keagan-ashleigh: jenna221b: This might just be me but this seems a bit out of place and over the top
keagan-ashleigh:jenna221b:This might just be me but this seems a bit out of place and over the top… a bit like…?Not only that’s weird but that’s from Shining, sort of. As a reminder: in the way Kubrick treated the story, there’s a good part that involves supernatural (the kid that is possessed and can see the future + the ghosts), but mostly a confusion between what Johnny hallucinates because he’s going crazy and what is plain fuckery ghost affair. That’s what makes it a very good mindfuck, we’re never completely sure of what’s real and what’s in Johnny’s head, all of what is happening in this movie can always be hallucinations. This scene is an example of that, from what we understand, that part is an hallucination, but a premonition as well forshadowing the murderous impulses of the father, and at the same time a call back to what happened in the past. At the time, there was a to-do about the reflection of the elevator doors on the walls. I mentioned it in a previous post, but I will quickly put the images here, and just say that this three-panel motif keeps appearing in S3 and S4 (even if they have to change previous set designs to make it happen).Which, aligns it with the theme of precog from TAB that Sherlock knew exactly what Moriarty was going to do next, and Mycroft mentioning Sherlock’s ideas in T6T.Mycroft: Are you having a premonition, brother mine?Sherlock: The world is woven from billions of lives, every strand crossing every other. What we call premonition is just movement of the web. If you could attenuate to every strand of quivering data, the future would be entirely calculable. As inevitable as mathematics. The glass shattering is the end of the scene, broken into panels, just not of even width (like the elevator doors and the original layout of John’s flat). When we go to the next episode, we’re again given this idea that Sherlock is able to determine weeks in advance, what will happen. Also, we’re introduced to the idea of TD-12, which can corrupt previous memories. Then, we end up in Saw Palace, with its three-panel format and glass/missing reflections. Interestingly, aside from the opening sequence where Mycroft sees the bloody portraits, TFP is relatively blood-free. I still think it might be, because if we think this is still going on in someone’s mind (Sherlock’s or John’s), it’s because they couldn’t stand to imagine innocent blood spilled. (I wrote something on this right after the episode. x ) Eurus is the ghost that was made, and it’s more gothic this way. (We’re back to TAB). -- source link
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