Jasmine Sahu is well suited with this new American drama exclusive to Dave.
Lois Cameron explains why this series is much more than your average cosy period drama.
The last episode of this series sees Sherlock and Moriarty attempt to solve the final problem with devastating consequences.
With major cast changes afoot, Jacob Martin ponders whether Being Human can live up to its own scarily high standard.
I think it’s pretty fair to say that the big TV hit of summer 2010 was Sherlock. This modern take on the classic Arthur Conan Doyle stories had a lot of potential on paper, but I don’t think anyone could have predicted just how good it was going to be, or just how much it would capture the viewing public’s imagination. Ahead of the series being repeated on BBC3 from tonight at 7.30pm, here is why I think everyone should seek it out.
Even though Sherlock had a lot going for it in theory, there was always going to be one major hurdle that the writers had to get over: just how to modernise it. Take it too far from the originals, and fans will complain that it’s just using the names to attract viewers; don’t go far enough, and it’ll just seem a bit pointless. But creators Steven Moffat and Mark Gatiss had one major trick up their sleeve. They’re fans themselves. They wanted to take Holmes and Watson into the twenty-first century for a great reason, so the trimmings of Victorian London didn’t get in the way of what they thought was the key to the success of the books: the relationship between the two main characters. It wasn’t a gimmick to attract viewers, but two fans who genuinely wanted to add something new and interesting to the already impressive canon and history of these stories.
The other key thing they brought to the table was wit. They clearly know the stories inside out, which allowed them to use little elements from the originals to enrich their stories, without sticking slavishly to them. When watching Sherlock, the passion for Conan Doyle’s tales is clear, but they’re not afraid to have fun with it at the same time, with some cheeky references and laugh-out-loud moments. It was telling that the weakest episode was the middle one, which wasn’t written by either Gatiss or Moffat, while their episodes sparkled like beautiful little gems.
Of course, none of this would have mattered a jot if the casting hadn’t been so spot on. Benedict Cumberbatch – he of the amazing name and cheekbones – balances Holmes’s arrogance, brilliance and charisma perfectly, always on the edge of being awful but staying just on the right side of genius. And at his side was Martin Freeman as John Watson, the man who acts as Holmes’s conscience, aid and friend. Their odd, co-dependent relationship is at the heart of the original stories, and it’s beautifully played here. You implicitly understand why they’re drawn together without ever having to be told why. The supporting cast is fantastic, particularly Zoe Telford as Watson’s love interest, and even more particularly Gatiss himself in a small role, eating up the scenery like he hasn’t had a good meal in months, and clearly having the time of his life doing it. But, ultimately, it’s Cumberbatch and Freeman at the centre of the series that make it work so beautifully.
I honestly can’t recommend Sherlock highly enough. The second episode is a bit of a dip in quality (it’s only very good rather than outstandingly excellent) but they’re all worth checking out, especially the final episode, if only for its brilliant, audacious cliff-hanger. Until it returns next year, I doubt there’ll be much on our TV screens to beat Sherlock for sheer intelligence, excitement, wit, entertainment and downright charm.
See the first episode of Sherlock, ‘A Study in Pink’, tonight at 7.30pm on BBC3.
You must log in to submit a comment.
