S02.E20: No Lack Of Void

[Tara Ariano]

When anthrax kills a pickpocket, Holmes and Watson must track the toxin's source before anyone else is put in danger.

[AimingforYoko]

Garrett Dillahunt was a baddie? Shocked! Shocked, I tell you!

I was sad they killed Alistair. Having him overdose with so many years sober called Philip Seymour Hoffman to mind.

[Kathira]

Damn you, Jonny Lee Miller, for making me cry. Another not-very-exciting case overshadowed by the intense personal side. I'm sad that they brought Alistair back only to have him die. The quote at the end from Waiting for Godot, was perfect, though.

[thuganomics85]

Come on, Sherlock and Joan!  It was so obvious it was the brother!  It's Garrett Freaking Dillahunt!  With the exception of Raising Hope, I think the guy has never played anyone who wasn't bad news, on some level.

Besides that, I really enjoyed the episode, and briefly seeing Alistar again.  Bummed that he died, but I liked seeing what this did to Sherlock, and how it effected him.  The scene in the graveyard and his confrontation with Joan were very well done.  Great work from Jonny Lee Miller here.

[kaygeeret]

My gosh, what a beautifully written and acted episode.

I am only familiar with alcohol addiction (not me) and have wondered about the power of addiction.  For some reason, this episode made it seem more human and frankly, more deadly than I had realized.

Such a beautiful acting job on the part of Miller and the actor who played Alistair.  Actually, kudos to Alistair's partner and Joan as well.  Such a human and thoughtful episode.

Made me very sad and I suspect that is what the show wanted.

The waste of addiction.

Sorry, I always have understood how deadly addiction is, but never understood how the attraction is life long. The tragedy is that 39 years of sobriety - gone in an instant to deadly results.

Again, beautifully and tragically done.

[MaryHedwig]

Alistair had known Sherlock since he was ten so I wondered if Alistair was a father figure to him.  Great episode (at least the subplot)- I do wish that we had had a scene in a prior episode where we watched Sherlock and Alistair interact as living people (the only ones we had were of Watson and Alistair interacting).

I thought of a 12-step expression:  I (drink/eat/gamble/do drugs) because I am happy, sad, bored or busy.  Maybe Alistair used drugs again because he was so elated about the upcoming play and didn't know how to contain that happiness.

Doesn't make sense to me that Ian did not contact Sherlock about the funeral if Ian was up to contacting any people at all.  It seems like Sherlock would have been on the short list.

Now I am going to jones for Sherlock saying I love you to Watson.

[Actionmage]

Another thread I got from this episode was  Assumption.

On the case side, everyone looked at the case as the ex-con had to be assuming his old ways, when more digging (after the reveal of his marriage) showed he did not. Bell and Joan fell into sympathizing with the farmer brother, though Marcus especially, should have given a cursory look at the brother. (Marcus' brother was wrongly targeted in Season 1, right?)

On the more personal side, Sherlock had expected/planned on Alistair being clean and dying of old age, apparently.  I figured it hit Sherlock hard due to the length of their friendship, but the reveal of the OD had/ was shown to be a gut-punch, as Sherlock surely really had to look to Alistair as a father/uncle figure and  good example of living clean.  I liked that Sherlock acknowledged the narcissism in thinking that someone's death has to be, in some way, about you and apologizing for it. Also telling Joan the shame he felt for doing that was a step. Knowing that Joan wouldn't harp on it, Sherlock just told her (while looking like a naughty schoolboy owning up to a spitwad.)  Johnny Lee Miller was great again tonight.

[shapeshifter]

Come on, Sherlock and Joan! It was so obvious it was the brother! It's Garrett Freaking Dillahunt!

Although they had me at the H!ITG!, even if he hadn't been a famous villain actor, it seemed a little too obvious to the viewer before either Sherlock or Joan figured it out, and, on this show, that seems wrong.

I was sad they killed Alistair. Having him overdose with so many years sober called Philip Seymour Hoffman to mind.

This plot was surprisingly good. It was more than just a ripped from the headlines or tribute story. I thought they did a beautiful job of showing what happened and its effect on real people.

Is this show too fluffy for JLM to get at least an Emmy nod?

Edited April 11, 2014 by shapeshifter

[frenchtoast]

This plot was surprisingly good. It was more than just a ripped from the headlines or tribute story. I thought they did a beautiful job of showing what happened and its effect on real people.

Is this show too fluffy for JLM to get at least an Emmy nod?

The grieving plot was so good that I really didn't care about the mystery plot other than it was showing how affected Sherlock was. Sadly, I don't think Emmy voters understand that procedurals can use the form to really explore issues like addiction and loss. But these writers do and despite the tears, I'm grateful that it's not just the mystery plot of the week.

Edited April 11, 2014 by frenchtoast

[Athena]

 

Sadly, I don't think Emmy voters understand that procedurals can use the form to really explore issues like addiction and loss.

The Emmy voters are more lenient with medical procedurals as evidenced by Hugh Laurie's critical success (well deserved as I have loved HL well before House), but crime ones, not so much. The leading drama categories are hard to break into as well.

I really enjoyed this episode purely for the acting. JLM hit all the good points and I love that this show continues to have characters talking to each other without even all that much yelling. Both Sherlock and Joan are introverted characters and they rarely shout when uncomfortable or angry. Even their plate throwing was well done and more understated than most arguments on television.

[MaryHedwig]

Here is the exact quote from Waiting for Godot:

"At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on."

[Tara Ariano]

Here's what Julian wrote about the episode!

[shapeshifter]

Here's what Julian wrote about the episode!

Thanks. About...

What I regret is that the emotional weight of Alistair's death isn't earned. We, the viewers, have only met Alistair once before

...yes, and it did bother a bit, but given that he was just a stand in for Philip Seymour Hoffman, and given that JLM convinced me that he was sincerely effected by the loss of Alistair in the way a close friend of PSH would have been, I forgive.

Also, about

Joan makes multiple costume changes over the course of one day: X

Weirdly, in the episode in which Joan potentially gets exposed to anthrax multiple times, she doesn't bother to make any costume changes. Maybe she just got the anthrax stains out with a Tide Stick.

I'm pretty sure she wore two different black and white print dresses, although I don't recall when the change took place.

Anyone want to check?

Edited April 11, 2014 by shapeshifter

[Helena Dax]

When Joan and Bell went together to the farm, I  had a hunch. Watson got married in canon with Mary and I'd be surprised if the Elementary writers don't go there, so what if eventually Joan gets married to Marcus? I mean, John/Joan, Marcus/Mary...

 

Here's what Julian wrote about the episode!

I had strong Dexter vibes, too. And I didn't like it. JLM  did a great job, but the story felt forced.

[MaryHedwig]

Watson got married in canon with Mary and I'd be surprised if the Elementary writers don't go there, so what if eventually Joan gets married to Marcus? I mean, John/Joan, Marcus/Mary...

 

I would assume that if Elementary is on long enough that Watson would have to find her Mary.  But remember in canon Mary was quickly killed off and I think killing off Marcus would be a premise-killing move (meaning a shark jumping move).  I always assumed Mary Watson would be someone normal that would keep the home fires burning while Holmes and Watson are out gallivanting.  Actually, I would be fine with her marrying anyone she wants except Mycroft (and that includes Bell).

[Tabbyclaw]

Eddie Izzard helped me guess at the solution to this one. As soon as we saw the dairy farm all I could think of was his routine about purchasing anthrax by pretending to be a suicidal cow.

[possibilities]

I had a hard time accepting that no one had notified Sherlock at first, but then I remembered that when an ex's of mine's previous partner died, she was in no shape to make calls. She gave the list of people to contact to a trusted friend, who was also unfortunately a basket case and failed to follow through. A large chunk of people never knew about the funeral until after the fact.

And in another example, when my own best friend died, her husband was in such shock he forgot to tell his best friend. I kept offering to help him notify people, but he was too shell-shocked to get a list to me. It was several months before he was able to even figure out that he still needed to contact certain people. When you are in love with the same person for more than 40 years, and you don't see their death coming, it really does a number on your coping skills to suddenly have them gone.

So Sherlock not knowing is probably pretty reasonable. Especially considering the unexpected nature of the death, the partner was probably drowning in not only grief and shock, but also practicalities, like financial issues and burial arrangements.

A slow, painful death is a hardship in some ways, but it does give people more time to prepare emotionally, and organize their affairs.

I thought the way Joan didn't tell anyone what Sherlock's personal business was, was interesting. It's the kind of thing that I wouldn't have necessarily thought would be confidential. But she very deliberately did not say what was going on, even when questioned and pressed; she just reaffirmed that he was dealing with personal business. I was waiting for someone to assume he was having a sobriety crisis, and question his fitness on that basis. That it didn't happen was I guess a sign of how much trust they have in Joan, or how far they've all come as a team.

Waiting for Godot is one of my favorite plays. Big, big fan of Beckett. Sometimes you just have to be still and feel it.

[Kathira]

I agree, Sherlock not knowing until after the funeral was very realistic. I had that happen to me with a friend who I wasn't in constant touch with (this was in pre-Facebook days) I hadn't heard from her in longer than usual, and when I did reach out it turned out that she had died. I didn't really know her husband or family that well, so they didn't think to notify me.

As for Mary Morstan, I'd like to see Joan with a female Mary, but so far she has only been shown dating men. Maybe they think that would be taking gender-bending too far. And Sherlock's interest in Joan's potential "Sapphic dalliance" could be seriously icky.

[MyrtleGroggins]

...yes, and it did bother a bit, but given that he was just a stand in for Philip Seymour Hoffman, and given that JLM convinced me that he was sincerely effected by the loss of Alistair in the way a close friend of PSH would have been, I forgive.

I actually thought this was great.  Frequently, those we care about experience sadness with which we can sympathize despite not having the same connection with the involved parties.  We didn't need to love Alistair like Sherlock did to be able to keenly appreciate his grief and frustration at the loss of his friend.

I felt like I was watching two separate episodes - the anthrax plot was just so silly compared to Sherlock's drama! Seriously, like Julian mentioned in the recap, cows dying of anthrax wouldn't cause people to "not blink an eye," it would be a big flipping deal! Also, for that may animals to be affected in that manner, there's no way it wouldn't be considered an act of domestic terrorism, miring the farm in endless investigation. And the Obviously Evil Brother didn't strike me as the brightest knife in the deck, so that sort of works with the not-well-thought-out details of the nonsensical plot.

[jhlipton]

As for Mary Morstan, I'd like to see Joan with a female Mary, but so far she has only been shown dating men. Maybe they think that would be taking gender-bending too far. And Sherlock's interest in Joan's potential "Sapphic dalliance" could be seriously icky.

Speaking strictly for myself, I'd rather see the (physical) return of Mrs Hudson, although the two are not distinct.  I think it would be a stretch a this point to show Joan as lesbian or bi.  Having Sherlock explore what sex is like with another man (from a purely physical point-of-view) is far more likely.

[MaryHedwig]

I agree, Sherlock not knowing until after the funeral was very realistic.

 

Yeah, I am imagining now that Ian was in shock and Alistair's theater friends jump in and didn't contact Sherlock because they run in different circles (and didn't know he existed).

We didn't need to love Alistair like Sherlock did to be able to keenly appreciate his grief and frustration at the loss of his friend.

 

I agree of course. But what I would have given to have a flashback (as in Season 1: Woman) where Alistair cares for the strung-out Sherlock at his door.  However, that is mostly because I would love to see JLM playing drug-addled Sherlock- he's certainly got the acting chops for it.

[marinite]

Sometimes I have trouble following this show though I like it, mostly for JLM.  So I must have missed this: did they explain why Alistair regressed? Having been an acting major, I focus on that a lot, and sometimes forget the story. Heh.  JLM made me tear up a bit.  I love him though his decison to button his shirts all the way up makes me claustrophobic and choke-y.

 

ETA: gaaawwwd, I need to proof read before posting.

Edited April 14, 2014 by marinite

[MaryHedwig]

So I must have missed this: did they explain by Alistair regressed?

No.  Alistair (Roger Rees) was only in one previous episode (Ep. 1:6 Flight Risk) in which Sherlock's hires him to pretend to be his father and lunch with Watson. (Honestly, it was not a very nice move on Sherlock's part but it was before he had delivered the bond he has now with Watson.)  After Watson learns of the prank she tracks Alistair down to find out what she can about Sherlock (I wasn't routing for Watson here either).

No other backstory on Alistair.  No prior scenes with Alistair and Sherlock together. No clue as to why he relapsed.  Actually, that is the point of growth at the end for Sherlock, he will never know but whatever it is, it is Alistair's story and not his own.

I love him though his decison to button his shirts all the way up makes me claustrophobic and choke-y feeling.

So do I.  In the few scenes where the top buttons are opened, he looks like a completely different (and sexier) person.

Edited April 15, 2014 by MaryHedwig

[Athena]

No other backstory on Alistair.  No prior scenes with Alistair and Sherlock together. No clue as to why he relapsed.  Actually, that is the point of growth at the end for Sherlock, he will never know but whatever it is, it is Alistair's story and not his own.

In the previews, the show noted how "difficult" it was for Alistair to take Sherlock in. We the viewer were not privy to the fact he was an addict so Sherlock may also feel some residual guilt over bringing this to former addict.

I actually really like how it's a bit of a mystery what happened because with addiction, relapses do occur. We may never know the exact trigger(s). Ian didn't either saying that Alistair was jubilant and excited about new work (maybe ovetaxed?).

[MyrtleGroggins]

So I must have missed this: did they explain why Alistair regressed?

...JLM made me tear up a bit.  I love him though his decison to button his shirts all the way up makes me claustrophobic and choke-y.

Sherlock also mentioned to Joan at one point that he was trying to figure out why, after so long, Alistair relapsed. In part, I think, so his logical mind could try to come to terms with the tragedy, but (I can't remember if he said this out loud or if it was just implied) so that he could avoid falling into the same trap. Sherlock's sobriety is young, compared to Alistair's, and I think Sherlock was hoping that the daily realities of sobriety might become more normal and habituated as time goes on and that his risk for relapse would concurrently decrease. Alistair's return to drug use likely caused a frisson of realization on Sherlock's part that he will always be a recovering addict and never truly be safe from the possibility of relapse, and that was not something he had previously considered.

I really, really liked the scene at the graveside. The way JLM's voice catches as he says "...and I wanted you to know that you'll be missed" is just ... right. ::wibbles::

[Gardencrown]

 

Sadly, I don't think Emmy voters understand that procedurals can use the form to really explore issues like addiction and loss. But these writers do and despite the tears, I'm grateful that it's not just the mystery plot of the week.

Yeah, I think that JLM will sadly be overlooked at Emmy time, and gah!!! That's a bummer.  His portrayal is so...delicate, I guess is the best word I can find. He can do more with an eyebrow or a mouth twitch or a slight change in intonation to make this Sherlock so devastatingly human and raw. I loved the Alistair plot because it seemed so very like life -- we do, in fact, lose some touch with people, even those we love, and people really do make awful, tragic decisions about which we have no understanding. Addiction does come back around (I guess it never really leaves) and leaves horror in its wake.

I have grown to love LL's Watson too. She does a lot with a role that I think is pretty under-written in this version, and the two actors have a great chemistry and respect for one another -- not romantic (please NO), but there's an easiness to the two of them that is quite warming.

All that said, the procedural aspect of the show has been...kinda sucking? I'm cool with the mysteries taking a backseat to the characters, but the mysteries have just been so dumb...the ears on the back, the teeth, the anthrax...I'd love to see the writing match the obvious talent of the actors (especially Clyde -- dude needs some lines:)))

[webruce]

Didn't like that Alistair Moore was dead. Wonder why they killed him off?? And he ODed. Sherlock was worried but he persevered. Went to a meeting at end.

We had an anthrax scare. Apollo Mercer had been infected. They find Charley Simon dead in storage unit, Anthrax missing. I thought the brother farmer Bart MacIntosh had something going on. Then he had to shoot his brother Eugene, who he said was poisoning the cows. I knew something was up. We find it was for insurance reasons???

Edited April 17, 2014 by webruce

[MyrtleGroggins]

I thought the brother farmer Bart MacIntosh had something going on. Then he had to shoot his brother Eugene, who he said was poisoning the cows. I knew something was up. We find it was for insurance reasons???

The brothers were going to commit insurance fraud by killing the herd of cows (in, quite frankly, the *stupidest* way possible, in terms of getting caught and unnecessarily risking human lives). The previously incarcerated anarchist brother (Eugene) had conspired with the farmer brother (Bart) to destroy the herd to collect about $2 million in insurance money. Eugene had planned to double cross his known anti-government friend (Joe Bay) who was under the impression that he and Eugene were getting the anthrax to send to the government. Then, when the sample of anthrax was intercepted and was all over the news, Bart killed his brother to set him up to take the blame for the whole thing. Unfortunately, Bart was a bit of an idiot and hid the excess anthrax in his mother's attic (!?!) for future cow-poisoning purposes.

Yep.

[MaryHedwig]

Yep.

Says so much.  If it were not for missing Gregson and Bell, I'd be just as happy watching a show called "Sherlock and Watson: The Brownstone Years" without any procedurals at all.  Do they have different writers for the A and B plots?  How can they create such poignant and memorable characters as Alistair, Gay, Ms. Hudson, Alfredo, Randy, Mycroft, Rhys and then create such throw away ones with forgettable names like Bart and Joe Bay who go around killing blood brothers and partners to stick it to someone or make a few bucks? 

Edited April 18, 2014 by MaryHedwig