me. It's a middle episode, so it's not going to have an epic opening or epic conclusion. I think that is part of the reason I don't love it. But I have no other serious criticism. I just don't love it.
8. The Hounds of Baskerville: Mark Gatiss is the best one-liner writer of the three. But he isn't as excellent a story-crafter as Moffat, or maybe even Thompson (this based on DW as well). Hounds rambles about a bit too much for me.
7. The Empty Hearse: There is so much awesomeness in this. SO MUCH. The reunion scene(s), the fangirl-baiting, MARY, Sherlock's parents, the oh-so-Sherlock-y fakeout in the subway . . . I love every moment individually, but like Hounds, it's not tight.
6. The Great Game: See 7 and 8. First scene is amazing and hilarious. The pool scene still gives me the chills for so many reasons (though I always assumed Moffat was responsible for that scene.) But the story itself is a bit incoherent. I'd almost be willing to skip the middle 45 minutes and get to the good stuff, something I'd never even consider for any other episode except for my 9.
5. The Sign of Three: This episode is adorable and hilarious. It's basically the fanfiction we all wish we could write. And yet, it manages to be so much more than that. His Last Vow cements it, but to me this is the episode in which Sherlock proves that he IS a good man. If it weren't for this episode, the conclusion of His Last Vow might have been a moment of adrenaline-fuled heroism. This episode proves that Sherlock can sustain selflessness. And that he really understands what his friendship with John means. I could go on forever, so I will stop here.
4. The Reichenbach Fall. Well done, Steven Thompson! This is a beautiful episode. A lot of great character moments, a lot of great drama. I'm a fan of the fairy-tale stuff and the Paradise-lost-esque fall themes. Constant allusions to those two things made this the one episode that I reallly think of in the context of Western literature . . . if that makes any sense? Very literary, but not in a "LOOKIE AT ALL THE ALLUSIONS I CAN MAKE" way. Rather in a "I know literature, and I'm writing it right now" way.
3. A Study in Pink. This is the best introduction of Holmes and Watson in anything anywhere. Bar none. Better than the source material itself. The great question of this brilliant TV series: Sherlock Holmes is a great man -- can he be a good one? is introduced. I have really nothing bad to say except that the middle drags a bit. Maybe because it was stretched out to fit an extra half hour? But I'm not sure. I couldn't imagine skipping any of it to get to the good bits, but it still does drag a bit in the middle. Just a teeny weeny bit. I mean, if it weren't for my 1 and 2, I'm not sure I would even realize that it dragged a bit.
2. His Last Vow. This was a brilliantly written mystery. It showed some of the darker side of Sherlock along with some of the childishness of Sherlock so that it wasn't too dark or too childish. John and Mary's relationship was great. The way John and Mary's story is told -- the flashbacks -- works really well for me. Sherlock's mind palace was awesome. This was perhaps the most overtly dramatic episode throughout, so it could have gotten corny, but its intensely dramatic, yet not in the lest melodramatic climax justifies the rest of the drama. The final scene managed to redeem the moronic east wind thing Conan Doyle wrote (I get heated about that, so I'll just shut up now). Janine's revenge managed to redeem the horrible treatment of poor Agnes. I could watch it over and over again!
1. A Scandal in Belgravia. This is the most perfect 1.5 hours of anything I have seen on my screen. I've written about it over and over and over on LJ and elsewhere, so I'll just leave it at that. :D
I'm rewatching slowly now, and I just have to point out that many references to Bones (McCoy) are made in the first episode.
This amuses me. :D
DOUGLAS: I would, of course, be happy to be stuck in a hotel room with you, if only this water could be made a few degrees cooler.
ARTHUR: I wish that were my superpower!
DOUGLAS: Ah, but it is.
DOUGLAS: Of the Iron Man variety. Your superpower is employed with the aid of a machine.
ARTHUR: A machine that--
DOUGLAS: Nothing as amazing as you're imagining. The ice machine down the hallway.
ARTHUR: THAT IS BRILLIANT!
[ARTHUR runs out with the plastic hotel ice bucket]
[Ten Minutes Later]
DOUGLAS: Arthur, did I hear your mother's dulcet tones floating down the hallway just now?
DOUGLAS: And why are you not holding a bucket of ice?
ARTHUR: I forgot which room we were in. They all look the same. And I found a key in my pocket for room 304. So I walked in, and Mum and Herc were-- and I panicked and dropped the ice.
DOUGLAS: I see.
CAROLYN [from the hallway, furious] ARTHUR SHAPPEY! I WILL FIND YOU AND I WILL--
ARTHUR: On her.
Three years ago to the day, it had been hot -- the hottest day of that summer. I wouldn't have started a fire at all if I hadn't stumbled over it.
It was a tiny wooden button. I was surprised that my husband had not observed it.
For the first time, I was angry. Angry enough to start a fire in my torrid sitting room and watch the cheerily inoffensive thing burn.
Today there was no anger.
There was hope. There was excitement.
There were new buttons and new blankets.
There were nascent dreams.
Sherlock looked closely at the vase.
It was a vase that came with an online flower order, but not the standard free model. It had been used eighteen . . . no, twenty times. That spoke to a flourishing relationship. But it had not been used in over ten months, and now it was in the bin.
He rummaged through several kitchen drawers before he found what he was looking for: an address book. Mary was surprisingly old-fashioned. And there was the name.
As soon as John finished yelling at him for breaking into Mary's flat, Sherlock was going to investigate this David.
"McInnerney's landlady found him dead him six hours later."
"Mycroft, why are you telling me this?"
"You know why. John knows why! Don't you, John?"
John shrugged noncommittally.
"This habit you have of leaving your violin accoutrements about."
"My violin is always safe."
"But not your bow. And that is much more dangerous than McInnerney's fishing rod."
Sherlock grabbed Mycroft's phone and umbrella and walked toward the window.
"Sherlock! I'm thinking of you! And John."
"And I of you. I've texted your PA to destroy all your umbrellas. This one. . ." There was a crash. ". . .is safely in Mrs. Hudson's bin."
"You never mentioned this."
"Not even when I asked you to write a post for my blog."
John waved his phone in Sherlock's face. Sherlock grabbed it, and began typing furiously.
"I've already read it."
"It's stored in your faultless memory?" Sherlock snorted.
"Mary read it as well. And backed it up."
Sherlock threw the phone back to John. "Yes, I had a blog before you arrived. It was very popular, but in the end I decided that my art spoke for itself."
"I see. Mary said all the comments came from sock puppet accounts. What does that mean?"