Sherlock 2x3: The Reichenbach Fall

Although I was excited that Sherlock Holmes would once again be facing off against Moriaty in this episde, I was a little worried when I heard it had been written by Stephen Thompson. Stephen's previous episode, The Blind Banker, was the least interesting of Series One, as it dealt with a fairly straightforward and somewhat dated tale of Chinese smuggler gangs.  Either Stephen has improved as a writer, or Steven Moffat and Mark Gatiss were more closely involved in developing this script as The Reichenbach Fall is one of the strongest episodes of Sherlock to date.

It came as no surprise to Sherlock Holmes fans that this episode would be based on the story of The Final Problem, a fairly straightforward tale of the battle of wits between Holmes and Moriaty which leads to both of their deaths. What's brilliant about this episode is that it takes one small line about Moriaty's family trying to discredit Holmes after death, and expands on  it to create a tale about media image and manipulation. When Sherlock Holmes' ability as a detective is called into question, he is not only risking his life, but the reputation he has built up since becoming famous. In the end, he sacrifices his reputation to save his friends.

Andrew Scott's interpretation of Moriaty had already made quite an impression  in The Great Game, and he was just as fascinating here. Scott is brilliant as the slightly effeminate and bizarre Moriaty, alternating between camp and psychotic. However, if there is ever another series of Sherlock, I really hope they don't bring Moriaty back. He's a great villain, but he shouldn't be diminished by constantly returning and failing to win. He's left such an impression already, and that shouldn't be spoiled.

Benedict Cumberbatch was, as always, brilliant. Series Two has been about showing the cracks in Sherlock's armour as he reveals more of his carefully guarded emotions. He was particularly great when he finally admitted to Molly that he needed her. For a second, I seriously thought that he was asking her to help him lose his virginity.

In spite of the two intellectual giants on display, it's important not to lose sight  of how crucial Martin Freeman's ordinary John Watson is to procedings. I loved the fact that it's Watson who feels the most worried about Sherlock's reputation, since he has built his entire recovery from Afghanistan on trusting this man, only to find it ready to shatter. Freeman is also excellant at selling us the death of Sherlock Holmes. His silence in the psychiatrist's office speaks more than words ever could.

It's hard to see where the series could go after this. Three of Sherlock Holmes' best stories have been retold this year and it's difficult to think of anything left to tell. Sherlock's "return from the dead" to deal with Colonel Moran is an obvious one, and I'm personally hoping we get to see John Watson getting engaged to Mary Morstan. If Series 3 ever does come around, then I for one, I will be certain to watch it.

Big Finish Preview: The Foe From The Future

This month's issue of Doctor Who Magazine was full of gushing praise of Tom Baker. This is because he is finally doing the Big Finish Audios. This news would be more impressive if he hadn't already done audio work on Hornet's Nest. 
Still, every cloud has a silver lining, and this months DWM came with a free download of Part One of The Foe From the Future, giving me the chance to listen. It doesn't sound too bad.

It's big news at the moment that Tom Baker is doing the Big Finish audios. Since he's already done
Tom Baker sounds as though he never stopped playing the Doctor. He and Louse Jameson perfectly recreate the feel of their characters. The rest of the cast don't seem that prmising, and The Reverend is a caricature rather than a character.

I'm still slightly wary of the others. A story set on Nerva Beacon and another one featuring the Master and the Kraals sounds suspiciously like fanwank. Still, I may give them a go some time.

"Honesty" as it pertains to Internet Forum Chat

Like many geeks, I've browsed a good few fan forums over the years. Some of what people say is insightful, some of it is hilarious, but you do start to notice recurring point scoring techniques used in debates. I am particularly amused by the use of the word "honesty" in relation to criticism. According to certain sections of fandom, saying that you like something means that you're "sucking up" to the creators of that particular thing. On the other hand, if you say you don't like something, then you are being "honest". How is that supposed to work? What on earth makes negative criticism more "honest" than positive criticism?

In this case "honesty" translates as "agreeing with that other poster". I guess it stems from that negative poster's frustration that not everyone agrees with his or her own viewpoint. There's probably a psychological condition to explain this.

If I happen to like something, I'll say so. If I happen to dislike something, I'll say so. Just don't try telling me that I'm being "honest" or "sucking up". My thoughts are my own. Not anyone elses. I rarely come across any piece of fiction or art that I completely dislike, but if I do, I will say so.

A note to forum posters: No-one is ever going to completely agree with you on anything, ever. You just have to learn to live with it. Trying to convince yourself that the other person is a hypocrite for not agreeing with you just isn't going to work. I'm afraid that's life.

Sherlock 2x2: The Hounds of Baskerville

It was always going to be difficult to follow up on A Scandal In Belgravia. That story was so packed full of incident and emotion that anything after it would feel like a comedown. The subject matter of The Hounds of Baskerville lends itself to a slower paced, horror story, but there were other reasons I felt that this episode was disappointing.

The problem with updating The Hound of the Baskervilles is that so many of its memorable moments don't work in the context of modern society. It's difficult to create a story about supersticion and isolation in a world of mobile phones and digital technology. Old country houses are now just tourist attractions and ghosts are no longer scary. Writer Mark Gatiss has attempted to fix this by replacing the fear of the wild country with a secret military installation. However, the secret military installation is as much of a tired old trope of fiction as the old country house it replaced. Spy stories of the last three decades have been full of these kind of scenarios. As a result, I guessed the solution to the "hound" mystery long before Sherlock expained it all.  The fact that characters were talking loads about the idea of a genetically altered "super-hound" made it obvious that the resolution would be nothing of the sort. Mark Gatiss proves himself less successful at laying the clues of a mystery compared to his fellow writer Steven Moffat.

On the plus side, it was nice to see development of Sherlock and John's relationship, after John was sidelined last week.  Sherlock finally gets to admit, in his own cold manner, that he likes having John around. I loved the fact that Sherlock used John in the Hound test without caring.

Russell Tovey was okay as Henry Knight, but I've never found him that brilliant.  Gatiss thankfully avoided the temptation of writing the country folk as stereotypical yokels. I particularly liked the gay couple, and the hilarious resolution to the "strange flashing light on the moors" mystery.

All in all this was not a bad tale, but not brilliant. Like The Blind Banker of Series One, this felt like an average kind of a story, and like its predecessor, the ending hints at more interesting things to come.

The only way to go is up!

Just a little bit about myself before normal posting resumes...
2011 was a strange year for me. After finishing Uni, I drifted through several menial roles, but felt as though I was running on the spot. After having lot of ambitious plans, like working for the BBC or working for Museums, I began to feel like I was losing track of where my life was going. 

Now, as 2012 begins, It feels like things are coming into focus. I have several ideas for my future and I can begin, finally, to move in a straightforward direction. For the last two months I've been working an archivist for Shakespeare's Globe. Everyday I read documents about the founder, Sam Wanamaker, in a constant battle against bureaucrats and greedy businessmen to get the Globe Theatre built. I can't imagine spending twenty years trying to get a project going, but that's just what Sam did. He stuck to his guns and pressed on with his ideas. It's the sort of thing that should inspire people more often.

So whether I get involved with the BBC, or continue with archival work, one thing's for certain. I will keep pushing forward into new areas.

Sherlock 2x1: A Scandal In Belgravia

2012 gets off to a good start with this brilliant piece of television.  A story that bounds between different times and locations, but still manages to keep the viewer emotionally involved in the tale of Sherlock Holmes and Irene Adler.

The first fifteen minutes were perfect in setting up Sherlock and John's current situation. After a hilarious resolution to last season's cliffhanger, which brilliantly undercuts the Hollywood gun machismo, we get several short sequences which not only show Sherlock growing as a world phenomenon, but also establish the main mystery without us realising it.

Irene Adler was definately sexy, and well written as a match for Sherlock Holmes. I was initially worried when I heard she was going to be dominatrix, but her intelligence and cunning makes it clear that she's more than just a series of sex gags. I'd love to know which member of the Royal Family was involved in the scandal. I like to think it was Kate Middleton, but Camilla is more likely, if slightly less funny.

Benedict Cumberbatch continues to excel at playing Sherlock, who is showing a far greater range of emotions this year. Sherlock's relationship with Irene Adler, and his apology to Molly Hooper at the Christmas Party show him developing more of an interest in women, and beginning to care about those around him.

It's also a joy to see more of the other Holmes. Mycroft's "concern" for his brother manifests as he is kind enough to lie to Sherlock about Irene's situation.  It's fascinating to imagine what childhood was like for these two.

With the focus of the episode on the Sherlock-Adler relationship, John Watson was slightly sidelined this week. I'm fine with this, as long as it isn't a portent of things to come. I did like the idea that John's girlfriends are coming second place to Sherlock!

Moffat continues to prove himself a master of plotting. The code to Irene's phone is so obvious when you see it, but not before then. I liked the way that Moffat seeded the clues about the "Bond Air" scheme, hidden amidst Sherlock's other mysteries so that viewers did not notice them.

This was a brilliant update Conan-Doyle's A Scandal In Bohemia, which managed to add depth to the Irene Adler character. If the next two episodes prove as good as this one, I may have already found my top TV program for 2012!

Happy New Year!

WELCOME TO 2012!

HOPEFULLY THE START OF MANY GOOD THINGS!

A HAPPY NEW YEAR TO ALL!