Sherlock concludes this Sunday

As you may be able to imagine, I'm pretty bummed that Sherlock ends its first-season run on Masterpiece Mystery this Sunday. One THREE episodes?! Torture. But I'm also quite excited to see what sort of surprises the show has up its sleeve to delight fans like myself. The third episode is entitled The Great Game. Here's a bit about the story:

Sherlock concludes this Sunday, November 7, 2010 on MASTERPIECE MYSTERY! In The Great Game, Sherlock Holmes (Benedict Cumberbatch, The Last Enemy) is bored. He's not just staring at the walls, he's shooting them. But then an explosion rocks Holmes and Dr. John Watson (Martin Freeman, The Office UK) out of their doldrums into a series of deadly puzzles conceived by a brilliant bomber. Sherlock is co-created by Mark Gatiss and Steven Moffat. (One episode; 90 minutes; TV-PG).

And here's a short preview:



See you on the other side with my review! :)

Wallander: Faceless Killers

Poor Wallander got the short end of the stick on the blog this year, I’m afraid. Due to time constraints and various other issues that came up when Series II aired a few weeks ago on Masterpiece Mystery, I was unable to review the episodes as they aired. Now that Series II is on DVD, I’m hoping to rectify that situation. Better late than never, right? Last year Wallander was a great surprise. Thanks to some less than intriguing (in my view at any rate) previews, I’d nearly made the mistake of writing off the show entirely despite my long-time appreciation of lead actor Kenneth Branagh. Thankfully, I didn’t make that mistake – Wallander is the perfect vehicle for Branagh’s acting talents, and the stories are wholly absorbing. The first episode of Series II was ominously entitled Faceless Killers. Here’s the story summary from the PBS website:

An elderly couple is brutally assaulted in their rural farmhouse. As Swedish inspector (Kenneth Branagh) arrives at the horrific scene, he holds the old woman as she dies, shouting to her one final, urgent question — "Who did this?" She sounds out something that could be "farmer" or maybe "foreigner." But is Wallander reading into it? Is he swayed by his struggle to relate to his daughter's new boyfriend of Syrian descent? The press takes hold of the foreigner angle, inciting swift and deadly retribution against local migrant workers. But there is more to the case — a potential mistress, a lost son and a large sum of money. Wallander's inquiry takes him deep into his own damaged psyche, forcing him to examine and question his own motives before he can even begin to understand those of a killer. Faceless Killers is based on the novel by international bestseller Henning Mankell. (One episode; 90 minutes, TV-PG)

The opening scene of this episode has to be one of the most chilling in the series. An elderly farming couple, Joannes and Maria Lovgren, appear to be enjoying a quiet meal when they’re interrupted by two masked intruders. Maria’s final scream, as the camera cuts away, is positively blood-curdling. When Wallander is called to the crime scene from a dinner with his daughter, Linda (Jeany Spark, due to appear in this week's upcoming Sherlock episode!) and her new boyfriend, Jamal (Arsher Ali), he’s just in time to hear Maria’s final words. “Fffff….” – was she trying to say “farmer,” or “foreigner”? Could Wallander be projecting his own struggle over his latest war of words with his daughter, whose boyfriend is a doctor of Syrian heritage – a fact that surprised the detective, and awakened possible prejudices within him that he didn’t know he had, much less wanted to admit to or risk projecting on a case. Though Wallander refuses to commit to the possibility that Maria may have been muttering “foreigner” with her dying breath, the potential lead is leaked to the media and soon the police are dealing with an overwhelming tide of anti-immigrant sentiment. Now the overworked, stressed Wallander must try to stop revenge killings while attempting close the Lovgren case, which proves more complex than originally thought.

I have no idea how faithful these films are to the original source material, the crime novels of Henning Mankell. In fact, I’d never even heard of Mankell until Wallander premiered on Masterpiece Mystery last year. In a way I’m quite grateful for my lack of pre-knowledge about the storylines, because that allows me to approach each entry in this series with fresh eyes. The stories and character backgrounds are utterly unknown to me, so watching Wallander’s character develop over the course of this series has been a fantastic, completely absorbing treat. I do have a feeling that those with insider knowledge would probably argue that this show is a case of the Brits “doing” Swedish culture, but for me there’s enough of a difference in mood, setting, and presentation to make Wallander stand out from typical British mystery fare. The sense of atmosphere created by the filmmakers is superb – moody, creepy, and absorbing. And whether or not this version of Kurt Wallander is wholly faithful to the original novels, I absolutely love Kenneth Branagh in this show and I really feel like he was born to play this character. After every episode I feel emotionally drained, because it’s impossible not to feel like I’ve just watched a great actor pour every ounce of his heart and soul into the role.

When this episode initially aired on Masterpiece, I watched it with my mom, and we both commented on how the migrant worker aspect of the storyline felt so relevant given how that discussion has figured in the news for the last few years. It was quite eye-opening to see tension like that play out in another country, albeit within a fictional framework. Neither of us had any idea that Sweden had a vibrant Middle Eastern population, with a significant portion of those individuals apparently working as migrant workers on farms. I thought the way that Wallander tried to work through his flash of prejudice when he meets Linda’s boyfriend, and subsequently through the investigation, was handled quite honestly and realistically. Wallander is, at his core, a man who strives to constantly do good, to bring some justice to his little corner of the world. The idea that he unconsciously harbored any sort of racial prejudice horrifies him, and his reaction is quite raw, and if you let it, I think could provoke some interesting moments of self-reflection.

It’s been a while since I’ve watched the first three Wallander episodes, so my memory may be hazy, but starting with Faceless Killers it was driven home to me in a fresh way that Wallander is a character so driven to matter, so desperate to run from his inner demons that it may kill him. He’s more than good at his job, he’s brilliant, but he drowns in his work at the expense of the relationships that might just provide a salve for his wounded heart. Wallander’s relationship with his father continues to be strained as Povel’s (David Warner) Alzheimer’s continues to worsen. This ongoing aspect to the series will absolutely break one’s heart. Wallander and his father, an artist, apparently have never been able to see eye-to-eye on much of anything. But it’s obvious that Wallander cares about his father and wants to do the right thing by him, but he’s so emotionally crippled, both personally and professionally, that for every step forward he takes ten steps back (at least!).
And then there’s Wallander’s tumultuous relationship with his daughter, Linda. Branagh and Spark play brilliantly off each other each time they appear on-screen – which, quite frankly, isn’t often enough to suit me. I can’t remember exactly how long Wallander’s been divorced since the series started, but he’s continued to wear his wedding ring. There’s a part of him that refuses to let go of that piece of his past, as if by desperately holding on to the symbol of his now-defunct marriage he can somehow be a better man and father. I have to give the character of Linda a lot of credit for not shutting her father completely out of her life. She’s not always as patient as I’d like to see, given how fractured her dad is, but they both continue to try. Their relationship rather encapsulates a recurring theme of the series – life may continue to knock you down, but never stop trying, because there’s always hope, even though it may be barely a glimmer in the distance.

Between his personal and professional issues, this case brings Wallander to the breaking point. It’s interesting to see how his unraveling affects how his coworkers view and interact with him. The closest thing Wallander has to a friend is Nyberg, played by Richard McCabe. It’s not a huge role, but I love how McCabe really “gets” Wallander, and knows how to ask the right questions, and to keep trying, until he can get his friend to open up. My absolute favorite member of Wallander’s team is Magnus, played by Tom Hiddleston. I fell hard for Hiddleston when he appeared in Return to Cranford, so I was looking forward to his reappearance in Wallander. Magnus is an interesting character – I view him as Wallander’s heir or protégé. He seems to respect Wallander, but he’s not above getting frustrated with his personality and methods. Magnus is one character that I’d definitely like to see more developed in future episodes.

I thought the final scenes of Faceless Killers were superb, and exercise in brilliant acting and staging. The Lovgren case, and the violence that horrific act birthed, brought Wallander to the absolute brink. He thinks he can’t take it anymore, so our brilliant detective walks. What a cliffhanger! It would be a worthy season finale, but since there are two more episodes in this season, I can promise you Wallander’s journey back from the brink of this breakdown is riveting viewing. More to come...

• Read heidenkind's thoughts on Faceless Killers.
• Read Vic's thoughts on Wallander's second series at Jane Austen's World.

Sherlock: The Blind Banker

Yesterday Sherlock continued on Masterpiece Mystery with a brand-new episode, entitled The Blind Banker. This story was loosely (VERY loosely) based on Sir Arthur Conan Doyle’s classic Holmes short story “The Dancing Men.” While story-wise I don’t feel that this episode is quite as strong as last week’s A Study in Pink, it was nevertheless a wildly enjoyable showcase for the developing Holmes-Watson dynamic. Benedict Cumberbatch and Martin Freeman continue to shine as Holmes and Watson – their casting was a stroke of genius and their on-screen dynamic is electrifying.

Here’s the story summary for The Blind Banker from the PBS website:

Turns out that living with a genius isn't so easy — just ask Dr. John Watson (Martin Freeman, The Office UK). Watson is scrambling to do the errands and find a job while Sherlock Holmes (Benedict Cumberbatch, The Last Enemy) sits around, apparently in deep contemplation. Sherlock seems oblivious, and in no hurry to take a case. When there's been a break-in at a bank, Sherlock inexplicably springs into action. Nothing has been stolen, only indecipherable graffiti painted on a wall. A bank employee is soon found dead in his apartment, the windows and doors locked from the inside, and Sherlock is at full, frenetic attention. An exhausted and hungry Watson (Sherlock doesn't eat while on a case — it just slows him down) watches from the sidelines of a case of which he'll soon inexplicably find himself at the center. Sherlock is based on Sir Arthur Conan Doyle's Sherlock Holmes and is co-created by Doctor Who producers Steven Moffat and Mark Gatiss. (One episode; 90 minutes, TV-PG)

Spoilers...

The opening moments of this episode were so funny I was nearly in tears from laughing so hard. Apparently some time has passed since Watson has become Holmes’s roommate at 221B Baker St. He needs to generate some income so he’s trying to find work and run errands, because someone has to keep the household going since Sherlock apparently can’t be bothered. After all, the man sits at home all day thinking – or so Watson assumes. While the good doctor is engaging in verbal warfare with a self-checkout machine* at a grocery store, Sherlock is fending off sword-wielding assailants in their living room. When Watson returns to the apartment after the final insult (his debit card is denied), his absolute disgust and exasperation with Sherlock’s apparent laziness is practically palpable. And of course the fact that Sherlock would apparently rather die than admit what he’d been doing to his roommate only adds to the humor of the scene.

*This is probably a really dumb observation, but for some reason it never crossed my mind that self-checkout machines exist in other parts of the world. It is somewhat gratifying to realize that the British have equal opportunities to get annoyed by the whole “unauthorized item in the bagging area” spiel like me.

The crime in question concerns a mysterious break-in at a major London bank. Sherlock is called to investigate when he receives an e-mail from an old acquaintance he went to university with, Seb Wilkes (Bertie Carvel). Witnessing Sherlock’s interaction with Wilkes was quite enjoyable – Wilkes keeps trying to bait Sherlock by mocking his powers of observation, and Sherlock shows a great deal of restraint by not rising to the occasion. He’s intrigued enough by the crime, where there’s no sign of a break-in and only graffiti is left behind, to overlook lesser men attempting to insult his intelligence. The result of this was a nice moment where Watson gets to show how much he’s learned about his new friend by recognizing Sherlock’s restraint in not tearing Wilkes to intellectual shreds.

As I mentioned earlier, this story was loosely inspired by Doyle’s short story, “The Dancing Men.” It’s been a while since I’ve read the story or watched the episode Jeremy Brett filmed during his long run as Holmes, so forgive me if my memory of specifics is a bit hazy. Showrunners Mark Gatiss and Steven Moffat used “Dancing Men” as a jumping off point to craft a fast-paced mystery where unintelligible ciphers are the only clues that bind together a series of seemingly unrelated murders. Both the “dancing men” and the yellow spray-painted symbols incite the same level of terror in their recipients, and the crux of both tales can be traced back to shady underworld organizations. Other than that, the two stories couldn’t be more different (but, I’d say, equally enjoyable).

In the case of The Blind Banker, the shady underworld organization dirtying up London with yellow graffiti is a Chinese smuggling ring called the Black Lotus. Now, I can’t for the life of me place it, but as the whole Black Lotus angle played out, I felt like I’d seen it before – everything seemed super familiar. The only thing I can think of is that perhaps the Chinese underground angle gave the episode a “throwback” feel to the Brett/Holmes-era. I seem to recall more than one occasion where Holmes met some interesting characters when frequenting the Chinatown sections of London when on a case or in order to indulge his opium addiction.

One of the three targets of the Black Lotus organization is Soo Lin Yao (Gemma Chan), a curator at the National Antiquities Museum who lives above the Lucky Cat Emporium – the destination of the other two targets of the ciphers who turned up dead. I’d completely forgotten this until I looked up Chan on the IMDB, but she was in the Doctor Who special The Waters of Mars earlier this year. Anyway, I was not entirely happy with the way Soo Lin’s story ends. It is revealed that she was an unwilling participant in the Black Lotus’s smuggling operations, and thought she’d left that part of her past behind her for good. But the Black Lotus is after a priceless missing treasure, and Soo Lin is viewed as one of their assets. When she refuses to cooperate, her own brother is sent to kill her (and he obliges quite dispassionately). However, what rather upset me was that crack-shot Watson leaves her ALONE in the museum to go “help” Sherlock, which means both he & Sherlock were running around rather pointlessly, leaving Soo Lin unprotected. *sigh* Hopefully Watson will learn from this episode!

Another reason this felt like a throwback episode was the fact that the members of the Black Lotus gained entry visas into Britain by posing as members of a traveling circus troupe. It worked in the long run, but it was so over-the-top it almost felt a little funny. I mean it’s obviously a set-up when the performance is attended by 20 people at best. The circus turns out to be the scene of Watson’s first date with his boss at the medical clinic where he’s agreed to work part-time. Sarah, played by Zoe Telford, was overall a welcome addition to the cast, and she gets points for being game for anything and putting up with Watson’s unorthodox friends. *grin* Telford may be a familiar face to some – she’s appeared in Foyle’s War (the Killing Time episode) and Collision (from Masterpiece Contemporary). Only time will tell if Sarah ends up being a permanent love interest for Watson, but Telford and Freeman have great on-screen chemistry, and so far I really like her character. And I LOVE how she doesn’t let the fact that Sherlock appears to barely tolerate her association with Watson put her off, AND she gets to one-up the great detective by pointing out that Soo Lin had left him critical translation clues prior to her death. (I also loved the moment when Mrs. Hudson, played by Una Stubbs, makes a brief appearance and tries to help Watson salvage his date prior to the kidnapping – she’s so funny, and obviously has a soft spot for the long-suffering Watson.) Sarah’s presence was a welcome and funny shake-up to Sherlock’s equilibrium and plans, but doesn’t let anything put him off either – he barrels on with his agenda in spite of the fact that his presence proves to be anything but conducive to Watson’s romantic ambitions toward Sarah. Poor Sherlock…his rudeness can be quite the killjoy when he’s the unexpected “fifth wheel” on the date.

This episode culminates in a scene that’s both edge-of-your-seat suspenseful and just a tad cheesy in its over-the-top glory when Watson and Sarah are kidnapped by a Black Lotus flunkie and taken to a secret location to meet group’s “general.” They are operating under the mistaken assumption that Watson is actually Holmes (set up thanks to a series of comic moments throughout the film), and that they can scare him into revealing the location of their missing treasure by threatening Sarah’s life. This being a Holmes story, Sherlock arrives in the nick of time (and rather full of himself I might add!) to save the day, but Watson gets to save the girl. In spite of the fact that his rescue was rather contrived (Sarah could probably have saved herself if she’d thought to tip the chair she was tied to over on its side), it was a very welcome moment. It underscores the reality that this Watson is no dense sidekick; as played by Freeman, Watson is vibrant, active, and intelligent – and rather cheeky as he promises Sarah their second date won’t involve near-death experiences. Like me, he must’ve been able to sense that Sarah has a remarkably high tolerance for the bizarre in everyday life. *grin*

I have to come back to Holmes & Watson’s relationship in this episode (I’d say excuse my blathering on and on and ON about this show, but ya’ll should be used to my inability to be concise, especially when it comes to British TV *wink*). The mystery was fun – big and over-the-top and convoluted – but the heart of the episode was seeing how well Holmes and Watson work together. I’m having a hard time coming up with a comparable on-screen duo who jelled so well and so fast. The closest I’m coming up with are Peter and Neal from White Collar. Gatiss and Moffatt have crafted an electrifying version of Holmes and Watson, and it is a credit to their writing and to their luck in finding two actors in Cumberbatch and Freeman with great on-screen “buddy” chemistry to bring Holmes and Watson to vibrant life. The weaknesses in one are more than compensated for by the strengths in the other, and vice-versa, underscored by mutual support and a genuine regard that’s apparent in the Holmes and Watson relationship in spite of their near-constant bickering.

I fell so hard, so fast for Cumberbatch as Sherlock that I didn’t see how it would be possible to love him more – but The Blind Banker proved me wrong. Cumberbatch unleashes the full range of Sherlock’s moods, and his fits of manic energy and sulkiness and humor are all on glorious display. From hopping up and down in the bank, trying to find the best angle from which to view the first cipher, to refusing to admit to Watson that he was nearly strangled by an assassin in Soo Lin’s apartment, Sherlock is never so riveting as when he’s fully focused on a case and refuses to let anything get in his way. (Like admitting he could do with a bit of help, LOL!) And when he turns on the charm – be still my heart!* You know he’s being manipulative, but like the poor coroner who melts when Sherlock compliments her hair in order to get a look at two murder victims, we just don’t care because he’s THAT fabulous. While he may come across as a bit selfish, like when he crashes Watson’s “date,” Cumberbatch never fails to make sure that Sherlock skates the delicate balance between haughty brilliance and empathy. When one gains entrance to Sherlock’s inner circle, you get the feeling that there’s nothing he won’t do to protect a friend – and I LOVE that.

*Fun fact: I discovered that Cumberbatch's real-life girlfriend Olivia Poulet guest-starred in this episode as Amanda, the first victim's mistress. When Sherlock reveals that the longed-for treasure was in her possession, and it was worth a cool nine million pounds, the look of sheer delight on his face at Amanda's reaction rather means a little more to me knowing the two are in a relationship. One gets the sense Cumberbatch really got a kick out of playing that scene. *wink*

I can’t believe that next week’s episode is the finale of this season of Sherlock! Thankfully, the BBC has confirmed that the show is returning for three more episodes in fall 2011. This is one hiatus that is definitely going to try my patience! Next week we should see the return of Lestrade (Rupert Graves) and Mycroft (Gatiss), both of whom I found I sorely missed during this episode. Moriarty, the shadowy villain and “fan” of Sherlock’s, who has been lurking in the shadows for the past two weeks, may finally be revealed. People, I don’t think I’ve ever anticipated the reveal of a villain more – this Moriarty promises to be a properly threatening criminal mastermind, and I can’t WAIT for him to clash wits with Sherlock.

Believe it or not, I could continue to sing the praises of this wonderful show (I could write paragraphs about the gorgeous score, for example!), but I’ll stop here (for now…haha!!). If you haven’t been watching Sherlock, well what are you waiting for? PBS is streaming The Blind Banker online through December 7th. And then please come back and feel free to share your thoughts! :)

• Check out Vic’s thoughts on The Blind Banker at Jane Austen’s World.

Sherlock continues Sunday!

So, so happy that Sherlock continues on Masterpiece Mystery this Sunday with the second of its three episode run. This episode is entitled The Blind Banker. I can't wait. Did I mention that I LOVE this show?? Not trying to wish away my weekend, but the broadcast of this show can't come soon enough to suit me. :) Here's a bit about the story:

Living with a genius isn't easy — just ask Dr. John Watson (Martin Freeman, The Office UK). Watson is scrambling to do errands and find a job while Sherlock Holmes (Benedict Cumberbatch, The Last Enemy) awaits a challenge. When two men are found dead, Sherlock springs into action and takes Watson from the sidelines to the center of a dangerous new case. Sherlock is co-created by Mark Gatiss and Steven Moffat. (One episode; 90 minutes; TV-PG).

And here's a short preview:



See you on the other side with my review. :)

Review: Anthems by Kerry Ellis

With soaring pop vocals and anthemic orchestra-meets-rock arrangements, Kerry Ellis makes an unforgettable statement with her debut album, Anthems. I’m a huge fan of classical crossover music (i.e. Sarah Brightman) and have a fairly extensive collection of solo albums from various theater stars. Anthems is a standout project in both categories. Ellis is perhaps best known as the longest-running British actress to play Elphaba in the musical Wicked, playing the role on both the West End and Broadway stage. Many times when theater stars put out albums, they choose to record fairly straightforward versions of musical theater standards, not so with Ellis. Partnered with Brian May, lead guitarist from Queen, Anthems is an inspired fusion of rock-orchestra melodies paired with Ellis’s soaring, passionate vocals. The album opens with the exotic Brian May-penned track “Dangerland,” reminiscent of “Fleurs Du Mal” from Sarah Brightman’s rock-inspired Symphony album, with a distinctive Middle Eastern vibe. Ellis then moves on to a soaring, rock-tinged version of “Anthem” from the musical Chess – her voice soars, and the blistering guitar solos transform the track into an arena-ready anthem. Two tracks from Wicked make appearances with fantastic new arrangements. “Defying Gravity” is transformed into a rousing, rock-driven anthem of empowerment, while “I’m Not That Girl” is an absolute showstopper, one of my favorite tracks on the album. Ellis’s powerful pop voice shines on this song, simultaneously both poignant and hopeful. Another favorite track of mine is a cover of the Brit group The Feeling’s “Love It When You Call,” which is given a rocking “girl group” sound. I absolutely LOVE Ellis’s interpretation of “Diamonds Are Forever” – it’s great to see a classic James Bond theme revisited. Shirley Bassey owns this song, but Ellis fearlessly takes it on and makes it her own. The album ends with a pair of Brian May-penned tracks – a gorgeous, powerful rendition of Queen’s “No One But You (Only the Good Die Young)” and the beautiful and poignant “I Loved a Butterfly.” Kerry Ellis’s debut is a standout. The press release in the product description section of Amazon states that “Broadway’s about to get a little bit grittier” with Ellis’s debut – and to that all I can say is more, please. Kerry’s powerhouse vocals married to musical theater-meets-rock-orchestra-fusion is an addictive combination.

Here's a brief video to give you a taste of Kerry's sound:

Sherlock: A Study in Pink

"I'm not a psychopath, Anderson, I'm a high-functioning sociopath. Do your research." ~ Sherlock

Sherlock, how can I even begin to sing your praises? There’s something you need to know about me, in case you’re a new reader to the blog – I’m a little obsessed with all things Sherlock Holmes. Okay, make that more than a little. I cut my BBC-drama loving teeth on Granada Television Sherlock Holmes series, starring the inimitable Jeremy Brett. For me, Brett is Holmes, and no one before or since his interpretation has come close. Now, I found a lot to enjoy about the Robert Downey Jr.-led Sherlock Holmes picture last Christmas (click here to read my review). But having seen the first episode of Sherlock, created by Steven Moffat (the Doctor Who showrunner!) and Mark Gatiss, the big-budget movie pales in comparison. I have finally found an heir worthy to stand in the shadow of Jeremy Brett’s interpretation of Holmes. Benedict Cumberbatch, you are a freaking genius.

In some respect I feel completely inadequate to review the first episode of this series, because it was so, so brilliant and I loved it so much. People, this show is so genius it brought tears of joy to my eyes on more than one occasion, I kid you not. It’s going to take many, many viewings of this episode for me to even begin to come close to fully grasping and appreciating the way in which the showrunners and actors brought these iconic, beloved characters into the 21st century. There are so many brilliant little nods to Sir Arthur Conan Doyle’s characterizations, so many wonderful humorous touches, and absolutely inspired dialogue that each subsequent viewing of this episode will be a miniature journey of discovery, I’m sure.

A Study in Pink was inspired by an original Holmes novel, A Study in Scarlet (one of only four novel-length Holmes adventures penned by Doyle). Here’s the story summary from the PBS website:

Dr. John Watson (Martin Freeman, The Office UK) is back in modern-day London after serving in the war in Afghanistan. His therapist, convinced that Watson is plagued by violent memories, urges him to express himself in a blog. But nothing much ever happens to Watson, and it's not that he's haunted by the war — he longs for it. Enter an eccentric roommate — one Sherlock Holmes (Benedict Cumberbatch, The Last Enemy). He plays the violin when he's thinking, sometimes doesn't talk for days, and has a dubious career as a self-described consulting detective. When what appear to be serial suicide cases surface in London, a desperate Detective Inspector Lestrade (Rupert Graves, The Forsyte Saga) reluctantly consults the freakish Sherlock. To Sherlock, a crime spree is like Christmas — only made better by the possibility that these crimes may be the work of a devious serial killer. The game is on, and before it is over, Sherlock will put his life on the line — all to keep from being bored to death. Sherlock is based on Sir Arthur Conan Doyle's Sherlock Holmes and is co-created by Doctor Who producers Steven Moffat and Mark Gatiss. (One episode; 90 minutes, TV-PG)

Possible spoilers from this point on...

First of all, there’s an eerie sense of symmetry to the introduction of Dr. John Watson. When Doyle first penned the character, it was entirely plausible to have a former army doctor be a veteran of the Afghan wars – and once again we’re at a point in history when that is true. Now, if you’ve been living under a rock or you willfully ignored all news related to the casting of the upcoming Hobbit films, you may not know that Martin Freeman, playing Watson, is going to be Bilbo Baggins. There’s a moment at the very beginning of the episode, where Watson is sitting silently on the side of his bed after some particularly horrific post-traumatic stress induced dreams, where he looks very hobbit-like. Maybe I was just projecting…? *g* Either way, the more I see of Freeman, the more I think he’s a brilliant choice to play Bilbo.

And he’s obviously not just a brilliant choice to inhabit Middle Earth – he’s a fantastic Watson. Throughout the history of Holmes appearing on-screen, Watson has too often been doomed to appear increasingly buffoonish, the comic sidekick if you will. Freeman’s incarnation of Watson is a dream come true. He really comes across like a former soldier. He’s sharp, astute, and disciplined, and there’s a part of him that he struggles with just a bit that loves risks, the adrenaline rush that comes from finding oneself in a life-or-death situation. AND he’s a blogger, and I know it pretty much goes without saying how much I loved that. Watson’s struggles with his memories of his wartime experiences are extremely well portrayed in my opinion, quite realistic. I thought it was fascinating that he starts out the show with a limp and a hand tremor, issues that Sherlock pegs as psychosomatic. I really enjoyed the process the show takes Watson through, as he works through those issues and through his new friendship and partnership with Sherlock he finds he’s learning to function in the “real” world again.

Now, what to say about Sherlock? Benedict Cumberbatch, I hardly knew ye. I’ve always liked Cumberbatch (for one thing, his name is fantastic!), but until last night I never classified him in the brilliant actor, or even favorite actors, category. I cannot stress this enough. Like Brett, Cumberbatch was born to play this incarnation of Holmes. He owns every scene he appears in, takes clear delight in the character and the dialogue, and is utterly and completely engrossing and unforgettable. He has the manic swings that really defines Holmes in my mind (thank you for that expectation, Jeremy Brett!). His energy and the almost child-like delight he takes in a challenge (“Serial killer! It’s like Christmas!”) is at once completely absorbing and laugh-out-loud hilarious. The show does a great job of incorporating modern technology into Holmes’s repertoire of investigative tricks – I really love the fact that he’s addicted to texting, and the use of pop-up “text bubbles” throughout the show was such a funny touch.

As Sherlock, Cumberbatch is by turns selfish then kind, manically energetic then lethargic, and always, always supremely intelligent, constantly spouting a steady stream of incisive, witty one-liners. Sherlock is constantly after his next “fix” – nothing is more dangerous for him than boredom and lethargy. He craves a challenge – and we’re given the best hint of what’s to come at the conclusion of this episode (nice nod to Moriarty, people!). He has a perfect foil in his brother, Mycroft, who still works for the British government, only for a change he isn’t simply an older, more set in his ways version of Sherlock. Played by show co-creator Mark Gatiss, this Mycroft is tightly wound, practically neurotic, but clearly as driven in the end of his own means as is his brother. I’m very curious to see where they take the relationship given that Mycroft seems to make a regular thing of keeping his brother under surveillance. The moment at the end of the episode when Mycroft and Sherlock come face-to-face for the first time in the series was HILARIOUS. I loved when they started talking about stressing “Mummy” and “can you imagine what Christmas dinner was like?” Hysterically funny stuff, as was Watson’s somewhat crestfallen reaction to the realization that Mycroft was Sherlock’s brother, and not the sinister criminal mastermind he first seems to be.

Sherlock’s reluctant associate on his investigations is Detective Inspector Lestrade, played by Rupert Graves. After seeing his rather unsavory turns in the just-completed seasons of Inspector Lewis and Wallander, can I just tell you it is so nice to see him finally playing one of the good guys?! Turns out he’s actually capable of that, LOL! It’s really interesting to see a character of Sherlock’s caliber, who’s so freaking high maintenance, interact with modern police. Many view him as a potential threat, a loose cannon, and rightly so – but others, like Lestrade, recognize his brilliance, even though his methods are unconventional and he’s oh-so-difficult to stomach, and his limitless potential.

A few notes about some other cast members…Mrs. Hudson, Sherlock’s landlady, is played by actress Una Stubbs. I’m not really familiar with any of her previous work, but the way the show sets up her relationship with Holmes and Watson had me in stitches (“I am not your housekeeper!”). She’s going to be a great member of the core cast, as despite her affection for Sherlock (due to getting her husband put to death on some charge in Florida, LOL), one can see where her unconventional tenants will test the limits of her patience. The villain of this piece is perfectly played by Philip Davis. Davis has appeared in Collision, Doctor Who, Miss Marple, and Bleak House, and really the man seems to excel at playing creeps. I really enjoyed his showdown with Sherlock, it was interesting to see him get under Sherlock’s skin.

The look of this show is just spectacular. I loved everything about the sets and costumes (Benedict can rock a scarf, just sayin’!), to the innovative way the filmmakers let us “see” how Sherlock thinks. The show is fast-paced and thoroughly modern, but very, very true to the spirit of Sir Arthur Conan Doyle’s creations and his writing. And the music – oh my how I loved it! Both David Arnold and Michael Price have credit for the show’s music on the IMDB, and I’ve got to say they did a fantastic job. The music is bright and vibrant, the perfect accompaniment to the action on-screen. There are moments, flourishes in the music that reminded me of Sherlock’s origins in Victorian London. The score is definitely cinematic in scope and an integral part of fleshing out Sherlock’s world as the sets and actors.

I can already tell my biggest problem with this show is that this season is only three episodes long! Needless to say I cannot wait till next week. If you watched this episode, I’d love to hear your thoughts, so bring on the comments! And if you didn’t – well, what are you waiting for? PBS is streaming A Study in Pink online here through December 7th.

There’s so, so many more things I could say about how much I LOVED this show, so many more observations I’ll have to make after subsequent viewings – but I’ll leave it at this. It goes without saying that I would LOVE to discuss this, so comments are MORE than welcome on this post, especially. *g* Sherlock is the crown jewel in what has been a pretty spectacular Masterpiece Mystery season. I can’t wait till next Sunday!

PBS made the fantastic poster image on the left available to fans of their Facebook page for download. You can snag that image here (perhaps make it your Facebook profile picture like I did...just a suggestion!).

Now, any post where I'm discussing the one and only Sherlock Holmes at length just wouldn't be complete without a little nod to the man who started my obsession - the lovely Jeremy Brett.

Sherlock happily contemplating his latest incarnation...

I like to think that if he was still with us, he'd be pleased with Sherlock...

• For another review of A Study in Pink, check out Sherlock! A review of A Study in Pink: PBS Masterpiece Mystery!
• Read Charity's review: Sherlock: A Study in Pink

"The End of the Story" video

Hat tip to Charleybrown of Enchanted Serenity of Period films for pointing out this fantastic period drama compilation video on YouTube. Click here to watch Period Drama - The End of the Story by KatSw3. The video features clips from the following productions:

Becoming Jane
Bright Star
Emma 1996 & 2009
Ever After
Girl with a Pearl Earring
Jane Eyre 2006
Little Women
Lost in Austen
Mansfield Park 1999
Nanny McPhee
New World
North & South 2004
Persuasion 2007
Phantom of the Opera
Pride & Prejudice 1995 & 2005
Sense & Sensibility 1995 & 2008
Shakespeare in Love
Wives & Daughters

Enjoy! :)

Peter Jackson Sets First Names For 'The Hobbit'

Peter Jackson Sets First Names For 'The Hobbit'

This is a dream come true! According to this article, RICHARD ARMITAGE will play Thorin Oakenshield!!! OHMYGOSH OHMYGOSH OHMYGOSH!!! My happiness knows no bounds!!!