Oh, how I’ve missed you.
Oh, my gosh, Sherlock’s face in the last frame! So stricken, so…. hang on. That’s…. that’s not where he reveals himself to John, is it? Surely, he wouldn’t risk grievous bodily harm in a public restaurant…
(I’m not even going to say anything about THE MOUSTACHE.)
Of course I’m a nosy blogger—I want to know what brought you lot here. So, every now and then, I check the stats and the referrers and search terms to see what’s been going on. And ever since January, 2012, I couldn’t help but notice that, pretty reliably and unless something big happens on Doctor Who, my review of Sherlock‘s The Reichenbach Fall is the top post. I kept checking daily for a while, and that fact never changed. Every damn day most people who find my blog end up reading about Sherlock on a roof. Continue reading →
Yesterday, Martin Freeman appeared on the Graham Norton show, as part of Comic Relief 2013.
As is very nearly tradition, Martin and Benedict usually also get asked a couple of questions on the Sherlock fandom and the fan fiction and fan art that’s been published over the past three years. Both of them, though Benedict especially, have made an effort to acknowledge that fan works are a good thing, because it means that people engage with something emotionally and intellectually; and that inspiring such a mass of fan works is a mark of how popular the show is. Continue reading →
There is speculation and conjecture everywhere, and the Radio Times has summarised it quite succinctly in their article this morning. ‘Rat’ could mean The Boscombe Valley Mystery, ‘wedding’ could mean meeting Mary Morstan in The Sign of Four, ‘bow’ might well mean His Last Bow, the one where Sherlock retires and flounces off to the country to go bee keeping. Or whatever else these words might mean in Moffat and Gatiss’ brilliant minds. Gatiss, the little tease, said that there is so much more material to draw from, and that the original stories themselves have basically nothing to do with chronology, so who cares, anyway.
Well, we do. But it’s not like we can do anything about it now, so I for one am just looking forward to what’s to come; using the mystery that was gleefully presented to us by Moffat, Gatiss, and Andrew Scott (nearly wetting himself with laughter, it seemed) as fun material for completely boring train rides.
So, after months of still-not-over-it and curse-you-Reichenbach, we will get, from the Moff himself, the three decisive words for Series 3 of Sherlock. After Woman, Hound, Fall, what might there be..?
For one thing, following Sherlock’s success at the BAFTA Craft awards, Andrew Scott won the BAFTA in the category of Best Supporting Actor; and Steven Moffat won the BAFTA’s Special Award for his outstanding work on both Doctor Who and Sherlock in the past two years.
And today, High Court’s decision on the Undershaw redevelopment scheme came through: the plan to demolish the property once owned by Sir Arthur Conan Doyle, has been opposed by the Undershaw Preservation Trust with amazing tenacity for years. Under the patronage of Mark Gatiss, the campaign has gained more and more public attention, until meet-ups and gatherings were held all over the world to show support. After the public hearing last week, a decision was made today to overturn the proposition to tear it down and build a block of flats on the premises. Read more here, at Sherlockology.
If you want to support the Undershaw Preservation Trust, you can do so by buying the collection of poems and short stories written by fans, compiled by Sherlockology and adorned by contributions from the initiators of the Trust, Mark Gatiss, Stephen Fry, Douglas Wilmer, and many more. Sherlock’s Home: The Empty House is available at all your favourite bookshops and, of course, amazon.
Previous: Series One.
(Look over here for more booklet-y goodness. The artwork is, again, amazing!)
Oh, my God. Who knew having your heart ripped out of your chest and trampled into the dust could be so beautiful? This soundtrack, even more than Series One, goes to show what musical genius is operating behind this, and how valuable the music, composed by David Arnold and Michael Price, has become to understanding these characters–to comprehend who they are, and what they’re going through. Continue reading →
(Look here for more booklet-y goodness. The artwork is amazing! The skull hiding just behind the disk, especially.)
Oh my Lord, how long we’ve waited.
These are bringing out the big guns, and it’s wonderful to hear all the pieces in their entirety after only hearing parts of their brilliance during the series. Bits and pieces here and there, we never quite got the whole picture, and now here it is, and it’s gorgeous. Continue reading →
Previously on Sherlock: The Hounds of Baskerville.
This is amazing television. This is an emotional rollercoaster like I’ve never been on one. I cried, then I giggled, then I cursed, and then I cried again. A lot. This is writing (I may have been disappointed with Steve Thompson’s Blind Banker last series, but this… this is perfection, and I bow to his script), directing, and acting genius on a silver platter, and if this series of Sherlock does not win just about every award there is to win, then I don’t know what’s wrong with the world.
This is the Final Problem.
Continue reading →
Previously on Sherlock: A Scandal in Belgravia.
“They were the footprints of a gigantic hound.”
It’s all in the phrasing, darlings. That single thing, the choice of the archaic term ‘hound’ is what puts Sherlock on the scent. I know, nice choice of words.
This adaptation of one of the most acclaimed Sherlock Holmes stories is much further away from the original than any of the previous ones have been, simply because ghost stories just aren’t as avant-garde anymore as they once were, and because this is a modernization of the stuff, so naturally some of the patina had to go. In this day and age, genetic experimentation in a secret army base named Baskerville makes for more exciting stuff than someone savaging a dog for the purpose of getting a hold on the family fortune. A simple adaptation can be done by anyone—but taking the piece and making it contemporary while retaining all the elements of horror, now, that is the challenge. Mark Gatiss, the resident master of horror, knows how to do it.
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Previously on Sherlock: The Great Game.
Now, if this isn’t the perfect way to start 2012, I don’t know what is.
What with this episode being so elaborate, so twisty-turny and beautiful, I hardly know where to start. This is amazingly done television, and A Scandal in Belgravia has set out to prove—and has succeeded—that waiting 18 months for Series 2 has been monumentally worth it. There is so much brains, so much joy, so much sheer love for Arthur Conan Doyle’s creation and for this world of characters that Steven Moffat and Mark Gatiss have created that just shines through every bit on screen. The script, which is incredibly tight, incredibly dense and, as per, wonderfully witty, absolutely bloody hilarious, and emotionally demanding; and that has been put on screen by Paul McGuigan, and filled with life by a stunning central cast of Benedict Cumberbatch, Martin Freeman, Mark Gatiss, Una Stubbs, Louise Brealey, and Rupert Graves, and in this episode the powerful guest appearance of Lara Pulver with such enormous effort, skill, and heart. It’s these people that make the programme, and I think Sherlock will go down in history as one of the finest adaptations of Sherlock Holmes and one, if not the best drama production of a long, long time. It spells devotion, and I don’t think anyone could help themselves and not be drawn to that, not be drawn into this world, and not come to love these characters and the stories that they tell. There is murder at the gallop—murder by boomerang, to be precise!—but it is only decoration, as are the twists and the turns and the charade. Decoration to a power play that shall remain unrivalled for many, many generations.
Spoilers under the cut.
Continue reading →
Here there be spoilers!
Weird titles, you mean? Think about how Torchwood is an anagram of Doctor Who… Sherlock returns!