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【卫报】Sherlock's 'death': your theories 转自guardian[.]co[.]uk/tv-and-radio/shortcuts/2012/jan/16/sherlocks-death-your-theories Greatcoat billowing in the breeze, Sherlock stepped gracefully from the rooftop edge on Sunday night and began his plummet towards earth. John Watson watched in horror – and at home 8 million BBC1 viewers did much the same. What was going on? Had the BBC just sacrificed its much-loved consulting detective? The clue was in the already announced third series. But that didn’t stop the collective gasp when Sherlock appeared at his own funeral looking decidedly unburied. So how did he do that? There are no shortage of theories, including the one that he’d turned into an enormous Sherlock-shaped robot spaceshipcontrolled by tiny, tiny people. But most share a few starting points: Sherlock had asked mortician Molly for help; he told John to stand in a certain spot; the kidnapped girl had screamed at Sherlock’s face; John was knocked over by a cyclist and was unable to take (a splattered) Sherlock’s pulse. There’s some general agreement too that Moriarty might have worn a lifelike Sherlock mask when he kidnapped the children earlier. (Hence the scream.) Nearly everyone thinks that the crowd in the street, the hospital staff and the cyclist were members of Sherlock’s homeless network, and that Molly would have falsified the autopsy. So the detective only had to fool John – although that’s still some ask. One popular theory holds that Sherlock didn’t jump off the building at all. Instead the corpse of Moriarty, newly dead, was dropped to the ground wearing the Sherlock mask and his nemesis’s clothes. Alternatively, Moriarty’s body was thrown from the rooftop – variations include using a masked dummy glimpsed in 221B earlier in the episode, or a masked cadaver supplied by Molly – but Sherlock also jumped. His fall was broken, however, by a handy rubbish truck parked outside the hospital. Crucially, John can’t see the moment of impact. Or … Moriarty’s body remained on the roof and Sherlock jumped into the rubbish truck, before arranging himself on the pavement with some blood from Molly. John was prevented from taking his pulse by one of Holmes’ stooges. Keeping up? Good. Time to muddy the waters further. John was very disorientated: was that just a result of being knocked over – or might he have been given a shot of the suggestability drug from last week’s Hound of the Baskervilles episode? Was Mycroft involved? Might he even have fed Moriarty information about Sherlock in order to engineer such a showdown? So many questions – including the very important query about how how Sherlock managed to get a new (discontinued) Belstaff greatcoat for the final scene. I’m plumping for the most dastardly solution on offer: Sherlock is dead – it’s Moriarty that’s alive.
【卫报】Is Sherlock sexist? 转自 guardian.co.uk/commentisfree/2012/jan/03/sherlock-sexist-steven-moffat/print The instant Irene Adler's scarlet-tipped fingers extended across the frame on Sunday night, it seemed certain that Steven Moffat's rewriting of Sherlock Holmes's famed female adversary would cause some consternation. The series opener of Sherlock – watched live by almost 10 million people – updated Arthur Conan Doyle's A Scandal in Bohemia, the short story in which Holmes is, unusually, outwitted by an acute American adventuress in possession of a compromising picture of the Bohemian king. The woman Holmes referred to as "the woman" was remade by Moffat as a high-class dominatrix saved only from certain death by the dramatic intervention of our hero. While Conan Doyle's original is hardly an exemplar of gender evolution, you've got to worry when a woman comes off worse in 2012 than in 1891. In many ways the Holmes stories are a perfect fit for Moffat's skill-set. The puzzle-box plotting, the 24/7 bromance, the fetishisation of "masculine" reason over pesky "feminine" emotion, all suit him right down to the ground. In the case of his stewardship of Doctor Who, Moffat's tendency to write women plucked straight from a box marked "tired old tropes" (drip/scold/temptress/earth mother to name but a few), and his consequent failure to sketch a compelling central dynamic between the lead and his companion, has seriously affected the show's dramatic power. But no such trouble with Sherlock.
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