XistentialAngst's Blog, page 158
April 28, 2016
have you ever considered that mary is on a redemption arc? anti-heroes are a thing that exist.
I’ve been thinking how best to answer this for a while. So here you go if you’re still hanging about nonny:
I have considered the redemption arc option for Mary and have already partially addressed it here [x]
You don’t know me so I won’t hold it against you for not knowing, but I consume a lot of narrative media. A LOT. I usually watch about 3-5 different shows a day and watch at least two movies a week (more when I’m having a lazy binge weekend.) I grew up consuming books of every genre and still have a healthy appetite for fiction. I was an English Major at the beginning of my Uni career and took more than enough classes and wrote more than enough essays on the topic of plot and characters. Also, I’m a writer.
What does all this amount to? It means I can sniff out a redemption arc two sentences into a character’s introduction. It means I’m an annoying person to watch movies with because I can and will ruin the ending if I don’t stop myself.
Redemption arcs are easy to spot:
First, you need a likable villain. Someone introduced as the bad guy who you then get emotionally manipulated into forgiving for their crimes. If the story already has a hero figure, you will see comparisons and mirrors between the two, to further blur the lines of morality. The fun-villain is usually comedic and witty with a chaotic neutral personality.
Second, the good-bad guy needs to have a sympathetic backstory reveal. A narrative excuse for their bad behavior. Maybe the man they killed was actually the real villain (see Deadpool or every superhero movie ever). Maybe they were just a pawn being used by a bigger baddie (every RPG where the first boss you fight turns out to be a mini boss who joins your side to fight the REAL villain). Maybe they learned their lesson after losing someone they cared for (all those fridged wives and girlfriends, may they RIP).
Third, the not-so-bad-baddie needs a heroic gesture to redeem themselves. Whether it’s taking a bullet for the hero or saving kids from that orphanage they set on fire, there needs to be a moment for the audience to doubt the blackness of their heart.
Lastly, the villain either becomes the hero or gets forgiven by the hero in a show of solidarity. Irene Adler is a good example of this trope in BBC Sherlock. She is a blatantly obvious mirror for Sherlock Holmes and, by the episode’s end, is playing the role of victim rather than antagonist. Sherlock rescuing her is the visual cue for the audience that she is one of the good guys now.
Now onto Mary:
Mary was not introduced to us as a villain. (In subtext, she was screaming noir lady killer, so those of us who are used to fiction had a subconscious dislike of her.) But in text, and to the casual viewer, she was just the nice nurse lady who healed John’s heart and was immediately accepted in by both protagonists as friend and girlfriend.
Mary had three full episodes to reveal her backstory. This never happens. In fact, Mary’s arc has been in the opposite direction, revealing how little we actually know about her. Much like Sherlock watching his previous deductions fall away until all that’s left is the word LIAR, the audience is stunned and confused by HLV. We don’t even know her real name yet, much less why she’s done the things she has done.
Mary does not take a bullet for Sherlock. Mary does not rescue John from the bonfire. Mary does not say she is sorry or ask for forgiveness for anything she’s done. Mary is not seeking redemption nor forgiveness of any sort. Mary doesn’t even think she’s guilty of anything.
More on that here [x]
Mary has not made a role change from enemy to friend. In fact, she’s done the exact opposite. And why? Because she is not on a redemption arc. She’s on a villain reveal arc. Mary is the new big baddie. She is the only remaining threat to the protagonists. And if it wasn’t blatantly clear, TAB came out and said it. Moriarty is dead. But HOW is he back?
How indeed.
ppq-1:
https://twitter.com/galain/
Thoughts (probably pointed...
Thoughts (probably pointed out by others before).
1. It’s odd that Sherlock knocks and John stands back with his hands behind his back as though nervous (hiding the hand tremor)? And then Mary answers the door with the baby. This is not the established John & Mary flat. One scenario could be that John and Mary are separated and she’s living somewhere else. That would explain John’s stiff, backed-off presence here. But of course there are other possibilities – if Mary were visiting someone else, someplace John feels uncomfortable? Hard to imagine it.
2. The baby looks to be pretty good-sized, maybe even larger than in the market scene? Hard to say for sure, but it’s big. A year old? A whole year has passed since the tarmac?
April 27, 2016
XistentialAngst's Blog
- XistentialAngst's profile
- 15 followers
