We'll never get a third Ritchieverse Holmes movie. But if we somehow did, this is what I like to think should happen.
I would absolutely love for the inciting incident to be that, since the reason Holmes faked his death was because he wanted to keep Watson and Mary safe, the reason he has returned from faking his death is because that backfired and Watson and Mary are very much not. Why aren't they safe, you ask? Well, because Moran is on the revenge trail. Typically, he didn't have much personal investment in the killing of his targets, but we all saw how absolutely furious he got when Watson nearly killed Moriarty and escaped with Holmes. Now Moriarty is dead, and Moran has no job, no purpose, no one in the world - nothing, save for anger and grief. He cannot kill Holmes, because he does not know Holmes still lives. But if Holmes took the life of the only person Moran ever cared about, then even if he's not around to suffer for it, he will do the same to him.
Except, naturally, Holmes is around to suffer for it, and this cues the ending scene of the movie where Holmes coyly reveals he's alive, and would pick up right from there. There would be action! There would be shenanigans! Holy hell there would be character drama! Watson and Mary are absolutely going to beat Holmes's ass within an inch of his life, but also Watson is so, so very glad to have him back... Mary's not forgiving him ever for what he put Watson through, but how can she - how can they - bring themselves to be fully angry when he went through this to the end in an attempt to ensure their happiness? Especially when, if one considers the reason he closed his eyes to be for Watson to be the last thing he saw if he died, Holmes wasn't even completely sure he'd successfully fake his death... And they can't just unpack that while sitting in a house somewhere talking about their feelings, because Moran and the remnants of Moriarty's wide-reaching organization are very hot on their heels.
How does the movie progress? Well, I'm not entirely sure. I would love for Moran to get betrayed by those he conspired with, and be forced to work with Holmes and Watson (and Mary, who is adamantly refusing to let these two do all this on their own when her life is as endangered as theirs) on some level, thus forcing everybody - including Moran - to actually talk to each other. I also want to show that Holmes is beginning to get tired of all this - he loves the adrenaline, he loves to exercise his genius, he hates being bored, but he's also tired of the people he cares about constantly being in danger because he knows he can't always protect them. He knows that, because of what happened to Irene.
How does the movie end? Well, I can certainly tell you that. As a significant portion of the fanbase and Jude Law himself will tell you, the Ritchieverse Holmes movies come off very, very strongly as romances. In most cases, I am not the sort of person who advocates for any given ship in a medium to be acknowledged as canon just because a lot of fans like it, especially since that can often lead to disastrous results... but Christ alive, these movies are leaning so ridiculously hard into Holmeswatson vibes that I can't imagine it was an accident. And, well, part of the reason I want Moran to figure so heavily into this movie is because I think there was quite a bit of potential exploration of what exactly his relationship was with Moriarty just in the few tidbits you saw of them together... perhaps through a few flashbacks sprinkled in after Moran confesses what they really were to each other. Because if there's one thing I love, it's parallels. Watson and Moran, the military veterans and crack shots who are so very attached to the often-difficult genius masterminds they love. Unlike the singly-devoted Moran, Watson's affections are torn, because he adores Mary with everything he is, and is constantly fighting himself and pretending he can give up Holmes for her even though he can't imagine a life without both of them in it - but he is no less devoted for it. In different ways, they both cannot see a way forward - Moran cannot without Moriarty, Watson cannot because he cannot choose. So, in terms of an ending, I want Moran not to have to be killed by our heroes, or die in some sacrifice, or take his own life. I want him to have to live, without taking revenge. To figure out some kind of life, now that he's been spit out by the Queen's Army, and has lost the new life he was given now. It's more interesting, and less cheap, especially if this movie serves to build up and add depth to his character. And as for Holmes and Watson, well, it's not 2009 or 2011 anymore, so what's to stop your loose action movie adaptation of century-old, now-public domain stories from just going ahead and having them admit they love each other? (Or, potentially, having Mary admit it for them, to one of them, because she is sick and tired of their bullshit?) Why not let them, after all this is over, finally, finally share a kiss?
And as for the epilogue, I think it would be super fun and endearing if it cuts to Watson and Mary finally moving into that country house in Sussex together. He and Mary love each other, they're happy, they'll do so very all right. Then they get a knock on the door to find that the old woman who lives in the house next door has come to bring them a housewarming gift.
Except it's not an old woman. It's Sherlock Holmes dressed as an old woman. He has gone into early retirement to keep bees, and he just so happens, by pure coincidence, to have bought the house next to theirs.
Watson and Mary are exasperated. Then they probably think it's really funny, while still being exasperated. And ultimately, what Watson needs to realize is that there is something in this world that is insistent upon keeping these three together. If all of them can put up with each other - as they have shown they can just manage to do, this whole movie - and if all of them care for each other - as they have shown they undoubtedly do, for this whole movie - then no matter what he was sure was the "correct" and "right" thing to do before, he does not, and has never had to choose. Holmes doesn't have to steal him away from Mary any more than Mary has to steal him away from Holmes, because the great lesson of the Ritchieverse Sherlock Holmes movies ought to be that sometimes, polyamory is the best solution. And they all live in Sussex together, and quibble incessantly, and remain there for the rest of their days.
P. S. The number one thing this movie is absolutely, positively not allowed to do is kill off Mary. I don't care if she dies offscreen in the books, these movies did not have so much of their character conflict be Watson's inability to choose between her and Holmes for that to conclude with the immensely cheap act of offing her - not to mention that that would mean killing the only remaining major female character left in the series, and that these movies are so far removed from the ACD canon anyway that they can literally do whatever they want.
P. P. S. I don't have anywhere else to put these since I'll certainly never finish an entire screenplay concept for this without help, so here are a few disconnected, inaccurate-screenplay-format snippets using this idea that I jotted down on my phone way, way, back. Enjoy?
~~~
Opening shot: pigeons.
It’s early morning, and a man sits on a bench with a small bag of birdseed. He takes a handful of it, and reaches out to them. They flock around him with enthusiasm, some perching on his arm and hand.
The pigeons know him, clearly. It is SEBASTIAN MORAN.
He turns to look over his shoulder.
Moran: Hey, Professor, do you -
He stops. There is no one beside him.
Something hardens in his face.
He continues sprinkling birdseed. But his movements are listless, and it is clear the act no longer brings him much joy.
~~~
Holmes: It appears that Moriarty’s death, while ultimately a public service to the human race, has unleashed a far greater and more unpredictable danger to you than I could have imagined.
Watson: A danger?
Holmes: Indeed. And so long as I was believed to be dead, I was sure you and Mary would be entirely safe from it.
Watson: What - ?
Holmes: But I am now very much aware that that isn’t so, and so I have returned.
Watson: What danger, Holmes?
Holmes: Sebastian Moran.
Watson: Sebastian Mor- What, Moriarty’s right-hand man?
Holmes: The very same.
Watson: But why would he come after us? His superior is dead, he hasn’t got any orders -
Holmes: This has absolutely nothing to do with orders, Watson, and everything to do with the precarious and emotional nature of the human condition.
Watson: For the love of God, Holmes, can you just explain -
Holmes: I mean to say that this is entirely personal. Moran did not just work for Moriarty, he cared for him. Though to what extent, I haven’t the slightest idea.
Watson: For Moriarty?
(A disbelieving chuckle.)
Watson: Delusional bastard. I can’t imagine Moriarty cared for a soul in the world.
Holmes: And he may not have. How fallible man is, hm?
Holmes: Nevertheless, I believe that the colonel is seeking revenge. And if he cannot get it on me, then he will not stop until he has slain everyone I have ever cared for.
Holmes: Thus, my return from the grave. But I’ve already said that, haven’t I?
~~~
Holmes: No. No more deaths. No more lives lost because of me.
Holmes: …Not after Irene.
~~~
Moran: You should have died like the dog you are.
Holmes: Perhaps I would have, if I hadn’t known that Moriarty’s dog still lived.
Holmes: I had - foolishly, perhaps - thought that were I to die, Watson and Mary would be safe. A life for a life - my life, for Moriarty’s. No more.
Holmes: But you weren’t content with that. Were you?
Holmes: You wouldn’t stop until you’d killed everyone that meant something to me, even though I wasn’t there to see it.
Holmes: What will you do, if you succeed? What will you have left? It’s not as if revenge will bring him back.
Moran: You’d do the same if you lost your bloody Watson, wouldn’t you?
(Holmes is, rarely, silent.)
Moran: …And I don’t know how to do anything else.
~~~
Moran: …You’re wrong.
Moran: Nobody was kind to me. Not until I met the professor.
Holmes: But of course. It behooves a smart man to take good care of his tools -
Moran: You don’t know anything! It was real, what we had!
Moran: …It was real. I know it was. Because he told me that he didn’t even want to like me, at first, let alone…
(He trails off, as if thinking better of it. But then he shakes his head with a bitter chuckle.)
Moran: …What’s the point? I’ll hang for all the murders I’ve done. Another felony won’t mean much.
Moran: I loved him. And you’re the reason he’s dead. So I’ll kill everyone you love, and then I’ll kill you, or I’ll die trying.
~~~
Okay, that's it. If for some reason you read this far, thanks for sticking around! And if you have any personal thoughts on a third Ritchieverse Holmes movie, I'd absolutely love to hear them. See ya!
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new oc batch ready! 8 more of these guys lol. the whole deal with this set is they’re from the artisan guild- lunar flair! intentionally spelled like “flair” as in “style” or “a flare for ____” rather than “flare”
basically all the members of the guild are different kinds of artists with different niches (and varying degrees of diva-ness). it’s pretty easy to tell who does what based on the everything about them, but if you want more info their bios are still under the cut!
Name: Jupiter
Name Origin: The planet of course
Pronouns: He/him
Age: 52
Guild rank: Guildmaster
Weapon: Lightning rods
Ethos (Power): Gigantomachy. He can make himself (even more) giant
Flaw power is based on: His overly protective nature, especially where the guild is concerned.
Notes: Literally the nicest guy ever until you provoke him though
Name: Erinome (Erin)
Name Origin: A moon of jupiter, the exact meaning of it’s name is murky but it can refer to grace or purity
Pronouns: She/her
Age: 13
Guild rank: 2 star
Weapon: A Book.
Ethos (Power): Poetic Imagery. Illusions cast forth by his her poems that change the appearance of the physical environment
Flaw power is based on: Her escapist indulgence in fantasy
Notes: You know, like, the pen is mightier than the sword and all that.
Name: Pictor
Name Origin: The constellation meaning “painter”
Pronouns: He/him
Age: 23
Guild rank: 3 star
Weapon: Giant paintbrush
Ethos (Power): Ardor. He can create three-dimensional things with his paintbrush. However they are not animate or alive.
Flaw power is based on: His conceited nature in regards to his own work.
Notes: Goes to museums to talk about how he could probably do it better anyway
Name: Oberon
Name Origin: A moon of the planet Uranus, it gets it’s name from the king of the fairies in Renaissance literature. Notably in Shakespeare’s A Midsummer Night's Dream
Pronouns: He/him
Age: 29
Guild rank: 5 star
Weapon: Rapier
Ethos (Power): Fantasia. An illusion of changing his own appearance.
Flaw power is based on: His theatrical nature, of course
Notes: Why is he ourple?
Name: Syrma
Name Origin: A star in virgo, it’s name refers to the train of a garment (Typically worn by actors in tragedies)
Pronouns: She/her
Age: 25
Guild rank: 4 star
Weapon: Giant needle
Ethos (Power): Binding threads. She can create stitches on any solid objects and bind them to each other. Including people- The stitches are manifested energy and do not hurt.
Flaw power is based on: The dependency she often has on bonds- i.e. threads that bind people.
Notes: She makes and models all her own clothes.
Name: Parumleo
Name Origin: A star in Pisces, it’s name means “small lion”
Pronouns: They/he
Age: 19
Guild rank: 3 star
Weapon: Microphone bardiche
Ethos (Power): Persuasion. If they can make you laugh you’ll temporarily have to follow his orders. Though it’s too weak to call full-blown mind control, and fairly easy to snap out of.
Flaw power is based on: His desire to be liked by others.
Notes: They’re like a lolcat. They can haz cheezburger.
Name: Leda
Name Origin: A moon of jupiter, the name means swan.
Pronouns: She/her
Age: 28
Guild rank: 4 star
Weapon: Duel ribbons
Ethos (Power): Poise. Complete and utter weightlessness.
Flaw power is based on: Her carefree and utterly absent-minded nature.
Notes: You guys know swan lake right? Well, there ya go.
Name: Styx
Name Origin: A moon of pluto that gets it’s name from the river of the underworld. Yeah it’s also a rock band.
Pronouns: She/they
Age: 20
Guild rank: 3 star
Weapon: Axe-guitar.
Ethos (Power): Vibrato. Powerful soundwaves cast by her axe-guitar
Flaw power is based on: Her brash and blasé attitude
Notes: Calls everyone “baby” or “babe” because they’re a cool rockstar.
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The fact Gerard's vision of a better world is 'none of that 5am bullshit, we wake up at 8 to workout', just the best. I wonder if Ylfa's still got dawg in her, or if that's not a thing in her new reality. Anyway, another great finale for the books, wrapped more satisfyingly than I expected. There were so many threads, I didn't think they would have the time. I was expecting the Top Hat Fairy to do something to help like Turquina, but *shrug*. I suppose Ylfa having that hat for the rest battle was enough help and was definitely not a waste of precious resources. *sighs* So many 20's, so many stressful Box of Doom's, on the edge of my seat the whole time, satisfying conclusions to everyone's story arcs. You can't ask for better than that.
OK this has been sitting in my inbox for a bit for two reasons. The first is I've just been majorly busy with IRL stuff. The second is that I have...let's say mixed feelings about Neverafter as a whole having seen the finale.
Like, as a vehicle for comedy (which Dimension 20 largely is--makes sense considering the cast is all comedians who are friends. A recipe for shenanigans if I've ever heard one) the season absolutely succeeded. There were very few moments of this season where I wasn't entertained. Thinking about Ylfa saying the phrase, "honking big" will break me every time. Watching the cast lose their mind during adventuring party every week as they descended further into madness was fantastic. And Ylfa going in for the kiss w/ Pinnochio at the end had me dying.
But as a story? And specifically, as a story ABOUT stories?
Ehhhhhhhhhhh.
[To be clear, I am talking about MY opinions here. To everyone who really loved how this season wrapped up, that's fantastic! I'm just talking about me and my thoughts. Even when I'm making broad statements, I'm still just talking about me. Cool? Cool.]
Just to start with the broadest thing, it is *insane* to have a finale that is nigh incomprehensible without having watched some bonus content, and honestly, only slightly more comprehensible if you have watched that bonus content. Like, was it FUNNY to see the full cast practically melting as they went feral for the Orange Fairy? Yes, obviously. But it also undercut any sense of like real stakes or weight to the entire affair.
I'm not the biggest fan of final fights in general because it often feels like just drawn-out math, but I feel like, even factoring that in, the fight didn't feel as engaging as it could because by the second part of the fight, we were fighting characters we hadn't spent a lot of time with. Like, sure, I have thoughts about how the princesses were handled but we did spend time with them. Enough time to at least have some sort of opinion when they were taken down. And enough time for characters to have relationships with them that paid off during their fights--Red taking down La Bete for instance, or Pinnochio reaching out to Mira. With the fairies, we only really met three of them (Turq, The Evil One, and the Godmother), and we really only got a half-decent read on Turq. So it really wasn't that emotionally satisfying (outside of whatever emotion they were CLEARLY getting from their Orange Fairy Acid Trip).
And then the Authors we know the least about! There were all these meta elements that were introduced in this season that weren't really explored much at all. So that element felt really obligatory to me. It was like, the fighting of a vague concept. Which isn't to say that can't work. They fully fight the American Dream in Unsleeping City 1. But that worked for me because (1) they had the concrete villain of Robert Moses to fight as well and (2) there was a very clear thematic reason they were fighting the American Dream. Put a pin in that, I'm coming back to it.
The last two big elements in the fight are the Gander who didn't really do anything but by all accounts, SHOULD have been a bigger player and the Stepmother who ABSOLUTELY should have felt more satisfying to defeat because I actually think she has one of the more interesting stories in the story. Unlike the princesses (who struck me as shortsighted and selfish at worst and majorly misguided at best) and the PCs (who felt very rebel without a cause and a bit aimless for large parts of the season), I fully understand why a character who is always written to be evil would want to be like OK, screw it. Burn it all down. But then, at the last second, we get this, "No, wait, I actually wanted to free us all from the authors" thing and it just feels like it comes out of nowhere. Like, maybe giving her her name back gave her back her humanity or something, Fine. But it gave me so much whiplash. We did not spend enough time with her story threads for that to work imo.
Going back to the Authors thing now. I'm going to skip over a bunch of my logistical questions about them (Is that one ink hand speaking for all Authors? For only some? What even is an Author in the context of this world? Is the world that exists above the Never After even really our world? Fairy Tales don't even have set authors most of the time. They're oral tradition. What does killing an ink hand do mechanically in the actual world? Did they kill the entire concept of storytelling or just give one person bad writer's block? ) and go to my thematic question which is, what is the tone that was meant to be struck here? Or I guess rather, why was this the tone struck? The idea of Authors as a malevolent force and that never really being challenged is so bizarre to me. Because storytelling as a concept exists in their world. So why would they assume malevolence rather than people who just don't understand they're playing with the lives of sentient beings? Like, I get the concept of seeing something just beyond your meagre comprehension and cracking. I really do. But that really only happened when Tim saw the ink. Everyone seemed to just jump on the "Authors Evil" bandwagon and didn't examine that further. And I guess you're not obligated to look further into the people who are controlling your life against your will (though, I really don't understand to what degree the Authors were actually doing that--add that question to the pile) but that makes for a very unsatisfying story beat.
But even outside of that, it's a weird take on storytelling from a storyteller in a medium where you're seeing the storyteller on screen at all times along with the other six storytellers who are telling the story. It's like, an insane level of dissonance, watching someone narrate about how Authors are so cruel and uncaring while watching seven people who are so passionate about what they do, clearly having a great time in the world they created. It made that thread ring hollow to me. And I'm not trying to do some kind of pedantic gotcha like, "Oh ho. You said storytelling is bad and yet you are a storyteller. Interesting." That's not what I'm saying. If you want to tell a story about control and lack of control and agency and all that, then I can see having your players play characters who are being controlled by authors. But it wasn't explored in a way that made any kind of point other than, "Free will is good." Which...yeah. And I initially thought it was very cool that they were telling a story about character feeling like they didn't have agency in a medium where we literally have to watch the "extraplanar beings" controlling the characters' agency because I thought they were going to do something interesting with it but they never really did. Frustrating.
There were hella loose ends that were never tied (What actually caused the Neverafter to merge? What does the Auroratory actually do? What caused the times of shadow*? What was going on in the other worlds?) but lastly, I just want to touch on the loose ends that actually *were* tied. Specifically in the epilogue.
So the idea here is everyone gets to write their own stories. That sounds good in theory. But, in reality, people are gonna have wishes that contradict. And people are gonna have wishes that are bad. And people are gonna have wishes that control other people. Like, in this new reality Tom Thumb wakes up at 8. But that's what Ger wants. Is that what Tom wants? In this new reality Elody and Ger are divorced. Did they both want that? What if one of them didn't want that? What if multiple people want to be married to the same person? What if multiple people want to be royalty of the same place? What if multiple people want to be despotic dictators or the same place?
I'm not going to go through every epilogue, but Roz's in particular gave me pause. Not because she decided to not give herself a true love and in fact specify a cruddy dating life for herself--wouldn't have been my move but do you girl. No, it made me go "huh?" because Siobhan said that in this rewritten version, instead of avoiding spindles, she gets really good at handling spindles, and then when the witch shows up with a spindle, she knows how to handle herself. But that's just like...not how Sleeping Beauty works? Like, it's not that Auora's curse takes hold because she was bad at spindles. It happens because she was cursed to die (softened to sleep) when pricked by a spindle on that day and time! Michael Jordan could have been cursed to die via basketball on his 25th birthday and no amount of talent would have saved him because it's not about life experience. It's about magic. And like, I get that she wanted to have more agency in her story but that's just like...not Sleeping Beauty at that point. If she had been like, "So I spend my whole childhood preparing to face the evil fairy and defeat her in a battle of wits/magic/sword fighting/Uno/etc before my curse takes hold instead of letting people solve the problem for me" then that would have tracked for me. But as is? That was just bizarre.
And then also the fact that the Stepmother AND the Gander were just like, good in this world? The stepmother, I can maybe kinda sorta buy. Like, I have questions 100%. Was this what Cinderella wanted? For her abusive stepmother to just get a clean slate to be in her life again? We're not given any indication that the Stepmother is really a nice person who is being forced to play into the villain kayfabe by her puppet masters and really in her heart just wants to be good. But that COULD happen (and I wish it had) so sure. Fine. But the Gander? The Gander, this primal force, just wants to be good and wander? First off, not the main thing here, but if I was Tim and this dude made my son turn to bones I'd be like??? No??? But also, I thought the Gander was like, a force of the universe! The opposite of the Goose! Yin and Yang type stuff! He can just be good with no cosmological consequences???
(Also, as I said, it's really kind of jarring to watch these characters like struggle for control of their stories and then just, in real time, while 6 actors put words in their mouths about what their best life is. I know that's the nature of the game but it doesn't make it not weird to watch.)
In conclusion, I found this season exceptionally funny but also not very narratively cohesive. I really wish it had come together a bit better because I really love fairy tales. My thesis project right now (which I'll probably share on here when I'm done with it) is a fairy tale retelling and the last major writing project I worked on had a lot of fairy tale inspiration as well. I think there were a lot of potentially interesting ideas in this season! Pinocchio asking why other kids get to mess up but he can't is a great beat. Pib as an incarnation of an archetypical trickster spirit is inspired. The effects of a True Love's Kiss spell wearing off as your marriage crumbles has interesting implications. But it didn't coalesce in what I felt was a satisfying way. I admire the effort that went into this season and would love to see Brennan's notes because I'm sure there's a lot we never got to (some of which might answer some of my questions) but as is, it felt a bit overstuffed and underbaked.
*OK, we actually did get an answer to this question, but it was so tautological as to be basically meaningless and I would like a more in-depth answer.
PS: Oh! I got kind of carried away and didn't answer everything in your message. Let me fix that!
-I think Ylfa is just a normal girl now. I did think Roz taking her in once she was separated from the wolf was very sweet. I have some existential questions about the splitting situation but the moment was still sweet regardless. I do like that people still draw her with the wolf ears though. Wolf ears are always fun.
-It *is* very funny that Ger had a page to write literally whatever he wanted and that made the list.
-I am fascinated by what would have happened if they'd failed that roll. I know Brennan said they'd have time looped back to the start and ended on a bummer note, but I mean like, what would the table's energy have been like. They've never lost like that before. Still haven't. And I didn't really *want* them to but also...my fatal flaw is curiosity so you know...
-Them fighting fully corrupted Tim would have been interesting too. What a cool what could have been. I'm sure there are so many of those.
-That damn Top Hat. Do you think they're actually gonna sell that with the rest of the minis or keep it?
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