Friday, June 28, 2013
If you happen to make this thespian pilgrimage . . . .
The Middletown Press announced that Gillette Castle will offer free outdoor performances this summer - in particular “on July 6 and running until Aug. 11, "Sherlock Holmes and the Speckled Band" takes the outdoor stage." For more information on this free adaptation of Gillette’s dramatized version of “The Speckled Band", see East Haddam Stage Company. For those unfamiliar, Gillette Castle, situated on the banks of the Connecticut River, was commissioned and designed by early 20th century actor William Gillette who of course played the role of the master sleuth in Sherlock Holmes (penned by Gillette himself) onstage starting in 1899 more than 1,300 times over a thirty year period. I’ve always felt that the power and influence of seeing Gillette don the role of Holmes was best articulated by Booth Tarkington (Pulitzer Prize-winning author) who told Gillette, “I would rather see you play Sherlock Holmes than be a child again on Christmas morning." The legendary actor and Holmes aficionado resided at Gillette Castle until his death in 1937.
Thanks 1895!
Gillette Castle
Thanks 1895!
Gillette Castle
Thursday, June 27, 2013
Labels. . . .
( We actually have a couple like this one from our voyage over.)
But that is not what this post is about.
I have started to 'label' my posts in like categories so viewers can search topics that are similar.
I am doing this to help my readers find like posts and also to make it easier for me to find past posts when looking to link posts together.
I have finished back about 20% of them but have a ways to go yet.
So look to the right hand side to find the list of labels and clic on the one you want to see like posts about.
Please feel free to suggest labels I have not though of yet.
Most posts will link to more than one label.
(The biggest reason I have done this is so B.K. can go back and read any positive reviews I have for 'Elementary'.)
But that is not what this post is about.
I have started to 'label' my posts in like categories so viewers can search topics that are similar.
I am doing this to help my readers find like posts and also to make it easier for me to find past posts when looking to link posts together.
I have finished back about 20% of them but have a ways to go yet.
So look to the right hand side to find the list of labels and clic on the one you want to see like posts about.
Please feel free to suggest labels I have not though of yet.
Most posts will link to more than one label.
(The biggest reason I have done this is so B.K. can go back and read any positive reviews I have for 'Elementary'.)
Wednesday, June 26, 2013
A good piece about Watson, among other things.
UP YOUR ALLEY
An ode to Dr. Watson: Sherlock Holmes sidekick deserves better — and more stage time in Suicide Club
Photo by T. Charles Erickson
Credit is due.
Behind every great Sherlock Holmes is the caretaking, ass-kicking, sidekick Dr. Watson. At least, that’s the character I look to when judging a Sherlock Holmes mystery.
That’s who my eyes kept wandering to during the Alley Theatre’s current production of Sherlock Holmes and the Adventure of the Suicide Club, which runs through June 23.
Sherlock Holmes has been the deducing giant whose influence has cast a long shadow over mystery fiction since Arthur Conan Doyle created him in 1887. Yet, at the beginning of the 21st century he seems to have had an accident while attempting to solve an experimental cloning case, because everywhere we look is a myriad of Sherlocks invading every medium.
Everywhere a Sherlock
He currently resides under his own name in two television shows, Sherlock and Elementary. (Tip: never get in the middle of an online discussion between BBC version and CBS version Holmes fans. They will virtually cut you from both sides.) But he has assumed an alias on many more shows.
Is he a high functioning sociopath? A raging drug addict? Does he have Asperger's, or is he just an ass?
A year ago, he retired as the pill popping curmudgeon diagnostician, House. He’s thinly disguised himself as two fake psychic detectives, and there are bits of him woven into the literary genetic code of every television crime scene investigator swabbing the murder weapon for DNA. In the movies, he’s Robert Downey Jr.’s other manic, genius character.
No matter how brilliant these versions of Sherlock are, would we really want to spend even an hour in their presence, if loyal Watson wasn’t standing behind Sherlock, rolling his (or her) eyes at the great detective?
For Holmes couldn’t fall into the 21st century cloning machine without Watson jumping in worriedly after him, and so with every new Sherlock we get a new version of Watson.
Always the sidekick, but still heroic
It’s the Watsons, really all suffering sidekick characters, who fascinate me. Though relegated to the unassuming assistant and chronicler role, Watson is an intelligent doctor, crack shot and war vet. He’s the only man (or woman as the version may be) who can play caretaker to the diva detective while never getting subsumed by his overbearing personality.
The Alley Theatre’s production of Sherlock Holmes and the Adventure of the Suicide Club harkens back to retro Holmes and Watson, but the play is a mix of old and new achieved by contemporary playwright Jeffrey Hatcher marrying Conan Doyle’s characters to the plot of the Robert Louis Stevenson’s “The Young Man with the Cream Tarts” from his collection of short fiction,The Suicide Club.
He’s the only man who can play caretaker to the diva detective while never getting subsumed by his overbearing personality.
Alley company member Todd Waite portrays a middle aged, world-weary Holmes, who at the beginning of the play seems on the verge of weeping for there are no more criminal worlds to conquer, no intricate puzzles to solve.
Sidney Williams’s Watson on the other hand seems quite happy in the autumn of his life, having both a comfortable medical practice and wife to go home to if, ever there comes a time of no more mysteries.
But that is not a current problem because Holmes himself is the moody riddle Watson must decipher. Holmes manages to be so annoying and rude even Watson is driven away, and the audience is left to follow Holmes into the smoky London night where he will later look for solace in the strange suicide club that mixes gentlemanly wagering with the chance for club members to off their despondent cohorts.
But true fans of Sherlock Holmes will know Watson can’t be long gone from the scene, and thankfully in this version he’s not.
Though Hatcher along with directors Mark Shanahan and Gregory Boyd build a solid little conspiracy for Holmes to unravel, by the middle of the second act it becomes more and more apparent through simple process of elimination who is responsible for the suicidal murders. Still, the play's focus on mystery is refreshing, as it seems lately Holmes writers are less interested in creating nifty plots for Sherlock to untangle and more in dissecting his psyche and brain chemistry.
Is he a high functioning sociopath? A raging drug addict? Does he have Asperger's, or is he just an ass?
Waite’s Holmes is indeed a bit of an ass, but he does care about human beings and lives lost, also something not always guaranteed with contemporary Sherlocks. However, for me the most poignant moment in the play came when Holmes pauses for a whole 30 seconds to contemplate the nature of friendship and the honesty and kindness, or at least the Sherlockian version of kindness, he owes Watson.
At first, Suicide Club’s Watson looks to be the play’s bungling narrator and comic relief, something I abhor in my Watsons, but by the (spoiler alert) second half of the play, we see a Watson only half a leap behind Sherlock’s deductive jumps. He’s the one character, who can keep up with Holmes while willingly putting up with him.
Hatcher gives most of the best lines to Sherlock and his brother Mycroft, played with the driest deadpan by James Black, but Williams gets in several telling jibes at Holmes himself.
But I wanted more because I look to Watson to represent me on stage, screen or page as the one person who can affectionately give the genius detective the figurative punch in the face he sometimes so richly deserves.
This is London calling. . . .
Show will study Holmes and London
The relationship between Sherlock Holmes and London will be the subject of a new exhibition to open in 2014.
The Museum of London's exhibition will look at the interplay between Holmes and the city, a source of fascination for the fictional detective.
In one of Arthur Conan Doyle's stories Holmes remarks: "It is a hobby of mine to have an exact knowledge of London."
The Museum of London says the exhibition will reveal as much about London as Sherlock Holmes.
Sharon Ament, Director of the Museum of London, said: "We all think we know Sherlock Holmes, but do we really?
"The lens through which the Museum of London will examine the inimitable detective will reveal more about London than you might guess, but then you'd expect nothing less."
The museum says it will "look beyond the familiar deerstalker, pipe and cape" in search of the "real, complex and multi-faceted" Sherlock Holmes.
It claims the show will "mirror the way he used his own remarkable observational powers and analytical mind to reveal the truth".
Tuesday, June 25, 2013
Seven Degrees of Sherlock Holmes - #9 - Charlie Chaplin (or is it really Geraldine Chaplin? or is it really Raquel Welch?)
OK, this week I picked, for me, a fairly easy one (I already knew one of the answers), but none-the-less a fun one, with some interesting facts. (Any good Sherlockian I am sure already knows this stuff, right?)
So here goes.
Sir Charlie Chapline - 1889-1977
So here goes.
Sir Charlie Chapline - 1889-1977
Starting in 1903 he toured with H.A.Saintsbury - 1869
in Charles Frohmans' 1903 production of -
'Sherlock Holmes' -
(This is a poster of Cecil Barth production with H.A.Saintsbury in it.)
Where Charlie Chaplin played Billy the page boy -
Which lead to Charlie again playing Billy with the famous William Gillette
Chaplin would tour in the roll of Billy the pageboy for almost two and a half years.
Now this is a pretty easy connection for one of the greatest actors of anyone's time.
But it doesn't stop here. (Although maybe it should)
In 1943 Charlie married Oona O'Neill
In 1944 they had a daughter, Geraldine Chaplin -
who went on to star in the 1973 (one of my all time favorite films) adaption of 'The Three Musketeers'
Which also starred Charlton Heston
Who's Sherlock Holmes connection we made in Seven Degrees of Sherlock Holmes number 8
But we could really skip the Charlton Heston connection because she is related to Billy the page boy.
(But that wouldn't be any fun.)
But the Three Musketeers connection also allows me to post pictures of one on my childhood favorites, and her connection to Sherlock Holmes.
Raquel Welch
(I like her for her acting, really!)
Who also starred in the 1973 film (with, once again, Charlton Heston)
as Constance Bonacieux -
(If there is demand, I may have to do the Raquel Welch connection again down the road.)
It seems, so far, we just can't get very far away from Sherlock Holmes.
Have a great day.
Monday, June 24, 2013
Just some thoughts and a little long winded for me. . .
I saw a recent pole, on another blog, asking; “Is the world of Sherlock Holmes getting to
saturated with all the new movies and TV shows?”
Well, actually, yes. . . and no.
It is true that it has been many years, if ever, since the world
Sherlock Holmes has had the wealth of material that is available now to draw
upon. With new books, e-publishing, movies and TV shows, it doesn’t take much
to find a source to feed anyone’s passion for Holmes.
There are many more games involving the great detective.
Pastiche and short stories and novels abound to suit whatever form one seeks.
Is it all good? No, probably not. But it does keep the game
alive and interesting.
There is often debate surrounding most of the works out
there right now. Seemingly most of the debate surrounds the three visual
presentations that are for the most part responsible for Holmes’ popularity at
the moment; The RDJ movies, ‘Sherlock’ the English TV presentation, and our own
‘Elementary’, which seems to take most of the flack of these three.
Spawned from the popularity these shows and films have
produced, are hundreds books and pastiches dealing with the great detective.
Some try, whether succeeding or not, to remain faithful to the original, while
others go off in any number of directions, from Steampumk, occult and any number
of other genre’s you can chose from.
Some of it is scholarly and some, well, not so.
This popularity has even created a debate about whether one
is a devotee or fan of Sherlock Holmes. And I think a very strong argument can
be made for the need of these two distinctions.
Lines will be drawn in the sand about which side of the line
we fall on, while in truth it should not be an offense to be in either camp.
But that is not want I want to discuss here today, but it is
relevant.
Let us assume, not rightly or wrongly, but just for the sake
of argument, that a Sherlockian (Holmesian) is someone who came by Sherlock
Holmes by way, for the most part, of reading the original Canon. Either
picking up the books in the beginning or seeking the books after seeing an
earlier movie or, let’s say, the Brett series. But, however, the original
stories are now the foundation for his or her Canonical love. When all else
pales in comparison, a Sherlockian will always seek comfort in the original 60
stories.
The Canon is the source for all debate and reference about
anything else that follows, whether in book form or on film. Stray too far from the Canon, whether we find
it fun or not, the Sherlockian will be, at least somewhat, disappointed. It
doesn’t mean we won’t still ‘Play the Game’, but the works will hardly seem
real relevant.
Now, again for the sake of argument, let’s say a fan is
someone who has come into the world of Sherlock Holmes by way of the TV show ‘Sherlock’
(I am going to leave the RDJ movies out of the argument because at the moment
RDJ draws from a much larger pool because of his popularity in other movies)
and that is the source of most of their knowledge of Sherlock Holmes. These are
the ‘Cumberbabes’ and others who find the lead actor the biggest reason for
liking the show. (I don’t have a problem with that and feel he is a great
Sherlock Holmes, or at least could be). It would argue that the appeal of this
show has almost become, to many, cult like, a distinction most Sherlockians
would never want attached to their names.
Roll playing if you will.
The appeal of the show has also made for some incredible merchandising.
Everything from IPhone covers to the tea sets used in the shows. ‘I am Sherlocked’.
The show has also encouraged some worthwhile debate, and
some not so worthwhile debate about the mental state and sexual leanings of
Sherlock Holmes.
.And all this is wonderful, and great, for the Sherlockian
and the fan.
Where the problem is (and this is just for the sake of argument,
because, really, there is no problem) is wading through all the stuff that is
out there and taking away, without breaking the bank account, all that is
valuable to your chosen devotion to Holmes.
The ‘market’ is just so saturated at the moment, that
picking and choosing has become a very time consuming adventure.
A lot this can be blamed, and I am not sure blamed is the
right word, on the easy of e-publishing and the advent of blogging and web
pages.
I remember when I started my Holmesian pursuits it could be
months or longer between new material to add to my collection. There were
certain books you had to hunt down, and new material came out rather sporadically.
Now new material, in the form of e-publishing, comes out
almost daily and one must choose ones source carefully.
And here is where the ‘Yes’ comes in, in our original
question.
Right now the world of Sherlock Holmes, I believe, is too
saturated for the Sherlockian. The Sherlockian who is wanting to keep up with
what is relevant to his or her world of Sherlock Holmes, without having the
wade through a lot of chaff to achieve that goal.
I think with so much out there right now, some really bad
stuff is getting too much attention, while some really good stuff may be being
missed.
Such is the game I guess.
But here is also where the ‘No’ comes in, in our original
question.
For the fan, the ones seeking anything new on Sherlock Holmes
the world is not too saturated yet. They can’t get enough at the moment,
especially if it is something that puts Sherlock Holmes in a different light
from the original stuff. Their Holmes can be a sociopath, or Bi or Gay, and their
Moriarty can be way out there in left field. And that’s OK.
They are the ones, at least for the time being, that are
keeping Holmes in the public eye at the moment.
If we really think about it, it is only to much, or ‘Yes’, for those of us (and I put myself into that
category) who like our Sherlock the way we have him pictured in our minds and don’t
want to ‘defend’ or argue that anymore except to those we deem of like mind,
Sherlockians.
It is ‘No’ for those who can’t get enough, in whatever
incarnation, of Sherlock Holmes and prefer him less ‘Victorian’ than us ‘Sherlockians’.
The true answer to the question will only come in a few
years, when RDJ no longer makes another Holmes movie, and ‘Sherlock’ has run
out of steam because Mr. Cumberbatch has too many movie projects going on, and ‘Elementary’
no longer pulls in the ratings, when we see a mass exodus to the next popular
icon.
The true test will be measured when the we see how many ‘fans’
keep ‘playing the game’ when ‘Sherlock’ is only in reruns.
If they then maintain a love of Sherlock Holmes, in whatever
form they wish to pursue him, I think then we can call them ‘Sherlockians’.
At the moment it seems the ones who deem themselves ‘Sherlockians’
are almost putting the ones they deem ‘fans’ into the camp where we put ‘Dr Who’
fans.
I think there are several interesting things to observe over
the next several years will be.
One, has the number of societies, scion or not, increased.
And if so, once the current popularity dwindles, will those societies survive
Has the membership in existing societies increased or does the
modern Sherlock Holmes fan not need the society structure that was once the
cornerstone of the Sherlockian world. (I think this is something that can be
discussed for many organizations now-a-days.)
And lastly, are the older societies open minded enough, at
the moment, to welcome ‘fans’ into their world, hoping eventually to create
another ‘Sherlockian’.
I know I have Sherlock Holmes in a place I am comfortable
with. But I also know I don’t mind exploring with him in other possibilities,
that I am also comfortable with. I have my lines I don’t like him to cross, and
I won’t go there with you with him.
But I consider myself pretty open minded . . . . some what.
But that is only my opinion. And I look forward to yours.
Friday, June 21, 2013
Book Review - 'Sherlock Holmes and the Adventure of Magic Umberella
Mr. Andriacco does what many writers do, and uses one of Watson's unwritten stories as the foundation for a short pastiche.
You can tell that Dan Amdriacco loves his subject and is a devote Sherlockian and treats Holmes and Watson with the respect they deserve.
The story is however nothing new and relies on many things we already find in the canon.
We have here a case mentioned in THOR and it being solved by Holmes in 1895. "Among those unfinished tales, " Dr. Watson writes, "is that of Mr. James Phiilmore, who, stepping back inot his own home to get his umbrella, was never more seen in this world."
The writing style is fine, and is very suited to a Holmes short story, but it lacks filling and any sense of the hunt.
The ending, although original, hardly seemed so, feeling more like it was taken from several other stories.
Without giving the ending away, it was hardly satisfying.
I will check out his other works because, like I said, he has a very good style of writing.
I read the ebook version.
I give it . . .
You can tell that Dan Amdriacco loves his subject and is a devote Sherlockian and treats Holmes and Watson with the respect they deserve.
The story is however nothing new and relies on many things we already find in the canon.
We have here a case mentioned in THOR and it being solved by Holmes in 1895. "Among those unfinished tales, " Dr. Watson writes, "is that of Mr. James Phiilmore, who, stepping back inot his own home to get his umbrella, was never more seen in this world."
The writing style is fine, and is very suited to a Holmes short story, but it lacks filling and any sense of the hunt.
The ending, although original, hardly seemed so, feeling more like it was taken from several other stories.
Without giving the ending away, it was hardly satisfying.
I will check out his other works because, like I said, he has a very good style of writing.
I read the ebook version.
I give it . . .
Thursday, June 20, 2013
Just in from the Hollywood Reporter (Thanks James)
Emmys: 'Elementary's' Jonny Lee Miller Revels in the Idiosyncrasies of Sherlock Holmes
For Miller, Watson as Sherlock's equal -- and not a love interest -- was a relief. "You can play with certain things, and you can bend and shape characters to a certain extent, but if you bend them too far, they’re going to break," he tells THR.
CBS
Sherlock Holmes has never been so prevalent.
For Miller, who previously starred in Eli Stone andDexter, going back to the original texts by Sir Arthur Conan Doyle was crucial to developing a character already so fully ingrained in the pop culture psyche. "I think the important thing to do was to go back to the basics, back to the books," he tells The Hollywood Reporter. What piqued Miller's interest was how "understanding" and "helpful" Sherlock -- his a recovering addict -- was, traits the actor believes were rarely communicated.With a Sherlock Holmes film franchised led byRobert Downey Jr. and BBC's Sherlock TV series starring Benedict Cumberbatch, CBS took a small gamble when it greenlighted its one-hour drama Elementary. Centered on the private eye, flanked by a female Watson, the show is set in contemporary New York City. The changes have certainly paid off. So much so that THR's chief TV critic Tim Goodman, in his review of the pilot,declared Jonny Lee Miller "superb and compelling as Sherlock."
THR caught up with Miller to discuss tackling an iconic character like Sherlock, how he made sure his iteration was unique and playing the crucial Moriarty/Irene Adler twist.
The Hollywood Reporter: Playing a well-established character like Sherlock Holmes sometimes has its baggage. How did you make sure that your portrayal was unique?
Jonny Lee Miller: I think the important thing to do was to go back to the basics, back to the books. I feel that [creator] Rob [Doherty] did a terrific job in his initial script with bringing up certain themes to the forefront: the recovery, all that stuff was a great idea, and the new relationship between Holmes and Watson. The way they are thrown together in life, that was a great starting point. But for me to make the character, I had to go back to the books and see what interested me about the man that I hadn’t necessarily seen much of recently, or ever, and rebuild him using the original material.
THR: Can you speak to specific traits that you noticed from the books that haven’t been so prominent in past iterations, like BBC’s Sherlock or theSherlock Holmes film franchise?
Miller: In the books, I found him to be a much more understanding guy. I feel that he really likes people a little bit more than I had seen recently -- not that he can necessarily communicate that very well. He likes the underdog, and he likes people who are downtrodden, who are having a hard time. He generally wants to help. I found him to be a much more helpful person, so I tried to put a bit of that in, even though he doesn’t quite pull it off.
THR: I noticed that you incorporated physical ticks and habits. How did you physicalize that aspect of the role?
Miller: It’s very difficult to describe how that happens. I use things from the work that I’ve done that I feel would match; I’ll take one thing from another tiny character and I’ll put that in. I wanted him to be quite wild and erratic physically. I felt that that matched his brain; it’s almost what you see in people whose brains are moving very fast, and who are struggling [at the same time]. They often have those characteristics, physically. You don’t want to overdo it, but if you do it regularly, then it seeps subconsciously into the character, and people recognize things.
THR: You’ve done several television shows prior to Elementary, like ABC'sEli Stone and CBS' Smith. What did you take from those experiences that helped you for this particular project?
Miller: Just a year or so ago, I had worked on stage [2011's Frankenstein]. I had done more physical work than I ever had before, and that really opened me up to being able to do that in a relaxed way. It’s like a dance really, and you start to understand a bit more about how this character can work without being over the top. It’s something I’ve become a lot more interested in.
THR: This show certainly lends itself to theater. The majority of the time, you're talking to people in rooms.
Miller: I think a television show allows you to do that. We’re in this different kind of reality. We’re not doing a gritty, realism film where stuff like that wouldn’t work because it’s not natural. I’m playing quite a strange character, so I feel like there’s room for it, and on television you can get away with that a bit more.
THR: As with any new show, it must have taken a few weeks to get your sea legs under you. Was there a specific episode or moment where you felt you had a firm grasp on the role and where the show was going?
Miller: Oh goodness, I don’t know about specifics, but what’s interesting is when you do a character five days a week for nine months you get to work on it unlike anything else. It’s a mixture between theater and film in that respect, in that you get to go back and revisit the character day after day after day, but you’re using different material. You get to try and perfect him. That’s a real bonus, an interesting part about doing network television.
THR: What did you discover about this character that you weren’t expecting?
Miller: I don’t know about that, I’m a pretty open-minded person. It takes a lot to shock me. I certainly didn’t want the addiction problem to go away. From the knowledge that I gathered, I felt [addiction] didn’t go away in people’s lives, and needed to be there and dealt with. Rob [and the writers] took it very seriously and did a lot of research; we’ve tweaked a lot of things to try to be very genuine about it. I was very pleased about that. I didn’t want it to be like that’s a problem he had, now that’s gone away, let’s get on with solving crimes. We handled it in a respectful way, I feel.
THR: A big point was made early on about Watson being a woman, and Rob said their relationship would remain strictly platonic. Did you view that as a relief?
Miller: Yeah. I mean, say we’re going to hook up, then it wouldn’t be Holmes and Watson because that just doesn’t happen. You can play with certain things, and you can bend and shape characters to a certain extent, but if you bend them too far, they’re going to break and they’d be something else. I think there are some things that are sacred and need to remain solid -- and their relationship is absolutely sacred.
THR: How has your working relationship with Lucy Liu evolved as the series went on?
Miller: It’s something that you can’t ever account for. It either works or it doesn’t with someone, and thankfully from day one, Lucy and I worked fantastically together and really get on. We have the same sense of humor, we laugh a lot, we try and support each other, and you go through real ups and downs. We’re in each others’ pockets for long periods of time, and you better get on with each other or you’re done. Aside from that, professionally we click. I think she’s a fabulous actor to work with. She’s really subtle, and I’ve learned a lot from her.
THR: What do you hope to see for Holmes and Watson in season two?
Miller: It’s something I’m excited about because I trust our showrunner. I trust [Rob and] those guys. You can relax, and you can know that you’re going to have good material. They do that job much better than I could. I know they’ve got characters up their sleeves, that they’ve done good groundwork with bringing characters in and I think we have a solid foundation.
THR: One of the arcs for the series was the mystery of Moriarty. How much did you know in advance about M’s identity or Rob’s grand plan?
Miller: Rob's always like, "Do you want to know what’s going on?" And I’m like, "No, I don’t." I really like to go script by script because what’s the point of having that information? If Sherlock’s not discovering it, then I don’t really want to know. There are certain things you want to know -- you get excited to hear about actors coming in to play different roles. I know a couple of characters that are coming on next season, and you’re like, "Oh yeah, that’s a really good idea!" But I like to, generally, be in the dark until the last minute.
THR: So you didn’t know about the M reveal until you got the script for that episode?
Miller: Maybe about a week before. But yeah, I knew about that one a bit earlier than I would have normally known a storyline, for sure -- but not much.
THR: In "Risk Management," when Sherlock sees Irene Adler alive after believing she was dead all this time, how did you get into that headspace?
Miller: It’s difficult. You just put yourself there. You really want to know exactly when you’re shooting that shot that’s going to be used. We could do that a lot of times actually, but I was like, "OK, you’re only going to get like one or two where it’s going to be good. So would you like it on the wide shot or close-up?" I can only probably do that a couple of times well. The more you repeat it, the less genuine it becomes. So you take yourself off to a corner, and you use whatever it takes to prepare yourself for that moment. And our crew is really good at giving you the room to do that.
THR: You're active on Twitter. What has feedback been like?
Miller: Fascinating. It’s a fine line; I started up on Twitter for a very specific reason, and now I’m getting into it. I think it’s nice to see people all over the world’s appreciation of the things they find interesting. But it’s really nice and I have a bit of fun with it. But you’ve got to keep that at an arm’s length.
THR: What’s the best part of filming in New York City?
Miller: Wow, goodness me. We film all over the city, which is phenomenal. We’re in a studio four days out of the episode and then the other four we’ll be out and about. I get to see neighborhoods in Brooklyn, Queens, Long Island. We might find ourselves up in one of the World Trade Center buildings. You can find yourself up in Harlem or in the Bronx. One of the wonderful things about this job is you get to go to places you wouldn’t normally go to. I was up on top of the crane on red hook in Brooklyn on the last day of shooting, and you don’t get to go to these places very often. It’s New York! Are you kidding me?
THR: What were the most difficult scenes for you to film?
Miller: The scene with Irene when he finds out she’s Moriarty, that was difficult for us [Miller and Natalie Dormer, who plays Irene/Moriarty], because we really wanted it to be real. When you’re trying to juggle all of that, you want to do things realistically. So that was challenging. And also, it was a long scene, but Natalie is fantastic so that made it a lot easier for me.
Elementary returns for season two this fall.
E-mail: Philiana.Ng@thr.com
Twitter: @insidethetube
Twitter: @insidethetube
What's coming up. . .
'Elementary' Season 2 preview: Sherlock and Watson head to London and meet Sherlock's dad?
It's already been announced that next season's opener will be filmed in London for a story that's sure to explore some of Sherlock's roots, and the show's creator and executive producer Rob Doherty admits that the writers are just getting started on plans for next season. But during a conference call to discuss last night's finale, Doherty did share some of what we might see when "Elementary" returns in the fall.
"The story's still being developed," Doherty explains about the show's trip to London. "But my guess is it would only be Sherlock and Joan. I think story wise it might be hard to justify a trip for all of our players. I'd love to have Captain Gregson [in London too]. In the pilot we explained he worked and lived there for a little while. That's how he met Sherlock. So he does have some (seniority) with Scotland Yard. But at the moment I'm going to say no. Probably we're going to limit this trip to Sherlock and Joan."
But Doherty also thinks the London episode could be exactly the right time to meet a very important character. "I've always loved the idea of Sherlock's dad -- this person that is spoken of but never seen," he says. "I enjoy that aspect of it and yet if we had an opportunity to work with a great actor, somebody who could look at and go, 'Oh yes, absolutely! That's our Sherlock's dad; that's the guy who you could see parenting or not parenting Jonny Lee Miller,' we would go for it. You never know. The London episode might be the perfect time to meet Sherlock's dad and get a better sense of him and his relationship with his son."
Another storyline that's likely on tap for Season 2 is exploring more of Joan's past. "We've toyed with the idea of getting a little more into her backstory," Doherty reveals. "What really happened? How did her patient die? How much of it was her fault? What's her comfort level with the idea of a return to a surgical career? It's all fodder for Season 2."
And fans should expect the mix of episodic mysteries and longer arcs like Season 1's Moriarty saga to continue into Season 2. "I predict that next season will feel in many respects like this one," Doherty says. "We will absolutely have standalone stories and cases. But there will be certain stories that you can arc over a run or a stretch of shows. We still have to find those and identify them -- What's the kind of story we want to build over four or five, six episodes? This year we had our work cut out for us with Moriarty. We knew we wanted to get here by the end of the season."
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Wednesday, June 19, 2013
What do you think - worth sharing and reading. , . . .and what a wonderful painting.
SEXPAND
I'd like to get something off my chest. It's been bugging me for a very, very long time. Sherlock Holmes is not a sociopath. He is not even a "high-functioning sociopath," as the otherwise truly excellent BBC Sherlock has styled him (I take the words straight from Benedict Cumberbatch's mouth). There. I've said it.
Top image: "Virtuoso" by Alice X. Zhang.
When Cumberbatch calls himself a sociopath, he is responding to a taunt from a police officer: Psychopath! "Do your research," his Holmes urges. "Don't call a person a psychopath when what he really is is a sociopath."
I love the series. I love Cumberbatch. I really do. And while I understand completely how effective the exchange is-how snappy it sounds, how intelligent and witty it makes Holmes seem-it makes me cringe. First of all, psychopaths and sociopaths are the exact same thing. There is no difference. Whatsoever. Psychopathy is the term used in modern clinical literature, while sociopathy is a term that was coined by G. E. Partridge in 1930 to emphasize the disorder's social transgressions and that has since fallen out of use. That the two have become so mixed up in popular usage is a shame, and that Sherlock perpetuates the confusion all the more so. And second of all, no actual psychopath-or sociopath, if you (or Holmes) will-would ever admit to his psychopathy.
According to Robert Hare, creator of the standard diagnostic tool for psychopathic personality disorder and one of the world's leading experts on the topic, psychopathy is characterized by four major factors, or groups of traits: the interpersonal, the affective, the lifestyle, and the antisocial. Into the first bucket fall such traits as glibness and superficiality, grandiosity, pathological deception, and manipulative cunning; into the second, characteristics like lack of guilt or remorse, shallow affect, lack of empathy, and a failure to accept responsibility for actions; the third, proneness to boredom, a parasitic lifestyle, and a lack of long-term goals coupled with impulsivity; and the fourth, poor control of behavior, childhood problems, breaking of parole (or other conditional release), and criminal versatility. Oh, and there are two other traits that don't fall into any category but are important nonetheless: sexual promiscuity and numerous short-term relationships.
So how does Holmes stack up against this picture? And why has he been termed psychopathic so often-and so uncontestedly? The answer to the second question, I'd venture to guess, has something to do with the detective's apparent coldness and his calculating nature, coupled with his vast intellect. So before we begin to tackle the other issues, let's address those.
First, coldness. Indeed, that seems to mesh with "shallow affect, lack of empathy." But Holmes's coldness is not the coldness of a psychopath. There are several fundamental differences. First, the psychopath is cold because he is incapable of being otherwise-hence, the element of lacking guilt or remorse. A psychopath doesn't experience feelings the same way we do. The things that excite us, trouble us, make us happy do virtually nothing for him. In fact, psychopaths are often used in studies of emotion for that precise reason. We can compare their reactions to non-psychopathic reactions (both behaviorally and neurally) to learn more about how and why emotion affects us-and why the sociopath is as he is.
Holmes's coldness is nothing of the sort. It's not that he doesn't experience any emotion. It's that he has trained himself to not let emotions cloud his judgment-something that he repeats often to Watson. In "The Sign of Four," recall Holmes's reaction to Mary Morstan: "I think she is one of the most charming young ladies I ever met." He does find her charming, then. But that's not all he says. "But love is an emotional thing, and whatever is emotional is opposed to that true cold reason which I place above all things," Holmes continues. Were Sherlock a psychopath, none of those statements would make any sense whatsoever. Not only would he fail to recognize both Mary's charm and its potential emotional effect, but he wouldn't be able to draw the distinction he does between cold reason and hot emotion. Holmes's coldness is learned. It is deliberate. It is a constant self-correction (he notes Mary is charming, then dismisses it; he's not actually unaffected in the initial moment, only once he acknowledges it does he cast aside his feeling).
What's more, Holmes's coldness lacks the related elements of no empathy, no remorse, and failure to take responsibility. For empathy, we need look no further than his reaction to Watson's wound in "The Three Garridebs," ("You're not hurt, Watson? For God's sake, say that you are not hurt!")-or his desire to let certain criminals walk free, if they are largely guiltless in his own judgment. For remorse, consider his guilt at dragging Watson into trouble when the situation is too much (and his apology for startling him into a faint in "The Empty House." Witness: "I owe you a thousand apologies. I had no idea that you would be so affected." A sociopath does not apologize). For responsibility, think of the multiple times Holmes admits of error whenever one is made, as, for instance, in the "Disappearance of Lady Frances Carfax," when he tells Watson, "Should you care to add the case to your annals, my dear Watson, it can only be as an example of that temporary eclipse to which even the best-balanced mind may be exposed."
So much for affect. And what of intelligence, that other contributing factor? That one is easy. Simply put, intelligence has nothing whatsoever to do with sociopathy. That, too, is a common myth. As Hare puts it, "Some psychopaths are bright, others less so." And numerous studies have shown that the correlation between standard measures of intelligence and levels of psychopathy are, at best, incredibly small. That settles that.
How about those other dimensions of the psychopathic individual? On the interpersonal dimension, we can dismiss pathological deception out of hand. As for glibness and superficiality, that, too, is not something we associate with Holmes. Holmes may be quite witty and often ironic, but he is neither shallow nor insincere. And manipulatively cunning? Holmes is clever, to be sure, but he does not deceive for personal gratification-or purely for the expense of others. To do so would be, well, psychopathic.
Moving on to lifestyle, it becomes clear that Holmes drifts even further from the psychopathic picture. Of the listed qualities, the only one that could apply is proneness to boredom. We know that when Holmes is not on a case, he is likely to seek stimulation in other, somewhat less healthy pursuits. But surely that alone is not enough to make a psychopath. (You have to score at least 30 points on Hare's scale to qualify.)
For, alone it would be. We've already dealt with the affect dimension-and as for the final two, they are so far from the Sherlock Holmes persona that they hardly bear mention. Flagrant violation of societal rules, like poor behavioral control, delinquency, and parole violations? We don't know much about Holmes's childhood, true, but he has no such ungovernable impulses as an adult. He can be accused of indoor firearm use, but not much more. As for sexual promiscuity and numerous short-term relationships? That honor is far more likely to go to the good Dr. Watson, the self-proclaimed conqueror of females over many nations and three separate continents.
But the most compelling evidence is simply this. Sherlock Holmes is not a cold, calculating, self-gratifying machine. He cares for Watson. He cares for Mrs. Hudson. He most certainly has a conscience (and as Hare says, if nothing else, the "hallmark [of a sociopath] is a stunning lack of conscience"). In other words, Holmes has emotions-and attachments-like the rest of us. What he's better at is controlling them-and only letting them show under very specific circumstances.
So let me say it one more time, just to get it out of my system: Sherlock Holmes is not any kind of sociopath. Not even close.
There. I feel better now.
Maria Konnikova is a psychologist and writer living in New York City. Her first book, Mastermind: How to think like Sherlock Holmes, will be published by Viking/Penguin in January 2013. She is currently completing her first novel.
This piece originally appeared on CriminalElement.com. Republished with permission.
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