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Today I read a Sherlock fanfic story set after series three in a world where John is happily back in 221b and he and Mary are divorced. I don't want to name it publicly because I try not to single people out in a shaming way, and because this was a minor part of the story and hardly the only time where I've even people play with the idea. (If you want a link email me or PM me and I'll share it privately.) But it did remind me of a fandom theme hat really kind of bothers me, and I'd like to talk about that.

Basically, the facts are these: (a) Baby Girl Watson is born healthy, but (b) John is clearly not the father. (c) John and Mary go on to get a divorce, and (d) in explaining the divorce, John points to the divorce as providing the "why." Like I said, it's a minor part of the story, and I can easily see the author not feeling John could publicly give the "real" reason and just not making that explicit because it would be more trouble than it's worth.

Still, the basic idea strikes me as really very sexist. I'm not saying the author is, or that you can't write a story where John divorces Mary and ends up with Sherlock, even one where you don't speak of Mary in positive terms and even even where the divorce is spurred by learning Baby Girl Watson isn't a Watson after all. But I'm afraid I'm stuck on the basic idea - that this of all things would be the uncrossable bridge, and as I said, it just feels retrograde. I mean, Mary killed people. She did it because her government told her to and then she went freelance. There's a screenshot floating around of Mary's file, I think from Magnussen's mind palace (though I can't find it now, sadly), where there's Cyrillic text, suggesting her other employment wasn't just going freelance but becoming some kind of a traitor. She shoots Sherlock and the best spin I can put on that scene is she ran in such dangerous circles and took such risks she got in a position where she had no better choice than to do something that had a very real risk of killing him. She lies to John about who she is through their entire relationship, and then she puts Sherlock and John in Magnussen's path, and with the deleted scene we've now all seen [video], that's more than a bit not good. John has about a half-dozen reasons to want to be free of her, and really, I'm just getting warmed up. :-)

So it's not that I have a problem with the idea that John and Mary get divorced, it's the idea that after all that it would be being cuckolded that pushed John over the edge. The idea seems to be that Mary can kill people and put John and Sherlock in danger, but the one unforgivable sin, the one thing a female character just cannot do and move past, is to not be sexually faithful to her man. This is particularly hard to swallow in the wake of the Stag Night, where I'm fairly sure John would have had his own bout of infidelity if Tessa hadn't turned up when she did. (And thank goodness for that! As a Johnlock shipper, I'd much rather they do it right and honorably, not as a one-time fling.) So if Mary did take that step, well, that's certainly not good and one more reason why I think she's not a good match for a man who's supposed to be morally good.

All of which has me wondering how we should think and write about female characters, particularly ones who are morally grey. This isn't a problem limited to Sherlock. In Tolkien I read mostly the canon pairings because they made sense to me and I emotionally connected to them, but I know people who did prefer slash, Diamond of Long Cleeve has taken a bit of a beating over the years, and I'm fairly sure Arwen and Eowyn have as well. When you have a character like BBC!Mary, who isn't only morally grey (at best) but who also doesn't exactly feel fresh-faced and pitiable, it's all that much easier to paint her as a first-class hag, and I think that's a problem. But I'm also not sure panting her as without flaws is the way to go, either, because that says a woman can't have any flaws (certainly not flaws she's held accountable for), outside of ones where she wrongs her dearly beloved in the context of the relationship. So... I don't know. This kind of move, to have sexual infidelity be the thing that drives John over the edge, definitely feels off to me, but I'm not sure what the better option is.

So I'm curious. Have you written (or read) Mary, or any female character in a similar position, in a way you thought worked? How do you thread that needle?
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Over at Tumblr, there's been a lot of back and forth lately between the folks who think Mary will turn out to be a villain and those who try to defend her. It's part of a larger situation I won't really go into, but the upshot was it made me want to talk a bit about Mary Morstan's character and why I hope for a character who falls somewhere between evil and innocent. Since some of you like the Sherlock show, too, I thought I'd share those thoughts here as well.

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Mary is an assassin. Mary is an assassin who, on at least one occasion, seems almost amused at the moment she was about to kill a more or less innocent man (Sherlock). She is cold and a bit cruel, certainly not gentle or easy to like. And after seeing what Sherlock’s “death” post-Reichenbach did to John, she still shot that same man in the chest rather than let her secret get out, then threatened to do it again at Leinster Garden. That’s a hell of a lot of moral baggage to make sense of. She’s dangerous and not good for John; that’s actually the thought that brings him back from death’s door. But at the same time… she seems to let Magnussen call for help as she’s talking to Sherlock (and yes, she would have seen this; remember the mirror behind Sherlock). Sherlock took time while he was bleeding out internally to try to reconcile her and John. He was willing to risk jail to give John the life with her John wants, and when he knows he’s being sent on a suicide mission he doesn’t make a last-ditch effort to warn John off Mary. He nearly confesses his love for John and then makes a bad joke about baby names - just after Mary says she’ll look after him. If Sherlock still thought Mary was a danger to John, this seems like a massive failure as a friend.

All of which makes me think that Mary is complicated. She may turn out to be a complete villain. She may turn out to be the true Moriarty who’s been pulling the strings on Richard Brook, for all I know; or she may be an ex-assassin who was doing one last job so she could safely retire to be the charming doctor’s wife in the suburbs. Frankly, both possibilities seem boring to me. When I dream about my ideal Mary, the version I’d like to see become canon, it’s someone who was and is an assassin but chose people she agreed deserved to die - an assassin with a moral compass who has some connection to Mycroft and was probably involved in St. Bart’s in some capacity in return for immunity for past crimes. She’s not nice and I don’t want her to become soft, but she’s also not so irredeemably evil that we get to put her comfortably in the villain category.

I want this version of Mary Morstan partly because the only way I can be comfortable with the ending of HLV, at least the only way I’ve dreamed up in the four months since I first saw it, is if Sherlock learns something about Mary between his getting shot and that moment on the Tarmac that makes Mary seem like a good protector of John. None of the other options are pretty: either he knows she’s bad and is so messed up (depressed, suicidal, whatever) that he leaves John Watson to her - or else he knew about the whole “Did you miss me?” stunt and the whole Tarmac scene becomes yet another emotional manipulation of John Watson like St. Bart’s and the we’re-about-to-die moment on the subway car in TEH. If that’s the route we’re going with Johnlock, Sherlock using falsely high stakes to push John into a certain emotional reaction, that’s another red flag I’ve seen in the DV shelter. On top of which it’s just repetitive storytelling. To borrow Sherlock’s phrasing, having John think Sherlock’s going off into certain danger when Sherlock and Mycroft have already worked it all out? That’s so two years ago.

I could be wrong about my personal hopes for the direction Mary Morstan’s character is driving in. We all could, with this show in particular - Team Moffat seems to take great pride in misdirecting us, and there’s just so little we know for sure about Mary’s character. But my point here isn’t to argue that my personal hopes and expectations for Mary’s characters are correct. It’s to put myself out there is at least one example of someone who thinks Mary’s a difficult character, who understands why people would be completely turned off and want to paint her as a villain - but also sees good reason to think (at least hope) Team Moffat won’t go full-out evil villain with her.

Put more simply: there’s a third way. Mary can be flawed, difficult, and not a suitable love interest for John Watson - without that meaning she has to be evil.

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If you want more context on what prompted this discussion, you can read a bit more at my original Tumblr post; but I hope it's not necessary.
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Over at Tumblr, I've been speculating about a new theory I have about Mary Morstan's past. I thought some of you not on that site might enjoy it. Series three spoilers throughout.

Read more... )

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I've promised [livejournal.com profile] just_ann_now a blog post on my thoughts about Mary Morstan's character in the latest Sherlock series. This isn't that, though that blog post is in the works. Rather, I'd like to talk about a related problem that I've seen poke up a few times in Sherlock fanfic and that I'm afraid will become even more of an issue. Namely, it's how to deal with Mary's character when you're writing series three fic.

(Be forewarned: spoilers for "His Last Vow" and series three generally ahead.)

This isn't a problem limited to the Sherlock fandom, by a long shot. I saw the same thing happen in the Tolkien fandom, particularly in slash though I'm sure it could happen in het contexts as well. What typically happens is the author sees a certain connection between A and B and wants to explore it, but B already is married to C, or has a serious canonical relationship with her, something along those lines. Said author isn't interested in a one-night affair or a boyfriend on the side; she wants A to be the love of B's life. To make this seem less like a math equation, let's focus in on the John-Mary-Sherlock triangle. You want to get John and Sherlock together as the true love in each others' life, but now John's gone and married Mary. Oops!

Read more... )
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The lovely [livejournal.com profile] carolstime made a BBC Sherlock graphic with various HLV scenes from Sherlock's mindpalace. Meaning, first, that I now have a lovely new desktop to look at on my computer, and second, you guys get a new glimpse of what I'll be seeing when I start up my computer every day. I don't think there are major spoilers for plot developments or anything, but it does include several scenes from HLV.

HLV wallpaper behind cut )

Because for all my kvetching about HLV lately, there are bits that just fill me full of happiness, or at least emotion that makes me feel so alive. This sequence is one of those, and it's really nice to be able to look at it. You can find the original wallpaper images here.

Speaking of HLV, [livejournal.com profile] wellingtongoose has a really nice analysis of what's going on in that scene which I can't really describe without giving away spoilers, but if I say it involves Sherlock, Mary, and Magnussen people who have seen the episode will know what I'm talking about I trust. If you were confused or didn't understand the motivations behind Mary's actions and want to delve a little further, this is one very interesting analysis.

http://wellingtongoose.livejournal.com/28988.html [because, yes, even the title would be chock full of spoilers]

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