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About Literature / Student Member sean j. dillonMale/United States Recent Activity
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I need to get that journal out of the front page.
Note: Unless directly mentioned, each page has a different cast of characters. The majority of background info given can be inferred by either the body motion of the characters, the facial expressions of the characters, and/or the clothes of the characters.

Page 1: In the foreground, we see a man falling off of a building in a city. He was not pushed, he did not trip: he jumped. The man is about 40 years old. Slightly bellow the man is his phone. It is an IPhone 4S. We see the back of it. The man has his eyes closed with tears pouring out of them. And yet, he is content. In the background, in the building nearby, we see many stories. We see a boy looking out a window to see the man fall. The boy is thinking that the man is trying to fly and wants to see him soar. We see, in the room to the right of the boy, his parents having sex. It is not all that great of sex, and the wife is considering a divorce. In the room beneath the family, there is a party going on. However one of the guests is puking and the designated driver is calling 911. In the room next to them, four teens in a circle are smoking pot. In the penthouse, a man is threatening to throw someone out of the building via the express elevator outside (push off the building). There are many other things going on around the falling man, but I think you can make them up. It’s late at night. The moon is not in sight, but the stars are. Bordering the page, there is a series of panels exploring the falling man’s life. They are, in no particular order and all from the POV of the man, as follows:
• The man is born
• At a ledge of a building, the man holds his IPhone with a message to a woman named Susan saying “Goodbye”. It has just been received.
• The man, age 5, watches The Phantom Menace in theaters.
• Some bullies are scared off of beating up the man, age 8, by Susan, age 9.
• Two hands, one belonging to the man, age 27, the other to Susan, age 28, hold each other. They have wedding rings on them.
• The man stands in front of a grave, holding flowers, which obstruct the name on the grave.
• The man, age 13, has his first sexual experience via masturbating to Playboy.
• The man, age 23, sees Susan, age 23, for the first time in years, having not seen her since they were kids, and waves to her.
• The man, age 18, graduates from High School.
• The man, age 14, overhears some terrible news from the other room between his father and their neighbor.
• The man, age 19, plays chess against a fellow student.
• The man, age 12, goes fishing with his dad.
• The man, age 15, has a birthday. His is not all that happy.
• The man confirms that the body is his wife’s.
• The man, age 6, watches his dad put down the family dog who has rabies.
• The man, age 30, stargazes with his wife, age 31.
• On their honeymoon, the man and Susan go to the Eifel tower.

Page 2: In a college dorm, a woman is writing on her computer. From our perspective, we cannot see what she is typing, for we see her from the side. The walls on her left side of the room are filled with posters from Doctor Who, Farscape, Star Trek, and Star Wars. Some of them are official posters and some are made by fans of the works. On her roommate’s side of the room, the walls have feminist and Captain Marvel (Monica Rambeau) related posters. To the left of the woman, is her bed. The sheets are red. Her roommates’ bed sheets are eggplant purple. To the right of the woman is a window. It is an altogether nice day for November, but the woman has decided today she will write. We see what she writes, not from the computer she types on, but rather from the thought balloon coming from her. In it, we see a fantasy story in which the female hero is fighting a horde of undead wolves with a sword. The imagined vision we see is slightly crude, hinting at the quality of the story she is writing.

Page 3 Panel 1: A man is lying in bed, beginning to wake up. The man is still under the covers and has been sleeping on his side facing away from the wall. There is an alarm blaring above him on a wooden stand. The time is 8:45 AM. The sheets on his bed are blood red and his pillowcases are as black as night. His walls are bare. His bed is 5X12 feet long, although we do not see the full bed, just the part where the man’s upper torso is.

Panel 2: The man looks to his alarm clock and realizes he’s late. As he checks, we see that the man was not sleeping with a shirt on. We do not see anything below the man’s belly button.

Panel 3: The man rushes to get dressed. Fortunately, he notices that it is raining outside (the window on the side of the room where the feet area of his bed would be) while getting dressed.

Panel 4: The man grabs his umbrella as he leaves the room. The umbrella is located next to the door, which is on the side of the room where the bed isn’t. The walls on this side are also bare.

Panel 5: The man, with umbrella (which is one of those crappy umbrellas that breaks within a week of owning it (which is about seven times as long as the man has owned it) and is sea blue) open, rushes to the bus stop. He has a look of desperation on his face.

Panel 6: Just as the man is about to reach the stop, the city bus leaves.

Panel 7: The man, disgruntled at the knowledge that he’s going to be late, waits at the stop for the next bus. It begins to rain harder than before.

Panel 8: The wind picks up and whisks the man’s umbrella away. The man is shocked by this development.

Panel 9: The man chases after his umbrella with a look on his face, which reads of someone who, if this were a comic with dialogue, would be saying “Crap! Crap! Crap! CRAP!”

Panel 10: The umbrella gets to far away from the man, and he drops to his knees.

Panel 11: The man looks as if he is about to shout the word “Fuck!” to the heavens.

Page 4: In black and white, we see two parents having an argument. We do not know what the argument is over, but from their body language, we can deduce that it is not over anything good. In the background, we see their kids trying to distract themselves from the argument by playing a cooperative video game. By the look on their faces, this doesn’t seem to be working. Reflected upon all of this, we see the family dog, sitting tall on all fours, waiting to be let back inside. He, like us, does not understand why this is happening, but thinks that if he were let inside, he could help in some way.

Page 5: An old man is surrounded by his family while lying in his bed. The old man is hooked up to a machine that gives the heartbeat of the old man. The old man looks happy to see his family. Bordering the top and sides of the page, we see the faces of the old man’s grandkids, children, daughters and sons in laws, and the old man’s wife as they stand around the old man. Some are giving tearful smiles, the wife is just bawling, and at least one of the grandkids is confused as to why he’s in a room with his grandfather. He loves him and all, but he thinks he could see the old man anytime, and doesn’t understand why they’re here now. Bordering the bottom, we see the heart beat of the old man slow down to a flat line.

Page 6 page layout: the page is formatted in a 9-panel structure of 3X3.

Panel 1: We see a part of a guitar in the horizontal direction. There are six stings on the red electric guitar, a big white line going vertically at the left most part, and two silver lines going vertically. The lines are equidistant from each other. The top string is vibrating.

Panel 2: We move to a different part of the guitar, but the format of the panels implies we are just going down the guitar. There are two sections of the guitar that are separated by a silver line. On the most left one, there is a white dot in between the 3rd and 4th strings. A man’s finger is over the top string of the most left section, which is the only string vibrating.

Panel 3: The same as the previous panel, except the man’s finger is on the top string of the right section.

Panel 4: See Panel 1.

Panel 5: See Panel 2, but replace the word “Man’s” with “Child’s”

Panel 6: The same as Panel 3 except the child’s finger is on the left one again instead of the right one.

Panel 7: We see the man, age 30 something, pat his son, age 8, on the back. They are in a living room, on a couch. The TV is to the left of them, and there are a series of rectangular windows on the walls. The couch is tan and the TV is a HD one. The son is holding the guitar and looks dejected, like he’s never going to learn how to play it, but the man gives him a look as if to say that he did a good job, nobody’s perfect on their first try, and he’s actually doing pretty well for his first time.

Page 7 Panel 1: Two women look fondly at a photograph. They both have wedding rings on their fingers. One of them is looking a bit teary eyed at the photograph while the other is just giving a Mona Lisa like smile to the picture.

Panel 2: We see the two women kiss each other to commemorate their marriage. It is a happy affair. The bride on the left (the one who was teary eyed) has her pews packed with relatives and friends, whereas the bride on the right (who was not teary eyed) has only friends come to the wedding. In between the happy couple, there is a catholic priest. He appears to be in his early 20’s. He has the kind of hairstyle only a person crazy enough to dress up as a Green Goblin and try to kill Spider-Man would have. They have a total of five bridesmaids and three groomsmen. To the left of them, is a man playing a violin. Presumably he is playing the Wedding March, but it could be that he is playing something else. Only the memory of those who heard it knows.

Page 8: In a lecture hall, the teacher is giving a lecture on the nature of reality via the multiverse theory (at least, that’s what the chalkboard behind the teacher says). However the teacher has stopped because on of the students (who is in the foreground) is sleeping in class. The teacher knows this because the student is snoring so loud that everybody is looking at him. The teacher is looking rather cross.

Page 9: We see a crowd of people, High School students and faculty alike, watching as two bullies are beating up a student. The two bullies look to be sports players, most likely football. They are tall, muscular (though not to the point of steroid use), and angry with the student. One of the bullies has some food on his clothing, hinting that the reason why the student is being beaten up is because he walked into the bully and got food all over him. The student’s face looks as if a meat hammer had just hit it, his legs look to be broken, and he might be bleeding internally. The student is in the fetal position while the bullies kick him. Meanwhile the crowd looks on. Some look away, some look to be enjoying it, some just look on with minimal interest, and none do anything to stop it.

Page 10 Panel 1: A man and woman, in their late teens, early 20s, are walking to an abortion clinic. The sun is in the sky and the woman is three months pregnant. They are surrounded by people protesting the clinic and look upon the man and woman with scorn for being baby killers. The man and woman feel uncomfortable around the protestors as they enter the clinic.

Panel 2: The couple meets with a doctor to talk about their situation. They are in the doctor’s office, which has bookcases filled with medical journals on two sides of the room, and a window, which is covered on the outside with egg yolks and graffiti. The doctor gives them a comforting smile, as if to say that everything is going to be all right.

Panel 3: The doctor walks them into a room. On the right, there is a poster of a cat hanging on a tree branch with words above it being “Hang in there”. Whatever is on the left of the door is covered by the open door.

Panel 4: The doctor begins to preform an ultrasound upon the couple, and they see that the baby is healthy. It’s in a clean room, although not 100% sterile. There are no windows in this room, although there is a poster, which shows the cycles of a baby being born from the sperm entering the egg to the newborn baby.

Page 11: Inside the passenger seat of a car, a teenager is looking passively out a window. The teen face is reflected upon the window as the night sky is lit ablaze by the nearby car crash. The crash has a total of two injured people, one death, and three people in shock. The teen is half asleep listening to music. It has been a long ride and the crash doesn’t even register upon the consciousness of the teen.

Page 12 Panel 1: We see the whole interior of a confessional. On the left, is a man. The man is talking, but his word balloon has images in it instead of words. The images involve the man recounting his numerous murders and how he hid them in his basement. The man perceives them as pleasurable and is only going to confessional because he knows murder is a sin. On the right part of the confessional, we have the priest. The priest is saying nothing, but is rather thinking about his experiences and friendship with the man who is confessing to being a serial killer.

Panel 2: The man exits the confessional and heads for the exit on the left. The man feels as if he has lifted a great burden from his shoulders and goes out with a spring in his step.

Panel 3: The priest exits the confessional and heads for his office on the right. The priest is feeling conflicted yet knows what he must do. He is not happy for what he is about to do.

Panel 4: The priest glumly sits at his desk, pulls out his cell phone, and dials 911. The room is what one tends to expect of a priest’s office (crucifix on one wall, bookshelf with bibles and other religious texts). On the priest’s desk, there is a coffee mug that says “I Hate My Boss” on the left, and three DVDs on the right. The DVDs are Jesus Camp, The Last Temptation of Christ, and a third one we cannot see the spine of. Behind the priest, is an old square TV. Behind that, is a stain glass window that doesn’t make any particular shape, although if you look closely at it, you can see a boat.

Page 13 Panel 1: A woman is getting dressed for work in her bathroom. Outside, we see that it is raining. Her bathroom has a sink littered with cups, toothbrushes, and other things one tends to expect on the sink of a bathroom on the left, a toilet slightly behind the sink, and a shower on the right.

Panel 2: The woman with her umbrella (which is one of those umbrellas that does not break within a few days and is yellow) is walking down the street towards the bus stop when a man (the one from page 3) barely passes her by.

Panel 3: She turns to see the man distraught at the loss of his umbrella, about to shout to the heavens.

Panel 4: The man looks as if he is about to shout the word “Fuck!” to the heavens.

Panel 5: The hand of the woman holds out her umbrella over the man, which he notices.

Panel 6: The man stands up and looks at the woman with a smile of gratitude over being helpful after a long and terrible morning. The woman smiles back, always willing to help.

Panel 7: The two walk to the bus stop talking about things. Perhaps this is the start of a beautiful friendship. Perhaps this is the start of a long relationship. Perhaps this is just a moment in each other’s lives and the other is nothing more or less than a trustworthy stranger. Who knows.

Page 14 Panel 1: A man in a black suit and red tie slips on a banana peel (specifically from a Big Mike) and falls onto a cherry pie (similar to this sequence:… ). The background simplistic and just one color: orange.

Panel 2: The actor seen slipping on the peel is yelling on his phone after the scene is shot and the crew prepares to film the next one. Presumably he is yelling at his agent for getting him such a crap minor role.

Page 15 Panel 1: A woman is lying on the sand of a populated beach. The woman is listening to music on her iPod. On the iPod, if we look closely at the iPod screen, we can see the song she is listening to is “Sinister Ducks” and the artist is credited as “Alan Moore”. The iPod is set for shuffle. Nearby, there is a lifeguard tower with one of the guards looking at something happening nearby.

Panel 2: The lifeguard gets off of her tower, the woman keeps sun tanning, and some kids run out of the ocean terrified.

Panel 3: The woman keeps sun tanning as the lifeguard rushes to the emergency area with a young girl who just had her left leg bitten off by a shark. The girl and lifeguard are covered in blood. The song on her iPod is now “Total Eclipse of the Heart” by Bonnie Tyler.

Page 16 Panel 1: A college boy is wandering the halls of his dorm holding a nerf gun. He is all alone and thinks that the others are going to gang up on him.

Panel 2: The college boy sees one of his friends. The friend doesn’t notice him.

Panel 3: As the college boy prepares to fire, another student’s hand comes out of the room, holding a nerf gun.

Panel 4: As the other student shoots his unsuspecting prey, the college boy jumps into the nearest open room, his by chance.

Panel 5: The other student thinks he saw the college boy and heads for his direction. The friend plays dead on the nearby wall.

Panel 6: The college boy sees the other student through the peephole of his door. He also sees another nerf gun aimed at the other student’s head.

Panel 7: The other nerf gun fires. The other student notices the shot fired.

Panel 8: The nerf bullet hits the other student. The other student falls to his knees, and then lies down on the floor, playing dead.

Panel 9: The student who caught off the other student points to the other student, as if to see how many players are left.

Panel 10: The counting student points to the friend. He holds out two fingers, meaning two are slain.

Panel 11: The college boy opens his door and opens fire as the counting student realizes that there is one more player left in the game. We do not see if the nerf bullets hit.

Page 17: A silhouetted man stands out side. He sees others flying kites (with one available), people reading books, an open rowboat near the edge of the lake, and people just talking. He is unsure as to what to do for the day. Perhaps he’ll do one of these things. Perhaps he’ll do his own thing. He’s still deciding. The sun is at the noon position in the sky.

Page 18: Outside of an office someone patiently, yet nervously, waits to get an important job interview. In the office the person is waiting in front of, the interviewer is interviewing someone else. They seem to be hitting it off quite well. While waiting, the person imagines two possible ways in which this will turn out. The first being that this will be the start of a long line of rejections, which will end with the person being destitute. The second is the person getting the job with a succession of promotions leading to the person being the boss of the company. The person knows that both of these are unrealistic and is hoping just to get the job.

Page 19 Panel 1: Bambi’s mom is running from some hunters. The hunters are silhouetted by the moonlight, whereas Bambi’s mother has a glow upon her only seen in the beauty of nature.

Panel 2: Bambi’s mom is nearly shot by one of the hunters. The bullet grazed her cheek and took part of her left ear off. And yet, she still has her natural glow upon her.

Panel 3: Bambi’s mom is able to get away from the hunters and onto a road. The hunters, still covered in shadow, notice something and decide that Bambi’s mom isn’t worth it. The glow upon Bambi’s mom contrasts with the greyness of the road and the blurred colors (other cars) on the other side.

Panel 4: Bambi’s mom is run over by a truck. There are no hunters in this panel. There is no glow on the bloodied remains of Bambi’s mom. It’s just blood.

Page 20 Panel 1: Darkness

Panel 2: A silhouetted man holding a body dumps it down the stairs.

Panel 3: The body rolls down the stairs. The body looks as if it was recently killed, via a knock on the back of the head, and is only wearing a pair of boxers.

Panel 4: The body lands next to another body, more decayed than the initial one (in fact, the old corpse is starting to show bone on the forehead). The light of the outside only hits the corpse that was tossed down the stairs.

Panel 5: The silhouetted man closes the door.

Panel 6: The man, whose face we never see, washes his hands.

Panel 7: The man goes and grabs a white strip and puts the strip on his collar, revealing himself to be a priest.

Panel 8: The man walks out of the room to begin his preaching to his choir, who we see through the door the priest is leaving through, waiting eagerly for their sermon.

Page 21: Family of two parents and their child watch television. One of the parents looks to have just finished a long day at work (given that the parent has barely gotten out of the clothes they wore to work), and is beginning to fall asleep on the couch. The other parent appears to have had a less stressful day, and is able to enjoy the show with their child. As for the child, the child is enthralled in the show that is currently on the TV. As for what the show is, we cannot tell due to the view being from slightly above the TV.

Page 22: At night a boy is stargazing outside, lying on the trunk of a cut down tree. He is looking particularly at the moon, with fascination and imagination. In his thought balloon, he imagines himself in a sci-fi garb fighting off Moon Bears with a space gun on the moon. The moon bears are purple bears wearing astronaut helmets.

Page 23: From a first person perspective, we see a man write on a piece of paper. The paper is above a black spiral notebook and the man is right handed. The paper is lined paper with blue horizontal lines, one red vertical line about an inch from the left end of the piece of paper, and three holes punched on the left side of the paper. Beneath the paper is another sheet, although we cannot see what that sheet says. The man is wearing glasses as he writes on the paper with an orange number 2 pencil, which is on the last letter of what the man is writing. The pencil is being held by a hand, the back of which has a little round mark near the wrist. The arms are somewhat hairy. The room in which the man is writing is quite spacious. There are people in the room reading books, looking at their phones, and talking to each other. There is a walkway above the man who is sitting, though we can’t see if anyone is on it. The visible paper reads as follows (with the last word of each line (save the last word listed) being the end of the line on the paper and the numbers to the left of the red line):

14) For a movie, an actor slips on
       a banana peel and lands head
       first into a pie
15) A woman is suntaning on a beach as
       people run out of the water
16) 4 college students have a nerf
       gun fight in the hallway
17) a guy is trying to figure out
       what to do on a sunny day
18) a person waiting for an interview
       ponders whether or not they will get
       a job
19) a deer is hit by a truck
20) A priest dumps another body
       into the basement
21) Parents watch tv with their
22) a boy dreams of fighting moon
       bears when he grows up
23) a first person perspective of me
       writing this

Page 24 Page layout: 3X3 layout.

Panel 1: Darkness

Panel 2: We see a blurry image of a person reaching into the darkness. A blinding white light silhouettes the figure.

Panel 3: Suddenly, we are hit with a sensory overload, as the area around us is blindingly bright.

Panel 4: The light becomes less blinding as we become more accustomed to it. We begin to see a collection of people covered in blues and greens. One of those people is carrying us.

Panel 5: We see someone in our slightly blurred vision: a woman no older than 20. She is on a bed in white garbs.

Panel 6: We are given to the woman, whom we can see clearly now. She is smiling. There are tears coming down her cheeks. She’s so happy to see us that she’s crying. She looks haggard, as if she just gave birth.

Panel 7: Which she has, as we see that the POV the previous 6 panels were from the perspective of her new born baby daughter. This panel is from the mother’s perspective. The baby is smiling.

Panel 8: From a third person perspective, we see the mother hold the baby in her arms. The mother feels as though she has something to say. Which she does.

Mother: Hello.

Panel 9: On a black background, we see white text, which reads:

“24 Hours
of Silence.

Vignettes by
Sean Dillon.”
24 Hours of Silence
A comic for UCONN
The changes between A Scandal in Bohemia and A Scandal in Belgravia are necessary because the latter is a televised modern day adaptation of the former written by Steven Moffat.

One major change between the two works is the opening scene. Dr. John Watson, the narrator of the original story, begins with an introduction to the importance of Irene Adler to Sherlock Holmes. We flashback to Watson heading home from a patient, when he passes the Baker Street residence of Sherlock Holmes. Having not been there since the two became distant after Watson’s marriage, John decides to pay the detective a visit. They share pleasantries; Sherlock makes a deduction about Watson’s work, and then decides to share a letter he received. The letter claims that a member of the Royal Houses of Europe would be stopping by to give them a case. And, shortly thereafter, he does. (Doyle, 6-19)
In the adaptation however, things had to be shifted and altered to accommodate the televised nature of the program. One change is the timing of the drift in the relationship between Sherlock and Watson. The TV show does not introduce Watson’s wife, Mary, until the start of the third season; as such, Sherlock and Watson are still flat mates at 221B Baker Street. (Moffat, Scandal)
Another change to the opening is the timing of when Sherlock gets the Adler case. In the original, the case is given almost immediately. But, in the adaptation, the case is brought up mid-way through the episode, which is important for two reasons. First, the televised story needs to catch up to modern day, which is eighteen months after the events of the previous episode. To do so, Moffat includes a montage of a variety of cases Sherlock both takes and does not take, until we reach the present day. The montage has another motive: to set up events that occur later in the episode. Throughout the montage, we see multiple cases involving dead bodies being stolen from their rightful locations. However we do not notice this connection due to the comedic elements of the montage including Sherlock telling two little girls that there’s no such place as heaven. (Moffat, Scandal)
But perhaps the most obvious change to the opening is the fact that the adaptation has to complete the cliffhanger set up by the previous episode, The Great Game. In it, Sherlock and John are trapped by snipers hired by Moriarty with the only thing between the pro and antagonists being a bomb, which Sherlock aims his gun at. (Gatiss, Game) This needs to be resolved because the audience has waited a long time for a conclusion to the cliffhanger of the previous season and expects some explanation. So Moffat, who spent the majority of his career writing sitcoms[1], decides to use the build up to play a joke on the audience. As such, the episode properly starts (after a recap to reestablish the tension from the previous episode) with Moriarty’s phone going off, playing The Bee Gees song “Staying Alive”. We are then treated to one half of a conversation between Moriarty and the person on the other end. After the conversation ends, Moriarty calls off the snipers and reveals that he got a better offer and promptly leaves. The importance of this is to set up who is on the other end of the phone as someone with a fascination with Sherlock, namely, Irene Adler[2]. (Moffat, Scandal)

The addition of side characters that were not in the original story is yet another major change to the source material. One such character is Molly Hooper, a character created for the series. Molly was originally meant as a one off character in the first episode of the series, however the writers liked her performance so much that they decided to add her as a side character. Initially, Molly had a schoolgirl crush on Sherlock, but her character grew into one who could stand up to the man. Molly’s character development starts in this episode when Sherlock is especially cruel to her and the rest of John’s guests on Christmas Eve. Sherlock deduces that Molly has a new boyfriend based on the present she places on the top of the pile of presents and that she is wearing makeup to compensate for the size of her mouth and breasts… only for it to be revealed that the gift was for Sherlock. It is at this point that Molly realizes that Sherlock is not the right person to have a crush on, and grew as a character. This change is important because the Christmas party is a pivotal moment in Sherlock’s development and shows him beginning to realize how his actions affect other people[3]. (Moffat, Scandal)
Mycroft Holmes, Sherlock’s older brother, is another character added to the story. Mycroft assumes the role of “…Wilhelm Gottsreich Sigismond von Ormstein, Grand Duke of Cassel Felstein, and hereditary King of Bohemia” (Doyle, 16), the man who gives Sherlock and Watson the task of tracking down Irene Adler to retrieve compromising photographs. In the context of the adaptation however, there is more going on with Mycroft. For starters, the information that Adler has on Mycroft is not just the pictures of the Royal in a compromised position, but also information that is valuable to both the English crown and a certain foreign ally[3]. (Moffat, Scandal) The importance of Mycroft in this adaptation is that he is meant to be the version of Sherlock who never got out of the house and met other people (Morrison, Flex) and thus views others as goldfish[3]. (Gatiss, Hearse)
But perhaps the most important of all the side characters added to the adaptation is Moriarty, this season’s major antagonist. Moriarty was introduced at the end of the previous season[4], and is shown to be what Sherlock could have been if he was not on the side of the angels. (Thompson, Fall) Throughout the season, Moriarty acts as a looming threat that is inevitably going to come to the forefront and ruin Sherlock. Moriarty is highly intelligent and extremely clever, but he needs a diversion to pass the time when all that surround him are ordinary people[5]. He decides to mess up Sherlock’s life, not realizing that Sherlock is not just cleverer than an ordinary person, but as clever and dangerous as Moriarty[6]. (Thompson, Fall) In the context of the episode, Moriarty acts as the catalyst for the events of the ending to happen[3]. (Moffat, Scandal)
There are many important reasons why these characters are in the episode. For Molly and Mycroft, they exist to be side characters to the series and, like any good character in a TV show, grow as the show continues. Mycroft, in particular, exists to be a warped mirror of Sherlock, where they’re similar in many aspects, but there are parts of them that are alien to the other. As for Moriarty, apart from killing Sherlock, he exists in the series to be an inversion of Sherlock (psychopathic to Sherlock’s sociopathic, jovial to his seriousness, etc.).

Another example of change is a main character whose role expanded from the original: John Watson. In the original, Watson is a married everyman and his role is to narrate the adventures of Sherlock Holmes. However, in the adaptation, he is not married because his wife, Mary, is not introduced until the premiere of the next season. That does not mean that John lacks a love life. For example at the aforementioned Christmas party, Watson invites his current girlfriend who proceeds to dump him because she doesn’t want to compete with Sherlock, with whom Watson seems to have a stronger bond. In addition she is frustrated with Watson because he continually mixes her up with his previous girlfriends. (Moffat, Scandal)
This is an important change because it ties into an idea that isn’t brought into the forefront until the end of season three: What kind of person would go out on life threatening adventures with Sherlock after serving in Afghanistan? The answer to this question, as mentioned in His Last Vow, is “John, you are addicted to a certain lifestyle. You’re abnormally attracted to dangerous situations and people...” (Moffat, Vow) So of course a relationship with a normal person isn’t going to work: because John isn’t normal, no matter how much he thinks he is. He’s the kind of person who would, instead of acting surprised and befuddled by Sherlock’s return, hit Sherlock multiple times. (Gatiss, Hearse) He’s the kind of person who would make jokes at the expense of the man he just killed. (Moffat, Pink) He’s the kind of person who would be bored with suburbia. (Moffat, Vow) He’s the kind of person who would be fine with killing someone despite being a doctor. (Moffat, Pink) He’s the kind of person who would bring a gun to Sherlock’s parents house. He’s the kind of person who would still be in love with Mary despite her shooting his best friend and everything she told him about her being a lie[7]. (Moffat, Vow) He’s the kind of person whose best friend would be Sherlock Holmes. (Moffat, Gatiss, Thompson, Three)

However of all the characters that changed for the adaptation, Sherlock himself is the most important. The change is mostly one of how the character is contextualized. In the original piece, Sherlock is the world’s greatest detective. He could be, at times, a jerk, but few people call him out on it and he barely changes throughout the course of Doyle’s writing. For the adaptation however, they contextualize Sherlock in the basic Steven Moffat plot. In the event one does not know how that song and dance goes, the plot goes thusly: a clever, witty jerk is made better by the people around them (Sandifer, Curse)[8]. Or, to quote the show, “Friends protect people.” (Thompson, Fall). Mycroft will never let Sherlock die in Siberia (Gatiss, Hearse), Molly calls him out when he is being a jerk and ruining himself (Moffat, Vow), and Watson causes Sherlock to be “…redeemed only by the warmth and constancy of your friendship” (Moffat, Gatiss, Thompson, Three). The effect of people on Sherlock is shown by how exponentially Sherlock changes from the beginning of the series. In the first episode of season three, after being alone for two years, Sherlock reveals to John that he is alive and expects that he and John will go back to their adventuring ways just like the good old days; the two of them against the world. John promptly hits him for suggesting that he leave his life and fiancé for some jerk who he thought was dead for the past two years[9]. (Gatiss, Hearse) Or, for a more Moffat example, compare the mere month[10] gap between The Sign of Three (where Sherlock is not condescendingly cruel to children and one of the bridesmaids (Moffat, Gatiss, Thompson, Three)) and His Last Vow where he goes back to doing drugs[11] and is even crueler to Molly than he was at the Christmas party. (Moffat, Vow)
In the context of this episode, we see Sherlock’s development in a multitude of ways. First off, in the aforementioned Christmas scene, after insulting Molly, Sherlock apologizes for his actions when, in previous episodes, he would have been uncaring towards her misery. This is a departure from Sherlock as portrayed in the short story and the beginning of the series. That Sherlock would never consider the emotions of another person worthy of his concern. Another example of Sherlock’s development would be in the morgue in which he, in a moment of self-awareness, says to Mycroft “Do you ever wonder if there’s something wrong with us” (Moffat, Scandal) where earlier in the series, he would have said that he is better than everyone. And, of course, there’s the ending[3].

Perhaps fittingly, my final example for changes made for A Scandal in Belgravia from A Scandal in Bohemia is the ending. In the original story, we end with Irene Adler escaping from both Sherlock and the king with the blackmail material. However, in a letter to Mr. Holmes, she claims she won’t use the blackmail material on the king, but still keeps it as a deterrent towards the king. The three men[12] accept this situation, and Holmes asks solely for the photograph of Mrs. Norton[13] as payment. (Doyle, 36-40)
However that’s not how life works. If someone is threatening to blackmail you into not doing something, you’re not going to trust him or her when they say “it’s fine if you do the thing, but I’ll still hold onto the blackmail”. This is reflected within the adaptation in which we reach a similar situation to the ending of the story, except none of the characters accept this. In the adaptation, there’s more to this story than just a few pictures. As it turns out, Irene has more than just incriminating photos. She also has crown secrets, one of which she decides to share with Sherlock, claiming that someone is trying to kill her over it and only he can save her. Being a clever, arrogant, lovesick fool, Sherlock explains what is on the phone and how he figured it out... and she sends this information to Moriarty. This is what she bargained in exchange for Sherlock’s life: a piece of information that Moriarty could use to introduce himself to Mycroft[14]. Because of this, Irene is able to make a deal with Mycroft for protection because he believes she may have more life threatening secrets. But Sherlock is able to figure out the code to the phone where the information is stored, and Irene doesn’t get the deal.
A few months later, Mycroft meets with John to bring him news that Irene was able to make a deal with the Americans, and got placed in their the witness protection agency and that Sherlock will never see her again.
At least, that’s what Mycroft is planning to tell Sherlock because the truth would hurt his brother, and, no matter how much they bicker, Mycroft will never hurt Sherlock in that way. The truth, as he tells John, is that Irene was killed by a group of terrorists and her body was found, beheaded. John notes that she faked her death before, but Mycroft countered that this time he was thorough. “It would take Sherlock Holmes to fool me.” (Moffat, Scandal)
As such, John tells Sherlock the lie because he wouldn’t do that to Sherlock either. And so, after John told Sherlock the news, Sherlock asks solely for the camera phone where all the information was kept. John, initially reluctant due to it being government property, relents and gives Sherlock the phone. As John leaves to give the file back to Mycroft, Sherlock looks at the text history on the phone, and we see one new message “Goodbye Mr. Holmes.” (Moffat, Scandal) And we fade to black. (Moffat, Scandal)

The thing about Moffat is that he’s really good friends with Paul Cornell, to the point where he named one of his characters an anagram of Cornell’s name[15] in a story featuring characters and references to Cornell’s work and was best man at Cornell’s wedding. In short, Cornell has been an influence on Moffat. Cornell is a massive Frock[16] and as such, the episode does not end on that note but instead cuts to some time ago, where Irene is about to be beheaded. She is allowed to send one last message, and she sends the aforementioned text. Once sent, she resigns herself to her demise. And we fade to black. (Moffat, Scandal)
But, the thing about Sherlock, despite all that has happened, is that he loves her.  We are shown that love by a familiar text noise[17], which causes Irene to turn her head and see Sherlock, who proceeds to save her from her demise (Moffat, Scandal). Because “Romantic relationships are the ones you do the irrational stuff for. They’re the ones you don’t just take bullets and chances for, they’re the ones that without, you don’t know how you’ll live.” (Hazel, Romance) And so, we return to the present, with Sherlock softly laughing to himself and saying “The Woman.” (Moffat, Scandal) And, as he walks away, we fade to black. (Moffat, Scandal)

1) From the start of Joking Apart (1991) to the end of Coupling (2004), a total of 13 years, which was much longer than the eight he spent writing science fiction, Sherlock, and the first Tintin movie.
2) However, I don’t have much to say on that subject beyond “A royal having an affair with a commoner when they were young was not as worthy of blackmail material as one of the royals having a BDSM lesbian relationship and other crown secrets including things that might have lives at stake or, for that matter, at all”.
3) “I’ll explain later.” (Moffat, Curse)
4) Although he acted as a force behind the scenes throughout the scenes, being a sponsor to the schemes of the previous two episodes. (Gatiss, Game)
5) Goldfish, if you would.
6) And Moriarty loved him for it. If we assumed that the big problem with disguises was “However hard you try, it's always a self-portrait” (Moffat, Scandal), and Moriarty first appeared as a gay man who hit on Sherlock, then this idea works. (Gatiss, Game)
7) As an aside The Sign of Three became even better if you look at it through the lens of a polygamous relationship between John, Mary, and Sherlock. (Sandifer, Three)
8) In the context of the paper, he said women, but other works by Sandifer have expanded it to the broader use of people. (Sandifer, Rogers, Slate)
9) Compare his jerk like attempt to reconnect with John to the opening of season two where he apologized for his behavior towards Molly. The lack of people in his life for the past two years caused him to think this was the right way to say “Surprise, not dead!”
10) Which, incidentally, is where the elements taken out of the beginning of the original work are moved.
11) Something he hasn’t done since before the series began.
12) Sherlock, Watson, and the King
13) Née Adler
14) With the introduction, he can use Mycroft to take down Sherlock through means that are shown in a later episode (Thompson, Fall)
15) “One who did, their most celebrated poet and philosopher Orcnell, only mentioned the Doctor once in he writings, and then merely in the prologue to his collected works, Four Seasons and A Wedding.” (Moffat, 184)
16) “Paul Cornell, simply put, is a romantic sop.” (Sandifer, Shadow)
17) Irene had set Sherlock’s phone to have any texts from her make the sound of her having an orgasm.

Works Cited
Doyle, Arthur Conan. "A Scandal in Bohemia." The Adventures of Sherlock Holmes. Pleasantville, NY: Reader's Digest Association, 1987. 5-40. Print.
Moffat, Steven. "A Scandal in Belgravia." Sherlock. BBC. BBC One, London, 1 Jan. 2012. Television.
Gatiss, Mark. "The Great Game." Sherlock. BBC. BBC One, London, 8 Aug. 2010. Television.
Morrison, Grant, Frank Quitely, Peter Doherty, and Ellie De Ville. Flex Mentallo: Man of Muscle Mystery. New York: Vertigo/DC Comics, 2012. Print.
Gatiss, Mark. "The Empty Hearse." Sherlock. BBC. BBC One, London, 1 Jan. 2014. Television.
Thompson, Stephen. “The Reichenbach Fall.” Sherlock. BBC. BBC One, London, 15 Jan. 2012
Moffat, Steven. "His Last Vow." Sherlock. BBC. BBC One, London, 12 Jan. 2014. Television.
Moffat, Steven. “A Study in Pink.” Sherlock. BBC. BBC One, London, 25 July. 2010. Television.
Moffat, Steven, Mark Gatiss, and Stephen Thompson. "The Sign of Three." Sherlock. BBC. BBC One, London, 5 Jan. 2014. Television.
Sandifer, Philip. "You Were Expecting Someone Else 15 (The Curse of Fatal Death)." Philip Sandifer: Writer. Blogger, 16 Jan. 2013. Web. 29 Mar. 2014.
Robinson, Hazel. "This Is No Modern Romance." FreakyTrigger. Freaky Trigger, 27 Mar. 2014. Web. 30 Mar. 2014.
Moffat, Steven. "Curse of the Fatal Death." Red Nose Day 1999. BBC. BBC One, London, 12 Mar. 1999. Television.
Sandifer, Philip. "Psychochronography." The Sign Of Three. Tumblr, 5 Jan. 2013. Web. 29 Mar. 2014.
Sandifer, Philip, and Mac Rogers. "Doctor Who, Season 7, Part 2." Slate Magazine. Graham Holdings Company, 20 Apr. 2013. Web. 03 Apr. 2014.
Moffat, Steven. "Continuity Errors." Decalog 3: Consequences: Ten Stories, Seven Doctors, One Chain of Events. London: Doctor Who, 1996. 169-88, 241. Print.
Sandifer, Philip. "Time Can Be Rewritten 33 (The Shadow of the Scourge)." Philip Sandifer: Writer. Blogger, 10 Oct. 2012. Web. 30 Mar. 2014.
Sherlock Paper
In which I compare the episode of Sherlock A Scandal in Belgravia to its literary counterpart.
I'm gonna upload that Sherlock thing I wrote.

Previously on Young Avengers: After the death of two of their members and the heal face turn of a third, the band broke up.

Meanwhile in a different story, Loki has committed suicide.


It’s August 27th, 2008. Rihanna’s remains at number one with her song “Disturbia”. Chris Brown, Katy Perry, and Taylor Swift also chart. As does Coldplay with their song “Viva la Vida” translated “Long Live Life” or “Live the Life”. In the news, U.S. Secretary of State Condelezza Rice and Poland's Foreign Minister Radek Sikorski sign a deal in Warsaw for an American missile-defense base in Poland, North Korea Announces It Has Stopped Disabling Nuclear Reactor, and Sen. Barack Obama is formally elected the Democratic presidential nominee. Meanwhile, in comics Final Crisis: Superman Beyond 3D #1, one of five tie in books to the event Final Crisis that is actually required to understand the event, finally comes out. In it, a team of alternate versions of Superman travels the space between other worlds (the bleed as it’s called) in a yellow submarine and crash into Limbo. But first, we open to a flash-forward as the villainous Mandrakk, as he is attacking Superman (our Superman) with yellow eyebeams, asks Superman “Your cosmic ARMOR is no match for MY eternal power! TELL me Superman…what shall we engrave upon your TOMBSTONE?” And what was engraved on that stone? Pay attention, and you might just find out.


Sean Dillon Presents: …the end…


    Take out the continuity, the pop songs, the metafiction, and the youthful rebellion, and the core story Young Avengers tells is a love story. Not so much the love stories you usually get from romance movies (X meets Y, they fall in love, hijinks) but rather of a love of two people in a relationship. As the title suggests, it’s still a young love, probably about a year or two long given how comic book time works, but it’s at a stage rarely shown out side of the Liar Revealed trope (whereby a couple breaks up due to one of them having a secret they kept being revealed): the unsurety of the love.

    It might be brought about due to someone saying something that makes one of the people think twice about the relationship (be it unintentional or, in the case, intentional). Or it could be caused by the rest of the people you know saying it’s wrong for the couple to be together, but whatever the cause, there’s doubt in at least one of the people’s minds.

    So the couple splits up. Not forever, just for long enough for them to figure out what’s going on between them. And one of them falls in with the wrong crowd. But by the time he realizes what kind of people he’s with he’s trapped. No way out.  So the other guy comes to save his lover. And he does, but he’s stuck dealing with the boss of the wrong crowd, and it’s not looking good for him. And they’re both still unsure as to whether or not they should be in love. But through the help of their friends, they realize that it doesn’t matter what anyone else says, if their love is real or just a creation to sooth a teenage desire, or what they have is just “A magical power someone has over you for no reason you can really justify but cascades through you until every cell calls out for his touch”, because that’s what love is. Love makes you do irrational things. Love is absurd, insane, and should be avoided at all costs by any normal person. But the fact is: no one’s normal. We live in a world filled with insane people, run by lunatics, and teetering on the edge of collapse, with the only thing to keep us company being each other. So what should we do in our mad times? Simple: grab hold of the ones we love, wrap our arms around them, breathe them in, feel their strength inside our own, and never, ever, ever let them go*. Because, inna final analysis:

    It’s all just us,

    In here together.

    And we’re all we’ve got.


And in the end

The love you take

Is equal to the love

You make.

-The Beatles, The End


*Yes, I did just paraphrase The Boys in a paper about superheroes.
I need to get that journal out of the front page.


sean j. dillon
Artist | Student | Literature
United States
Current Residence: America
Favourite genre of music: Classic Rock
MP3 player of choice: i pod
Personal quote: Aww Fuckballs.

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