Posts tagged sherlock.

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Sherlock (2010 - ) // Mark Gatiss, Steven Moffat

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real human tears caused by martin freeman’s acting

You want me to shake hands with you in hell? I shall not disappoint you.

Sherlock, 2x03 “The Reichenbach Fall” (wri. Steve Thompson, dir. Toby Haynes)

one minute in and martin freeman is already killing me softly

"Sherlock" (Steven Moffat & Mark Gatiss, 2010—present)

ineveryending asked: Did you see the new episode of Sherlock yet? I've always found it visually stunning, even with all of the serious twists and turns, but...well, more for personal curiosity, what did you think of it?

To be honest, I was a bit underwhelmed. During the first series, I was willing to forgive the occasional lapses in believability in the mystery storylines (and Moffat’s tendency to drag certain episodes out), because of the refreshing novelty of a Sherlock modern update that actually worked. The texting, I thought, was a particularly nice (and Holmesian) touch and provided a 21st tech analog that was proper without overreaching for updated parallels.

I will forgive “A Scandal in Belgravia” a bit because Irene Adler is very hard to do right, mostly because as Holmes’/Conan Doyle’s ONE WOMAN, all the pressure gets dumped on a character who gets maybe six pages in the canon and doesn’t really do much. I will give props on the clever name change from Bohemia to Belgravia—that worked quite well. But the interpretation of Moffat’s Adler…I have problems with. I never quite bought that Holmes would be enamored of her, or respect her. The episode also made an interesting choice to focus the perspective on Sherlock and Irene—and not on Watson’s perception of their liasion—which made John quite a minor and ineffectual presence in this episode, verses his earlier centrality in the first series.

I also thought some of the visual flourishes were a bit over-the-top this time: the slow-motion, the intercutting between slow-motion shots. It was a bit much. Moffat’s interpolation of “Holmes vision” is as valid as any other, but it works best when divvied out judiciously; and as a preference I like when it’s text-based (as when he’s sizing up other people in the room—“manicured,” “half Welsh,” “three small dogs,” etc.), than when the text is combined, and muddled, with dizzying camera movement and editing. Personal preference.

In the plus column: Mrs. Hudson.