Watched the first episode of Ludwig (the current David Mitchell vehicle) and, wow, a TV show about an autistic-coded savant that didn’t make me incredibly uncomfortable
Said this to Stephen when he was first watching it but the fact that those close to him are used to him being autistic and not, you know, surprised by his quirks felt so incredibly refreshing.
What resonated for me is that John has genuine connections with Lucy and (shown to a lesser extent) his nephew. He’s not the ‘genius who doesn’t suffer fools gladly’. He’s got people who know and value him, and he values them even as he has overwhelm.
I didn’t get very far with it but I really liked how they represented the cost alongside the ‘superpower’. Shows often show either the cost of being autistic and it’s misery porn or they act like it’s a superpower with only a few minor social costs. This felt like a realistic(ish) balance.
I spent a while considering what /implicitly/ autistic characters I think work and why (this being one of them) and ultimately concluded a big part of it is just "are they shown having autistic coded /difficulties/, or do they just have a superpower that's an excuse for them to treat others badly"
Really enjoyed it - as someone who partially approached it in the same way - and becomes rather enthralling as the series goes on. Probably gonna have to give it a re-watch before the new run, to remind myself of the overall story arc (not gonna spoil any more than that!).
Tbf, I don’t think Sherlock is nearly as bad as shit like Professor T/The Good Doctor, there’s an air of admiration to Sherlock not being so bound by social niceties
Tbf some of the same flaws (constant glazing of the protagonist over actually writing him doing clever things) were present in Moffat's run on Doctor Who, so it seems to be a weakness of his in general. Even their Dracula adaptation had a bit of a smarm problem
My favoured bit was after they did a clearly impossible fake death scene and everybody took the piss out of it they wrote a whole episode making fun of fans that cared about their stories and trying to solve the mysteries
I prefer Gatiss’s Bookish because it has actual stakes for the protagonist (a gay man in 1940s Britain) and gives him relationships which don’t arise from his detection skills. He’s in a lavender marriage which isn’t a loveless one, which allows for a bit of complexity and pathos.
Partly (imo) because it was addicted to being about how cool and special and sexy Sherlock Holmes is, whereas the original stories were about, you know, the mystery at hand. If you want me to like a detective character, just show him being a detective, don't just constantly hype him up.
I suppose the problem is that the Jeremy Brett show really was unsurpassable in showing us Sherlock the detective so the newer show had to go in a different (and ultimately unprofitable) direction.