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Sherlock (spoilers)
ETA: Wish I could claim "spoliers" was deliberate...
So, not so much the Napoleon of Crime, more the Graham Norton. Curiously enough I've just been thinking about the Robin Wood buddy movie paradigm, and how a "genuine" homosexual character is introduced to deflect from suspicions about the central male romance of the plot. I'm pretty sure that this series is written with slash in mind already - the creators know what it will inspire. Of course we don't know much about the reality of Jim (even, for certain, that he is this ubervillain), but is the only way to update the eternal battle of uberdetective and archnemesis to go so camp? A pretty precosious ten year old to have murdered a class mate - presumably for laughing at the camp Irishman.
So, three stories, and two of them have ended with the villain turning up and saying, "I'm Jack. I'm the one you're looking for." Seven has a lot to answer for. I don't think they've quite got a handle on the ninety-minute format; there's a point about an hour in where everything could be tied up, but then they need to invent another half hour of events. Doyle had the same problem, and in three of the novels inserts a novella about the back story at this point. (The exception being Hound of the Baskervilles, which introduces its flashbacks in different ways, and keeps Holmes offstage by pretending he's still in London for half the book - Doyle realised you could not have too much Holmes, and only twice (if I recall correctly) has him as a viewpoint character rather than Watson.)
[ETA: "His Last Bow" (and is that as in playing the violin or as in taking applause?), set on the eve of The Great War, is in the third person. "The Adventure of the Blanched Soldier" and "The Adventure of the Lion's Mane" are narrated by Holmes. "The Adventure of the Mazarin Stone" was also third person.]
I fear too much of it needs to be alibied by the Moffat/Gatiss assume we're intelligent so we don't have to be told that excuse. A man can stand in a big coat in Piccadilly Circus for twelve hours without being hassled by the police. Ah, well, obviously Lestrade has told them to leave him alone. Watson is allowed alone on the railway line without any people with flags. Ah, Sherlock is watching out for him so self and hasty rules can be ignored. Oh, the police will let someone through their line at a suspect bombsite. The police man recognises Watson from earlier cases. Or he's given him a masonic handshake. Or used the Jedi mind trick.
Fluff, fluff, fluff.
I liked the meretricious joke though.
So, not so much the Napoleon of Crime, more the Graham Norton. Curiously enough I've just been thinking about the Robin Wood buddy movie paradigm, and how a "genuine" homosexual character is introduced to deflect from suspicions about the central male romance of the plot. I'm pretty sure that this series is written with slash in mind already - the creators know what it will inspire. Of course we don't know much about the reality of Jim (even, for certain, that he is this ubervillain), but is the only way to update the eternal battle of uberdetective and archnemesis to go so camp? A pretty precosious ten year old to have murdered a class mate - presumably for laughing at the camp Irishman.
So, three stories, and two of them have ended with the villain turning up and saying, "I'm Jack. I'm the one you're looking for." Seven has a lot to answer for. I don't think they've quite got a handle on the ninety-minute format; there's a point about an hour in where everything could be tied up, but then they need to invent another half hour of events. Doyle had the same problem, and in three of the novels inserts a novella about the back story at this point. (The exception being Hound of the Baskervilles, which introduces its flashbacks in different ways, and keeps Holmes offstage by pretending he's still in London for half the book - Doyle realised you could not have too much Holmes, and only twice (if I recall correctly) has him as a viewpoint character rather than Watson.)
[ETA: "His Last Bow" (and is that as in playing the violin or as in taking applause?), set on the eve of The Great War, is in the third person. "The Adventure of the Blanched Soldier" and "The Adventure of the Lion's Mane" are narrated by Holmes. "The Adventure of the Mazarin Stone" was also third person.]
I fear too much of it needs to be alibied by the Moffat/Gatiss assume we're intelligent so we don't have to be told that excuse. A man can stand in a big coat in Piccadilly Circus for twelve hours without being hassled by the police. Ah, well, obviously Lestrade has told them to leave him alone. Watson is allowed alone on the railway line without any people with flags. Ah, Sherlock is watching out for him so self and hasty rules can be ignored. Oh, the police will let someone through their line at a suspect bombsite. The police man recognises Watson from earlier cases. Or he's given him a masonic handshake. Or used the Jedi mind trick.
Fluff, fluff, fluff.
I liked the meretricious joke though.