Sherlock: A Scandal in Belgravia

When I think of Sherlock Holmes and Dr Watson, I now think of Benedict Cumberbatch and Martin Freeman.  That these two actors have so thoroughly eclipsed their predecessors obviously has a lot to do with the medium of television, but it’s mostly due to Steven Moffat  and Mark Gatiss’s brilliant reinvention of a Holmes and Watson for the 21st century.  They set the tone in the first episode of the first series (2010) with  A Study in Pink, and carried it through to A Scandal in Belgravia.  As with Moffat’s other project, Doctor Who, I have to watch each episode twice to get catch everything the writing and acting has to offer.

In A Scandal in Belgravia, Sherlock meets his match in the supremely intelligent and beautiful dominatrix, Irene Adler, played by Lara Pulver.  Her clients from the upper reaches of the British establishment tell her everything, and she has it all stashed away in her cameraphone, protected by a passcode that takes Sherlock almost the whole episode to discover.

This duel of minds and sexual attraction (“Brain is the new sexy”) is the core that runs through A Scandal in Belgravia, relegating the serious business of why these secrets are so important to the subplots that weave around it.  Irene’s first meeting with Sherlock, when she walks into the room naked, was stunning.  It set the agenda for her plan to seduce him into complicity, something she seems to have accomplished until he confesses to feeling her pulse at that opportune and tender moment.  So deducing that she was in fact aroused, and extrapolating from it the passcode for the cameraphone.  What else but SHER?

But Sherlock is also smitten enough to rescue Irene from terrorists about to cut off her head.  “The Woman.  The Woman” says it all.

There is so much to enjoy.  A jumbo jet filled with dead people, so terrorists don’t realize that their plot to blow it up has been discovered, is wonderfully Gothic.  The kicking the CIA agents get is thoroughly satisfying – couldn’t happen to more deserving characters.  I particularly like the way their leader falls out of a window several times after brutally interrogating Mrs Hudson.  And it’s heartwarming to see how Sherlock reacts to her being in danger.  He’s a good boy, and he protects the people who care for him, despite his offhand manner.

That said, he’s also cruel in his honesty.  Poor Molly is humiliated at the Christmas party when she turns up dressed to seduce, armed with the knowledge that she’ll have Sherlock to herself when everyone leaves.  Sherlock’s dissection of her behaviour, and discovery that the present was meant for him, is painful to watch.  His apology is even more surprising.

Then there’s the assumption that Sherlock and John are a couple.  Even Mycroft (Mark Gatiss) accepts that John is now part of the family and can be trusted with emotional secrets.  Irene thinks they are, and so does John’s date at the Christmas party when he stays behind to keep an eye on Sherlock after Irene’s purported death.  At Mycroft’s insistence, no less.  Only John is convinced he’s not gay, and they’re not a couple.  Yet there’s a whisper of jealousy in the way he asks Sherlock if he’ll see Irene again, when she’s revealed as still alive.

John’s blog is a great joke, and making it the reason for Sherlock’s runaway success as a consulting detective is inspired.  Leading as it does to them fleeing the paparazzi in a hasty disguise, which of course means Sherlock grabbing a deerstalker.  What else would he wear?

Terrific stuff.  Can’t wait to see what Mark Gatiss makes of the Hound of the Baskervilles next week.  Robert Downey, Jr. can take his action/adventure, CGI-enhanced Hollywood Sherlock and stick it where the sun don’t shine.

Kelburn Castle Graffiti Project

I am indebted to the Daily Mail for this blog post.  Bugger.  Never thought I’d write that sentence.  The fact remains that I’d probably never have heard of this project if the Daily Mail hadn’t chosen to vent their spleen on Patrick Boyle, Earl of Glasgow, who decided to give a team of Brazilian graffiti artists, Os Gemeos, free rein on the oldest part of Kelburn Castle.  That was in 2007.  Here’s what the BBC News has to say, for a less sensational and prejudiced approach.

There was an agreed 3 year lifespan for the graffiti, pending replacement of the concrete facing on which it was painted, but Lord Glasgow has now petitioned Historic Scotland to keep the graffiti.  They have a say in its fate, because Kelburn Castle is a Grade A Listed Building.

I’ve no doubt that a big part of the reason for wanting to keep the graffiti is financial – it brings in visitors.  Beyond that, it’s a brilliant piece of public art and should be preserved.  I’d love to go and see it.  How it can be preserved is another matter.  There’s a structural need to replace the concrete facing, in order to avoid further damage to the 13th century masonry.  All art – all life – is temporary, and that’s what makes it so precious.

Even so, I want this mural to stick around for as long as possible.  It shows the innovative spirit of Scotland that drew me to this place.  We’re not a theme park with kilts, whisky, haggis, shortbread, and bagpipes, however well that might sell to the tourists.  There’s also the deep-fried Mars bar.

This time lapse video shows the work under construction, from start to finish.