"I say, as I like to on these occasions, those six refreshing words that
unlock the door to sophisticated evening habits. I say:” (Series 4,
“And now into the cocktail shaker of my mouth I throw these six words: You Please Music Mr Will Play. I give a brief shake [he shakes his head and makes “brr” noises], and I pour out this golden phrase:” (Series 4, episode 4)
“And as I prepare your Swinging Ballsacks, I ask this question, in accordance with known principles:” (Series 4, episode 5)
“While I mix these, I turn to the debonair doyen of the dance and I ask as askingly as I might this ask:” (Series 4, episode 6)
[Preparing a “Modern Britain”] “But perhaps, somewhere, you might be inspired to add one small, tender, caring cherry of hope. I wonder. While you decide, I will entreat for the very finalest of last, last times, this entreaty of m’colleague, Britain’s very own melody man, as I say to him, please, please, oh please Mr. Music:” (Series 4, episode 7)
"Soupy twist" The catchphrase "soupy twist" was uttered by both Laurie and Fry at the end of each episode of series 3 and 4 (save the Series 3 closer), and is believed to be a phrase, likely meaning 'cheers', from the language Strom (invented by Fry and first used on his BBC Radio 4 series Saturday Night Fry). Strom comprises nonsensical single-syllable words often meaning different things in the same sentence, even shorter words that can only be expressed in over a full sentence in English, and vulgar faux amis.
But then, I think those words are for us: maybe they really did what they could. They don't want to tie up loose ends - which is what makes us mad - instead, they just want to provide context. A story of the core reason why everyone chose his/her path. A story of how the story we saw along the whole 4 seasons became this way. Sadly, such story is not satisfying at all - it just does not make common sense. Now I am not angry, just feel sympathetic that such a profound background "context" did not work. To be fair, it won't work anyway. Human nature is just too complicated, the reason we became the way we are can not be minimized to such a naive explanation. They have chosen the wrong way. Mary's last words is truly the real gem of this episode though, if we pull it aside: I remembered the warmth this show gave me in the first place - indeed, when life is too strange, too impossible, too frightening(when this show became too strange, too impossible, too frightening?), there is always this last hope: the two men(and little Rosie!) sitting there in this little flat, the best and wisest men, always, for us. Also a little something I found: do you remember the mysterious matchbox case long time before? Well look at how the family house was burnt. Look at the matchbox in Eurus' hands. My bet is on this is the subconscious memory surfacing to consciousness and not a real one. --------------------- All these being said, despite how silly and unbelievably sloppy this show became, I almost wept when the "Who you really are" theme came out. I can't forgive Mark and Steven, but Arwel, David, Ben, Martin, all the cast and crews they did such a wonderful job and I'd like to give them all a big hug and thank-you. It's like all the resentment, all the fury, dissatisfaction, and disappointment dissolved into the melancholy love of such a beautiful, beautiful show they gave us for the last 7 years of my life. All things rebuilt, all happiness returned, like all the mess never happened, just the new beginning of the life of all that in the story or tagged along with it which is us. Sentiment, it is such a good thing and bad thing in the same time. In the heartbreakingly beautiful music we relived the past unforgettable 7 years again, we remembered why we love this show in the first place, and we saw the new hope of a new era indeed: this is the end and beginning, this is the best and worst time of our lives. It's a proper goodbye for whoever really devoted to the show: we can't outdone it, but at least, we sincerely want you to feel how much we love you and we know you love us, always, like how you loved these two baker street boys for a hundred of years. So thank you, and see you on the other side.
"Please Mr. Music, will you play?" Each episode of Series 3 and 4 ends with Stephen Fry preparing a ridiculously named and even more ridiculously concocted cocktail. Fry entreats Laurie to play the closing theme by saying, “Please Mr. Music, will you play?” He then shakes the cocktail while dancing eccentrically and serves it to Laurie (in Series 3) or the guest performers (in Series 4), while Laurie plays the piano and impersonates a muted trumpet.
Table 2 Credit Listing
Ep1: This is a story about Mary. In the end she is the Merchant who didn't outrun death. She died in London, which is (quoting Sherlock) "my city", not anywhere else on the run, just like the Merchant tried to escape but run into the noose himself. And the villain appears in the ad on the bus stop when the new girl showed up sitting there. Seems like an actor? A "murder" series is coming soon. I don't trust the new girl; seems the split image of her and the villain indicates some kind of symmetry. Maybe she is a prop to approach John and use him to break Sherlock from within. I think there is more to Cabinet Minister due to the suspicious over-reaction from his wife when Thatcher is mentioned. And why Thatcher again? She has been used in series 2 after all... Also: a little sweet treat for Chinese fans. In an email from Sherlock's laptop (when he is drugged by Mary) there is an incident in China that need help. Is that small hole in the wall Mycroft's apartment??? And what is "13th"? Sherrinford is the third Holmes am I right? Have you thought why someone smart as Sherlock would show off at the time so inappropriate that would irritate the secretary and cost Mary's life? When I saw the actor's facial expression, I thought he noticed that the secretary is going to hurt Mary and decided to move her attention to himself and protect her. And when the small old lady shot him his face reads no shock but determination. Only that he didn't see it coming that Mary, the same as him, would sacrifice her life for his, for the safety of John and their little girl, since she knows she couldn't make it to the end living an ordinary life all along. And the most important: why the hell did Mary say "go to hell"? And what is "save John"? Does she know some master plans targeting John and Sherlock from criminal master (whoever that might be)? ----------------- I am disappointed after first watch. But then, I don't have high hopes after series 3. It's fun, it's light hearted, it has dark twist and major fight scene. But all in all the case is so damn easy for casual viewers let alone Sherlock. After second watch some details are interesting and there may be little tricks hidden somewhere but that could not count if the whole plot is weak as hell. Yes it's written by Gatiss and I am not supposed to expect too much but... well I hope Moffat can do a little bit better. Or are they hiding some surprises that would make a huge difference in the finale? Since the finale would be played in theaters... They better got something really good for the sake of the show. ------------------- OMG after re-watch abominable bride I can't help notice the symmetry between Lady Carmichael/Modern!John Watson and Sir Carmichael/Modern!Mary Watson. Sherlock was supposed to protect Sir Carmichael but failed. Lady Carmichael blamed him for it. And Sir Carmichael was murdered by ghost of his past - just the way how Modern!Mary died. BUT, if it is indeed a symmetry - not my over analysis - then since Lady Carmichael did help murder her own husband, it must mean Modern!John has something to do with Modern!Mary's death. Really I want to make fun of the seemingly ridiculous theories so far but I can't now. The lines are so astonishingly similar..."You promised to keep him safe. You promised!" I don't think it is just coincidence, especially after premonition is brought up so many times in T6T. Is it all foreshadowing or just made up by my overly suspicious mind? I can't wait for next episode now, not even 24 hours. Ep2: Okay I'm done with it. Though it's touching, it's heartbreaking, it got surprises and big cliffhangers I am still not okay with all the Mary bullshit let alone the new villain(villain??). To me it's just a messed up character development disaster, all of the Mary storyline till before this episode. No authentic emotion state transition, no authentic motives behind all the ridiculous behaviors, why make a could-be profound and in-depth character so unconvincing and superficial?? That's just bad writing to be honest. Or bad performance. I don't know. We got Sherlock and John - very dynamic duo from the beginning, we got Moriarty the unforgettable villain, we got Irene who brilliantly stands out even though there is only one episode for her, yet we plotted the whole season 3 and half of season 4 around Mary and no one really understands what just happened with her. Why? Just WHY?? I can only hope the new girl would get some righteous treatment - I can not handle another new character disaster right now. To me, Mofftiss just don't quite know how to portray convincing, real human emotions - probably not enough screen time? For instant click like Irene, enough, but for real relationship like John and Mary, not at all. And Mycroft with Lady Smallwood...what the bloody hell, is everyone going to pair up now?? But other than this messy so-called character development, I am quite happy with other parts - the genuine heartbreaking regret and tears shown by Martin probably is the best in this episode. --------------------- Now we talk about some proper deduction. Which is done so brilliantly I can forget about all my rant above. First things first: can we talk about John was attracted and flirting with Sherlock's own sister(Fem!Sherlock/John???) o_O You do love danger don't you John. And Sherlock chose to help his sister in disguise - with a stick. Like John. We've been told all along - Sherlock's a girl's name. Moriarty dressed like a bride in TAB. The danger - they hover at our elbows. What else? And the first scene - gun shot. John's face. We thought it is John can't get rid of Mary's death the first watch - but no. We've been told from the beginning - John is in danger. When Mary first appeared: did she live? Is that fake death? Is that why you can not tell shrink? Oh no. She is your imagination John. That's no good. And then Sherlock: is the girl imagined? Why Mrs Hudson can not see her? Is it to give you a little stimuli? To avoid drug? No you're already high. And Billy? Is he also imagined? WHICH IS TRUTH AND WHICH IS IMAGINATION I AS AN AUDIENCE STILL CAN NOT TELL? That is fucked up - brilliantly, deliberately fucked up. And from second watch: heck we are all tricked by a little disguise. In plain sight. No one noticed the two girls: one real Faith(both in person and in picture) and one fake Faith - THEY ARE DIFFERENT. And all three girls: the fake Faith, the shrink, and the one on the bus - THEY ARE THE SAME PERSON. No one noticed. NOT A SINGLE ONE. What a collective idiots we are? From third watch: "I reminded you of your friend." Yassss. Because you're his sister. Remember? "Sister!" From the very first encounter, Harry or Harriet? “Once you opened your heart, you can't close it again." WTF??? Foreshadowing again?? Nooooooo Holy shit they told us about Mycroft/Lady Smallwood affair. Hidden within a scene shift. - "You haven't made it up to me." - "How am I supposed to do that?" From Mycroft/Lady Smallwood dialogue. Next - "Sex." From Sherlock/Faith. The dialogue about sex - interesting. Faith's lover didn't notice the scars hence no sex. And guess what? Later on we see John found out about Sherlock's scars. Bahahahahaha what are you trying to say Moffat? And the scene shift again - "Don't call us, we'll call-" Then Mycroft on the phone with John. Brilliant. Just brilliant. The suicidal speech: I am perfectly certain it is said to Sherlock himself. He is the one who wants to drown in drugs so he would not feel guilty about Mary's death. But it would cost not he himself; the pain is on Mycroft, Mrs Hudson, Molly, and John. Faith saw Sherlock is nicer. (Second watch: Than what? Childhood Sherl? What happened then? Did Sherlock do something horrible to her so that she would hurt John to make revenge? Did Sherlock's speech remind her his life's end is not where the pain is, but who he cares most's is? Is her original plan making Sherlock dead?) Then Sherlock remembered. The childhood scene, on the second watch I realized Sherlock is indeed better than any of us. He vaguely realized who she really is. And then she is gone. ("Faith" is gone?) On first watch: my god is this girl also IMAGINATIVE? WHAT IS REAL NOW? The name is ANYONE. One word. Brilliant. Annnnnnnnd that was three weeks ago. Here to the first scene with the shrink. And we thought is was Sherlock but no, it's Mrs Hudson. We thought they are going to Baker street but bam, he is in the back trunk. Brilliant, and brilliant, and hilariously brilliant again. (How many brilliant have I said now?) Where is that monologue speech come from? A play? - Oh Henry V. And also featured in credits with red letters. And "Sherlock is on Twitter. He must've lost it." (Hmmm... Trump? With the "I am voting for..." line from Smith before...) - "Have you spoken to Mycroft? Molly? Anyone?" - "They don't matter, you do!" Aw Mrs Hudson you're speaking the truth again! The slow motion is the best since Moriarty in London tower! The background music, the choreography, the pace, everything, just perfect and fun! Silly you thought she is shaken because she's afraid aren't you, Sherlock? Never underestimate Mrs H:D "Do you know why they dropped you dear? Because they know you." Hahahahahaha "Is this the new person? I'm against new people." No darling she is not, you have a very keen eye don't you Sherlock? Moffat told us all beforehand just no one noticed the hidden clues. My god I don't know what to say now. Here. Eurus gave Sherlock a cup of water. Is that drugged? Is that why he can't recall? Or am I reading too much into this? "You're a doctor, examine me" ;P "Is Molly the right person? She is more used to dead people." No Mrs Hudson I don't want it to be foreshadowing, not now o_O - "You're disagreeing with yourself." - "Are you ready sir?" - "Yes I am." Again two meanings in one sentence. Well done. "He is our monster." Awwww Mary I almost liked you yet you're dead like a stone:( "I don't do handshakes, it'll have to be a hug" Oh my god Moffat you bloody naughty thing! Yes it's a hug. THE hug. Later on. Other than the handshake. THE handshake. We remembered and complained so much about. I'm DYING. When they hug, Sherlock got Smith's phone. Did Smith also do something? I don't think he would waste this chance if he really is that dangerous. "You know what makes it cool when you're a kid? Dangerous." I SWEAR this has something to do with Sherlock/Mycroft/Eurus' childhood trauma. And Smith probably knows it. Because Eurus told him. Because Eurus knows about Smith's dark secret and in exchange told him her secret. Or the other way around. "Safest place to hide. Plain sight." Yes. Not only Smith, but Eurus. "I needed a hug." Yes, needed and will need. I have a feeling the "endless" would make more sense in TFP. "The queen killer" Oh no. It's not good. I don't feel well. Who is "the queen"? Mycroft. Who are we gonna lose? Not Mycroft. Seriously, please not be him. Or is it the other one? Eurus, the serial killer, protected by the Government Mycroft? "Because I know her. ...I think she liked me." Yes you know her. And she likes you indeed. Eurus. "Impressive facade. It's about to break." Yes both Smith and Eurus. First watch: is that really drug induced hallucination? So all of this, Sherlock's imagination? He is wrong??? Second watch: nice try b--ch. "Move him to my favorite room" You just betrayed yourself to John, Smith. If not maybe you had a chance. And you're manipulating them aren't you? Make John feels he should be treated better? His contributions should be appreciated more? Is that the direction where you're going to Moffat? And the most touching part: Sherlock made John hit him hard so that John would no longer feel angry, guilty, and remorseful. He is willing to make such a sacrifice, at cost of his own health, to give his friend peace. This, together with the hug, makes me wanna cry. "Let him do what he wants, he's entitled." JUST LET ME DIE ALREADY. "Still thinking about Sherlock.""No, you are." Well said Mary, well said. "Locked up in a tower or something" I think you're right John. Maybe that's where she was indeed. “Time is of no infinite supply" Not good again. Not with Mycroft. "He knows you're an idiot but you're a lovely doctor so it's fine" I love you Mrs Hudson. "John Watson never accepts any help, but he never refuses it" Well, isn't that what TAB told us? I know it would be John save Sherlock. It would be Sherlock save John. It has to be the two of them. Each other's savior. And that's what this show is about, two man's deeper than blood friendship(as shown in the book prop on Google Maps). "I like to make people into things. I can own them." wut O_O you want to own Sherlock you disgusting thing? ask John first go on Annnnnnnnd... We go full circle to the very beginning of the show. John was here, John is here. He saved Sherlock, and he will do it again. Whenever his friend is in danger, he would put everything else away to save him. We, went through the trouble of going up the spiral stairs, found the two boys just like where they were from the beginning, with new understanding of their experiences, their emotions, their needs and hearts, and that's what Mofftiss want to show us. Not just a detective show, indeed, but a show about how a detective(and others) gets to grow up and fully realize what their life means and should be. That my friend, is how to do it right(well the plot seems a bit ridiculous sometimes, but I'll give it a pass). "People always give up after 3" I BET that means season 3 am I right Moffat? Yes I almost give up. And I still am not a fan of it. But you... no I'm done. I give up. You're the best that you can mock yourself and out-done yourself. Here, have my self-esteem. I don't need it anymore. "Break America" Yeah I don't believe it has nothing to do with Trump. Most certainly it is a mockery of him. "I thought we were just hanging out" Awwww Sherlock even I want to hug you and can feel how happy you are right now "It is a currency I do not know how to spend" LET ME JUST CRY "Happy birthday" EVEN CRY MORE The confession scene. I have nothing to say. THE most real, most heavy, most emotionally captivating scene in the whole show till now. It's not a duo anymore. Mary completes John. She guided John. John saved Sherlock because of her. Sherlock saved John because of her. Here the character finally got the righteous treatment(not enough, really, see what you have done in season 3, but it is what it is). And the actings of the three actors are superb. And "No, even you." Wow. Well said. "Isn't that right, Mary?" Sherlock knows Mary. He knows John. He knows how John knows Mary. My god. Well, the last part. Needn't I say more. I am so desperate to see TFP. Can't wait till next week. This is such a successful adaption of the Dying Detective. Not only lying, we can almost see him as dying with so much drug abuse and violence from John. True to the original material I must say, and respectful yet with new changes here and there, fun and necessary to the character development and plot. I love it. Maybe more than TSiB or TRF. ------------------------ Just a thought: there are three left a number. Moriarty, Eurus, and Lady Smallwood. Just like in TAB, three working together... If there is not anything fishy then Ep3: Sherlock is dead as a stone... this time the show lol. I can see the reason they said there would be no more in foreseeable time now...yep no more please. Let the duo live in the first two series(or maybe the hug?) and leave our beloved detective who's the original Holmes in book alone. ------------------------- After the second watch things get better. Yet it is still problematic...saying it as politely as my best. Now the bad things: paper-thin characters(they just smacked their own face and ruined what a beautiful significant character development they made in ep2), really badly written fanfic-ish ridiculous family drama, poor deus ex machina little sis... Just name a few. And out of place nod to themselves: the elephant glass, the "good man", the "east wind is coming"...not the ideas are bad: they are great. Just wrong place or wrong way to show them. I finally get which way they are going to: one called "I'm so perfectly clever so Imma gonna ridicule myself and make you laugh". Except when it is not so clever, it's just downright stupid instead. I get they want to do the weirdly mixed version of sci-fi comics comedy, dark horror thriller and B movie, but take a look at their inspirations: The Shining, Shutter Island, Saw, The Silence of the Lambs, even Star Trek and Star Wars... Not as good enough a script they have as those. Sorry, wrong way to try and I can't bear to watch you roasted to death. In the end making "television history" is not that easy, eh? Let's look at the bright side: "deduction". Well some parts are rather disappointing to be honest: like the no glass one. If you think of it as the writers saying "we got you a shock effect with literally nothing in hand" then probably it's kind of clever. But seriously, it would take no longer than one second for the Sherlock in the first two seasons to notice that there is no glass. To be fair it would not take me more than a minute to notice that. Yet I'm just a goldfish. So this is the case: it looks promising at first, but if you look really close, the facade just collapses in your face. But there are some clever ones still. The fake Captain and fake safety guard one, for instance, is fun to watch the second time since you can recognize the figure and voice(especially Ben's, I know something is wrong with that guard on the beach the first round). The compromised Governor one is also clever, you would surprisingly find out that the whole tape is about how to lure the Governor's wife on board on second watch, and you would realize how clever John actually is - the "Vatican Cameo" code appears quite early. And before he reacts, he took a minute to find a way out - but there is none so next he has no way but break it loose. I also like the nod: when Sherlock stands on board, "You're the detective.""No, I'm a pirate." See, that's clever dialogue writing: not out of place, just pure fun. If you look closely at what Eurus did: she is basically trying to destroy the corner stone(or touch the soft spot?) of each character from the beginning. John, strict moral code; Sherlock, emotions; and Mycroft, brotherhood. I kind of understand why this is important on a metaphorical, abstract level; but again, sorry for using the wrong way to demonstrate. Mycroft's odd behavior towards his sister is explained well in some sense: how he deals with his little sister is consistent with what he did to the imaginative one, "the girl on the plane": make the plane crash in sea, let the girl die rather than expose all urban civilians to danger... If you really think about it logically, it makes sense. He really is the perfectly logical one. Even with his own sister. He doesn't hate her, maybe even love her; it's just that you have to make the best choice. But, as I said before, counter-intuitive. Hard for the audience to buy it the first time, with emotions, not logics. And John is the grown-up version of Victor all along. That's why they became friends; that's how they have the instant chemistry; the story is written long before anything comes into the picture. This is the corner stone of the whole story: we tend to ignore that, all in all, why did they become close in the first place? So this is not the story of Johnlock: it's about the long lost friendship, unspoken brotherly love and redemption of a traumatized genius' soul. And Eurus: a highly intelligent girl with significant emotional problem. She does not know how to express love, how to seek love, no matter how much she needs it. Human emotions are beyond her understanding: she doesn't know anything about that, the world looks just like a plane with dead people and she is falling. She is in dark; she is afraid. All she can do is drowning his brother's best friend to seek attention, in the childhood, in the adult life, hope he would know, hope he would understand, and he would save her. When I really think about it, I'm almost moved; but you could have shown us better interpretation of this Mofftiss. So I guess it really is "love conquers all"- looks like everything is explained; except the story looks so ridiculously surreal that its emotional weight just lost in midway. Now I'm just very sad for the lost potential of such a deep and meaningful theme. I'm grateful for the Mystrade moment: "I'll take care of it". And "thanks Greg" I know it would happen at last. Oh, and the violin battle: such a heart wrenching moment that Sherlock went to Sherrinford again and again to "communicate" with his sister. To keep her close, keep her safe, let her know she is loved in her way, since words are beyond her understanding now. But again, the execution of this idea is another example of failure of the probably the most beautiful, non-verbal scene this series deserves. Except we saw Mycroft and the parents finally visit her too, a real family moment.
"M'Colleague" A phrase that Fry and Laurie began using during the fourth series to refer to each other. Both have since used this phrase outside the series to refer to the other, for example on chatshows; the dedication in Fry's novel The Stars' Tennis Balls reads "To M'Colleague".
Tony Gilroy, as the pilar writer of all 3 screenplays, sets up a consistent and solid story foundation that has greatly contributed to the success of this movie series.
Christopher Rouse, taking the place of Saar Klein, marks an important turning point on the editing style and thus build a remarkable milesstone for this series.
Oliver Wood, the all-time DOP of this series so far, leaks a peak of his extraordinary photography skills in the second episode and gives it a full play in the third, where the scen at the airport is definitely a textbook materpiece.
The change of directors, which is basically my initiative to rewatch this series, certainly makes a difference. Even though I greatly enjoy Mr.&Mrs. Smith, a materpiece of Doug Liman, I still have to admit that Paul Greengrass, director of the last two episodes, does a better a job.
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"What pun?" A running joke had one character adding "if you'll pardon the pun" mid-conversation, when there had, in fact, been no pun uttered. The second character, puzzled, would say, "What pun?" and the first character would say, "Oh, wasn't there one? I'm sorry," and resume as normal.
Both in Series 3 and 4, Fry precedes the question with increasingly silly introductions:
The purpose of making Table 2 above is not to show those names literally, but to indicate a pattern that helps find out more, regarding the changes inside this series: