It was so bad we couldn’t even get a full podcast out of it. Try Blazing Saddles, Young Frankenstein, Spaceballs, all fabulous Mel Brooks movies. This one, really, no.
Story: The British police are baffled by a series of suicides until DI Lestrade hires Sherlock Holmes who shows them that they have a serial killer on their hands.
Detective: Sherlock Holmes, the greatest detective the world has ever known, here interpreted as a modern man, but very faithful to Doyle’s original character.
Release Date: July 25, 2010
Writers: Steven Moffat
Source: Arthur Conan Doyle’s “A Study in Scarlet”
Detective as protagonist?
Jenny: Yes, definitely. He fills the screen and yet is true to the original character of Holmes.
Lani: Absolutely, although I think there might be some argument to be made that Watson and Holmes share the protagonist role in this one, although I’m not sure. More a question than a set theory.
Murderer as antagonist?
Jenny: Yes. Once he knows Holmes is investigating, it becomes personal.
Lani: Absolutely. Holmes sees the murder as a puzzle, but the murderer is personally targeting Holmes, trying to get his attention.
Conflict created by murder?
Jenny: Yes. Holmes is drawn into the story by the intellectual puzzle, and the rest of they mystery is played out almost as a chess match.
Lani: Yes. Holmes is already engaged in the murders right from the start, as evidenced in the taunting of the cops in the press conference.
Fair play with all the clues given?
Jenny: Yes. In fact, the viewer may figure out who the murderer is before Holmes does because he’s particularly blind at one point in a way the original Holmes never would have been.
Lani: Moffat takes special care to add text clues on the screen for anything that might be vague; he is absolutely faithful to the viewer as participant.
Solved using deduction, not luck?
Jenny: Yes. It’s Holmes’s specialty.
Lani: Absolutely. Although the cabbie got there and revealed himself, Holmes had him tracked down already with the phone GPS.
STORY ANALYSIS & RATINGS:
Jenny says: 5 Pops. I’d give it 6 if I could.
Mystery: 5, Craft: 5, , Suspense: 5, Comic Relief: 5
Lani says: 5 Pops. I’m leaving the romance score in, because there’s a definite romance between these guys. It may be a just-friends romance, but it’s a romance all the same, and I’m loving it.
Mystery:5 , Craft: 5, , Suspense: 5, Romance: 5, Comic Relief: 5
Jenny is returning from RWA in New York, Lucy and Alastair are entangled in home repairs, and everyone is busy with preparations for tomorrow’s celebrations. Since we’re all otherwise engaged, we’re going to cancel the live chat to accompany today’s viewing of Leverage.
The episodes for today are The Nigerian Job and The Juror No. 6 Job, both from the first season. Watch them whenever you have time, and we’ll take the conversation to the podcast comments.
The In Plain Sight podcast will go up on the site tomorrow, with Leverage coming a few days after. White Collar will be our last live chat of the season, and then we’re taking the PopD Summer Hiatus, which you should imagine as a sun-drenched summer musical full of attractive people in 1960s-style bathing suits.
Have a great weekend everyone, whatever you’re celebrating!
Due to circumstances beyond our control — and the dubious competence of the telecom-company-which-shall-hereby-go-unnamed — the PopD Bunker is currently disconnected from the internet. That means that this weeks’ show on Life is running late, and there will be no live chat on Sunday to accompany In Plain Sight.
We’re sorry for the inconvenience, and we’re doing all we can to fix it. Expect Life in the next day or two, In Plain Sight early next week, and for things to be back on track in time for the fantastic Leverage.
So we have a definition:
“A mystery is a story in which a protagonist solves a puzzle/mystery/crime.”
And we have a plan: We’re going to start with the baseline of the classic mystery plot and then look at how the subgenres work within that plot.
And we have a draft list for discussion; suggestions for other title welcomed (the numbers after the subtitle show how many movies we need for that subsection):