flynnsarcade:
Look, I get that I have a lot of followers who are defenders of his, and I’m not saying that he’s consciously an asshole, but he’s shown a complete disregard for the opinions of others and refuses to step up when he’s called on issues he may be perpetuating. It’s like the man has no brain-to-mouth filter. I tweeted him and said that if he researched asexuality he would find it anything but boring, told him that he had likely hurt the feelings of many fans, and linked him to a glossary of the different facets of asexuality.
As for the ‘if men were interesting’ bit and completely disregarding the other bits about Sherlock’s sexuality because I honestly don’t know what to say - why would he be living with John if he wasn’t interesting? Does the man actually grasp the character he’s writing? I thought that his being interesting to Sherlock was why John was his roommate in the first place. Sherlock would never entertain the idea of having someone who was boring or ordinary in his home.
(Source: ceilingclint, via deuxoiseaux)
I’ve been reading through some of the responses to my post (which I’ll be honestly, I really didn’t expect many people to read but, I’ll take it) and there are a few people saying that what I’m essentially doing is making misogynistic mountains out of sexist molehills. I’ll note now that nowhere in my post did I call Moffat misogynistic - sexist probably because have we watched his work? But there is a difference between the two terms and I don’t like to use the former lightly, although to be honest I’m getting closer and closer to just settling Moffat down there.
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As a fan of the last series of Sherlock (although not that second Orientalist mess of an episode, never that) the news of the second series reaching us on New Year’s Day was obviously exciting news. However, as someone who no longer trusts Steven Moffat with a television script, I approached it with some trepidation. I’d heard before watching that this adaptation’s Irene Adler has been updated from an opera singer who had dalliances with sundry members of nobility to the society set’s favourite dominatrix. I’d also heard, through various interviews and reviews, that this Irene was queer. Reader, my heart positively jumped at the prospect. Having watched the episode some hours ago, I can wholeheartedly say I really ought to have stuck with my trepidation.
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Black Mirror is a trio of satirical dramas produced by the magnificently furious Charlie Brooker with the final part airing last Sunday (though I have yet to catch up). The first part, ‘The National Anthem’, was a brilliant whirlwind dealing with decisions leading up to (and consequences of) a peculiar ransom request asked of the Prime Minister. Whilst excellent and very well-acted I have to admit that it left me a little cold. I could understand the message and I loved the way it engaged with the internet in particular, the way it held up an ugly reflection of ourselves. But something about it left me disengaged. The second part however, was a whole other ballgame. Thus far it’s my favourite of the trio, which really surprised me. In the week of promotion before it aired, the focus was primarily on the X Factor satire side of the drama; as a non-X Factor viewer that sort of talent show spoof holds no real enjoyment for me. I should have known that Brooker and Kanak “Konnie” Huq (his co-writer) had something else up their sleeves. What was advertised as a satire on the worthless inane nature of televised talent shows and the ritual humiliation it involves proved to be an entirely different beast altogether.
‘15 Million Merits’ is set in a future where everyone, at the age of 21, is sorted into certain virtual facilities. Here, almost every facet of their lives is virtualised - from their surroundings, to the purchasing of their food, their currency and what they are able to spend it on. The currency in question is merits, earned by amounts of time spent on a pedal bike in the gym. As a fan of sci-fi and dystopian fiction in general, I was already intrigued. The basic plot is that Bing (Daniel Kaluuya) hears Abi (Jessica Brown Findlay) singing and offers to spend his accumulated credits on her entrance to Hot Shot, the talent competition du jour. The competition is judged by three judges: Judge Wraith (Ashley Thomas), Judge Charity (Julia Davis) and Judge Hope (Rupert Everett).
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This is essentially the Tumblr digest of my blog: slatternly.wordpress.com
An adventure in feelings about, well, pretty much everything. TV, film, music, food - you name it, I’ll probably end up writing a post on it. Hopefully.
When I remember to.
