Visuals turn viewers into readers.Īs to character, we have moved firmly away from first-season territory.
The inner-monologue white sans serif is a preppie mash-up of The Matrix and Minority Report, and it contributes admirably to both plot advancement and overall style. When Sherlock deciphers code, the letters and numbers hover before him, seeming real enough for him to touch. Sherlock’s blindingly fast deductions are again rendered in floating white letters, and now John’s case blog hovers more often above his laptop as he types-simultaneously a look at the inside of John’s head, of Sherlock’s perspective peering over his shoulder, and of the view of their presumed web readers.
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The visual motifs of the series are expanding apace. (Sherlock has a judo master certificate framed on his bedroom wall.) Locations from Battersea Power Station to Baker Street at Christmas, fairy lights strung from the mantel and Martin Freeman’s John Watson decked in a holiday sweater Bill Cosby would have deemed overreaching, are shot with ardent attention to detail. The costumes are essential to character, the score wonderfully apt. We are talking successful television-making of Alexander the Great proportions when it comes to “A Scandal in Belgravia.” The lush cinematography of the original series is now a pageantry of light and color when Pulver’s Adler muses she could cut herself on his cheekbones slapping Benedict Cumberbatch’s sexily asexual Sherlock Holmes, by God, you believe her. She was special, in her own right and on her own dime.Īnd once again, Steven Moffat and Mark Gatiss in BBC’s Sherlock have handed us a modern version of the original who-in the person of the voracious Lara Pulver-manages to fiddle with our perceptions of The Woman while delighting us with the return of a beloved character.Ī sharp dresser with sharper cheekbones.First, a general overview of Sherlock’s triumphant (8.7 million viewers on the night of airing, according to broadcastnow.uk) return to the small screen. We can trust him to tell us the facts.īut screw that. Why? Because Holmes deemed her special? Sherlock Holmes is our observational idol, after all. All this, despite being mentioned in exactly two tales out of sixty and appearing in one. She is present in adaptations from Baker Street, the Broadway musical, to Sherlock Holmes the Hollywood blockbuster. Despite the fact that Watson next explicitly states that Holmes never felt any emotion “akin to love” for Irene Adler, she is revered far beyond every other female canonical badass.** She is toasted at every Sherlockian gathering. At least as far as the Sherlock Holmes mysteries are concerned.
In his eyes she eclipses and predominates the whole of her sex.” “I have seldom heard him mention her under any other name. “To Sherlock Holmes, she was always the woman,” Watson writes. We love the story, and we love Irene Adler to the point of folly (I don’t have a watch chain-but I’ve an 1887 gold sovereign ready for such time as I do acquire one).
“A Scandal in Bohemia” is a touchstone for Sherlockians. Why don’t I create a protagonist, argued Doyle, who is irresistible and eccentric and very nearly omnipotent?Īnd then, while I’m still building his resume and talking him up in his first short form adventure, why not have him beaten by a girl?īenedict Cumberbatch as Sherlock Holmes and Lara Pulver as Irene Adler No, what I consider to be the unprecedented move for pure talent, wit, and stones in the Adventures is as follows: But Poe died poor, and Doyle had no intention of doing likewise. Auguste Dupin also appeared in magazine short stories, and Edgar Allan Poe created the detective genre. Read a tale lifted from The Adventures of Sherlock Holmes and try to write something as audacious and delightful and efficient.Īs I say, the mere notion of creating a supersleuth and then presenting him in a series of articles was an innovative enough notion-yes, Monsieur C.
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Yes, it was also ballsy to take his eccentric, but not very lucratively received, “independent consulting detective” from A Study in Scarlet and The Sign of Four and turn him into a serial hero-a man who solved crimes not in novella form, which is difficult, but in jewel boxes of perfectly constructed short stories. In the year 1891, when publishing a short story in the Strand Magazine no one realized would change the world of fiction, Sir Arthur Conan Doyle made a brave storytelling decision.
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