With airdates for Sherlock S3 now arriving, we’re repeating our previous post that we created in 2011 to round up worldwide broadcasts for the new series. We’ll be updating this post as new dates and times are revealed, but that’s where YOU come in.
So, here’s how this post works –
1) If your country is not listed here, the airdate for Sherlock S3 hasn’t been revealed yet.
2) If you know your countries’ airdate for Sherlock S3, and it isn’t listed here – tell us! And we’ll get it added and reblog the post.
3) The list below lists the airdates in the order they are broadcast, not by countries in alphabetical order.
So, without further ado…
WORLD PREMIERE SCREENING:
December 15 2013 - S3E1: The Empty Hearse – BFI NFT1, Southbank, London.
UK – BBC One:
January 1 2014 (Time TBC) – S3E1: The Empty Hearse
January 5 2014 (Time TBC) – S3E2: The Sign of Three
January 12 2014 (Time TBC) – S3E3: His Last Vow
Denmark – DR3:
January 5 2014 (21:00 CET) – S3E1: The Empty Hearse
January 12 2014 (21:00 CET) – S3E2: The Sign of Three
January 19 2014 (21:00 CET) – S3E3: His Last Vow
Poland – BBC Entertainment:
January 12 2014 (22:00 CET) – S3E1: The Empty Hearse
January 19 2014 (22:00 CET) – S3E2: The Sign of Three
January 26 2014 (22:00 CET) – S3E3: His Last Vow
USA – PBS Masterpiece:
January 19 2014 (10pm ET) - S3E1: The Empty Hearse
January 26 2014 (10pm ET) – S3E2: The Sign of Three
February 2 2014 (10pm ET) – S3E3: His Last Vow
South Africa - BBC Entertainment:
January 24 2014 (20:00 SAST) - S3E1: The Empty Hearse
January 31 2014 (20:00 SAST) – S3E2: The Sign of Three
February 6 2014 (20:00 SAST) – S3E3: His Last Vow
Sweden - SVT:
February 1 2014 (Time TBC) - S3E1: The Empty Hearse
February 8 2014 (Time TBC) – S3E2: The Sign of Three
February 15 2014 (Time TBC) – S3E3: His Last Vow
My theory as to how Sherlock survived
Holy crap on cracker.
But that also means he would have been alive to see the exact look on John’s face when he thought his best friend died.
This is probably already out there, but oh well.
This isn’t a theory. It’s just something I want to point out. It deals more with Sherlock’s character than how he survived the fall.
When it comes to looking at the way he was falling, he was wildly flailing his limbs around. That shows fear - wanting to suddenly become a bird and flap your wings to keep yourself from hitting the ground. The body does whatever it can do avoid pain, so this is its reaction to falling. Someone who really wants to commit suicide would have already come to terms with their decision and would not be scared to hit the ground.
We already know that Sherlock had already figured out what Moriarty was doing, that’s how he arranged to have all this staged.
So imagine what must’ve been going through Sherlock’s mind when he was falling: “What if this doesn’t work and I land wrong and I die and all this goes wrong it can’t go wrong I can’t let this be my last impression on people this is not who I am what would happen to John oh poor John what a boring life he’d have without me” etc. His mind was racing with thoughts like those and how to maneuver his body to survive this fall. But his mind was so occupied that he could not focus on keeping his limbs from flailing around like that. That was his body’s reflection of his thoughts.
Now, none of that may have made sense. But here’s the conclusion:
Sherlock was scared. Someone who intends to die would not look like that as they fell to their death.
I agree with the analysis in general but I do not necessarily agree that someone who wants to commit suicide cannot be scared. Falling, when you know how it will end, regardless of your objective, can be incredibly terrifying.
Rich Brook’s Portfolio
The article about Brook’s stint on the medical drama contains a quote from Dr. Ormond Sacker (red circle), Arthur Conan Doyle’s original name for Dr. John Watson, and a passage from The Sorrows of Young Werther by Goethe (red square). In ACD Holmes fondly quotes Goethe and a bust of the fellow can be seen in Sherlock’s bedroom.
50 Shades of Sarah, a Melodrama
(Smartassery Alert: Here lies one snarky meta…)
In general, melodramas show a very basic view of the world, breaking things down into the fundamental categories of “good” and “evil.” There is almost always a hero, who fights for what is right, and a villain, who tries to defeat the hero for his own maniacal purposes. A heroine usually holds the affection of both the hero and villain, and she typically needs to be saved in one way or another over the course of the plot — she is the damsel in distress.
Sidekicks are additional stock characters, learning from the hero and villain as apprentices and helping them in whatever quests or needs they might have. Although the plots can be quite complex, ultimately, they usually boil down to the hero establishing himself and his relationship with the heroine, the villain posing a threat and trying to steal the heroine away through conniving or force, the hero defeating the villain and everything ending happily. (x)
The one saving grace for me about TBB is the queer intervention in the melodrama. Neither John (really) nor Sherlock care about saving Sarah. She’s simply a pawn between the two of them. She’s a vehicle for the show’s blatant homoeroticism. (In Steve Thompson’s case, that homoeroticism is always somewhat nefarious. But that’s another meta…)
So here are other reasons why Steve Thompson’s script for The Blind Banker is sexist shit. (I talk about the overt racism here but you can’t really separate race and gender if you want to understand how either functions.)
Sarah s pretty and intelligent (in that order), the whole package.
She’s a practice manager who’s a trained health care professional, perhaps a doctor, like John, a general practitioner (GP).
To demonstrate the pure evil that is
the Otherthis Chinese gang, and the wickedness of the Chinese dominatrixdominant female Opera Singer in particular, Sarah must be a worthy victim. She’s got the body and brains. She must be subdued.
John demonstrates a “lack of professionalism” yet Sarah she swoons affectionately at this man she doesn’t know. He falls asleep on the job and makes a full day’s work for her but she doesn’t want to
wake his sorry ass updisturb him because…? Cute hedgehog?? I’m struggling to understand here… Of course Sarah’s curious about the mysterious man who can’t be arsed to care about his new job or his colleagues there. (Why she just doesn’t assume he’s a drunk or an addict, I have no idea.) So get you some of thatdate him, Sarah! It’s the only rational choice.
Look! She’s in Shock! She’s Got a Blanket!
Oh and when you’re scared (!) by the drum banging of the Chinese
Otheracrobats, clutch hard to John, this fine specimen of man who’s proven himself so trustworthy.
Then clutch him again.
dominatrixChinese opera singer binds and gags you be sure to cry and scream in horror. But plead at John with your eyes because the Chinese Otherwoman has so trapped and debased you that this worthless bloke is your only option for survival.
Of COURSE we know how it ends. The Consulting Cockblocker to the rescue! He’s the one who endangered Sarah in the first place. Sherlock giveth and Sherlock taketh away and Sherlock? Well naturally, he saves the day.
So while the rational manly Consulting Protagonist can endure the cabbie’s mayhem and John’s murderous rage, Sarah must be coddled… I mean…She’s in shock. She’s got a blanket.
Do you suppose she’d have let John get a leg over in The Great Game if she knew he was a murderer? Probably. Cause that’s hot!
BTW this is how smart Sarah is supposed to be so you can thank Thompson for putting her in her proper place.
Job Role- Practice Manager
Typically, this would be an opportunity for an accomplished manager… a management qualification would usually be required, along with a proven experience of motivating people. Such a post would usually combine personnel administration, payroll, finance, strategic planning and IT skills. NHS/general practice experience… preferred. Being a practice manager would necessitate a head for finance and an ability to manage in a changing environment. (x)
Should I write a meta on Donovan?
Ih ih, “Find the Gaps in the Plot” has been a major source of entertainment for Holmesians since the original ACD’s stories were first published, so I’m happy you decided to share your findings about the modern BBC adaptation.
(Also, thanks for your very nice words! And don’t worry for your English: it’s not my native language, either, but I’ve always found people over here to be very understanding.)
But as fun as this game is, I’ll propose you an even funnier one - and having an equally respectable tradition amongst holmesians: I’ll call it 'FILL the Gaps in the Plot'.
That is, provided that I’m certain enough that the writers didn’t give much thought to the things you mention, let’s see if it’s not beyond our imaginative abilities to find some explanation for such apparent plot mistakes. It’s an exercise in creativity!
A Story, Probably Not True: The Two Faces of Mr. Holmes
(There is a LOT going on in this meta so patience, my friends! Your interpretations may vary from mine but I offer you some useful data.)
We begin this scene from A Scandal in Belgravia with Sherlock plucking the violin sensually in front of the fire. He’s plucking, not bowing. plucking like a lute or a guitar. The notes Sherlock plays constitute one of the motifs (aka motives) of “The Coventry Carol.” It IS Christmas after all.
In the audio sample above I mashed up the violin notes from Sherlock with a generic guitar recording of the notes of the ”The Coventry Carol” motif. I cut out everything extraneous and sped both recordings up considerably so you could hear the notes play in synch. The tuning is the same as The Mannheim Steamroller’s version. Here’s the full carol in all its choral glory.
The motive is the smallest structural unit possessing thematic identity. -John D. White (x).
So why is it a big deal that Sherlock plucks “Coventry Carol" motive? Well he could have played more of the melody so the musical reference would be obvious to Irene and us viewers. He uses the violin, composes because it helps him think. We all need Sherlock’s exposition to understand his thoughts about the connection between Bond Air and the Coventry Conundrum:
In his 1974 book The Ultra Secret, Group Captain F. W. Winterbotham asserted that the British government had advance warning of the attack from Ultra: intercepted German radio messages encrypted with the Enigma cipher machine and decoded by British cryptoanalysts… He further claimed that Winston Churchill ordered that no defensive measures should be taken to protect Coventry, lest the Germans suspect that their cipher had been broken. (X)
The use of the musical motive indicates that Sherlock gets Bond Air. He knows (or thinks he knows) the “same old song” and what its most important, fundamental constituent parts are.
It’s a beautiful use of music as a “cinematographic” tool to further underscore (get it) Sherlock’s mental processes (like the words over the screen when he deduces) but it’s much less obvious to the casual viewer than even camera angles, framing, etc. So aside from the fact that it’s supremely cool, why use motives here rather than, say, those written words on the screen over Irene while he deduces her? There are many possible answers but here’s a simple one. Like Reichenbach the majority of the dramatic suspense depends upon what Sherlock knows and when he knows it. Most of the time he’d better be far ahead of all of us or we’d lose patience. We’re often aware that Sherlock’s aware of something that he doesn’t share with John even if we don’t know precisely what it is. To his flatmate and to us he must often seem to be omniscient…OR utterly clueless.
Sherlock’s elder brother, Mark Gatiss has told us, is even smarter than he is. It’s indeed taken little bro some time to catch up with the Bond Air scheme. The confrontation scene in the airplane isn’t amazing because it’s a plot or puzzle reveal to Sherlock. It’s amazing because Mycroft has his undivided attention while Sherlock has to accept the righteous reaming he gets for his colossal fuck-up. Sherlock’s humbled a bit in this episode by Mycroft (who, interestingly, actually assists him in Hounds.) And most importantly he grows to understand that Mycroft cares. He is as human as Sherlock is. Moreso, perhaps. The key to Mycroft isn’t the “all lives end” part, it’s the “all hearts are broken.”
Sherlock’s rage at Mycroft was sorely misplaced. This wasn’t to be Coventry all over again.
Let’s see what the dialog and the camera do to help out the magnificent and hard-working score…
(Irene, still wearing Sherlock’s dressing gown and with her hair still down, is curled up in John’s chair watching him closely.)
IRENE: I’ve never been. Is it nice?
SHERLOCK: Where’s John?
IRENE: He went out a couple of hours ago.
SHERLOCK: I was just talking to him.
IRENE (smiling): He said you do that. What’s Coventry got to do with anything?
SHERLOCK: It’s a story, probably not true. In the Second World War, the Allies knew that Coventry was going to get bombed because they’d broken the German code but they didn’t want the Germans to know that they’d broken the code, so they let it happen anyway.
When Sherlock replies to
not!JohnIrene with his explanation of Coventry, he speaks on two levels. The first is what you can trust, what’s coming out of his mouth and what we can take at face value. The Coventry story’s probably not true, he says. But wait. Did you notice Ghost!Sherlock in this scene?
Here. Take a closer look at the right of the screen. Our Consulting
JanusActor is doubled. He’s of two minds, telling two tales. The camera tells us flat out that Irene’s only getting one side of the story.
Your Johnlock ship’s afloat, my darlings. Sherlock isn’t after sex here and he’s certainly not in love with Irene. When Irene changes the subject immediately from Coventry to lust, he knows she doesn’t need to have anything further explained to her. So what does she really want? Certainly not strategic information. So Sherlock plays the innocent virgin. He knows that Irene’s got a "you just haven’t found the right woman" kink.
Look at the right of this shot. Sherlock is still doubled. There’s his body leaning into the tedious sexual advances (not very original is she, with her pick-up lines?) and his mind observing. It’s the ghost on the scene.
Later we learn that this second mind has been thinking more about John than
not!JohnIrene. Here’s what I mean.
So yeah, Irene Adler is The Woman, however Sherlock’s loyalties ultimately lie with John and Mycroft in the end.
P.S. When Sherlock breaks into Baskerville we see that Mycroft has “Priority Ultra” clearance.
The name [Ultra] arose because the intelligence thus obtained was considered more important than that designated by the highest British security classification then used (Most Secret) and so was regarded as being Ultra secret. (x)
What does 29 mean to Sherlock?
I found 2 references to to “twenty-nine” in ACD canon but neither of them really makes sense.
Maybe it’s an inside joke?
AX: Your Sherlock and Doctor Watson seem a little younger than they are usually shown on screen
MOFFAT: Well, the thing is, people keep saying, “Is this the youngest Sherlock Holmes?” You look at the Sherlock Holmes stories and the fact that we think of him as fifty is a product of the [previous films and television depictions]. It’s not true – he must be, in the first story, in his late twenties or early thirties. He’s referred to as a young man, even in the first story as a student. So he clearly could be twenty-nine in that first story… (x)
Don’t you tell me that John isn’t absolutely heart broken. Don’t you tell me he did not miss Sherlock and don’t you tell me Martin cannot act because this is the face of a man who has so many different emotions and you can see each and every one of them on his face. Don’t you tell me any of those.
Not that I necessarily disagree with any of the above, but has anyone ever studied the Kuleshov Effect in relation to fandoms on Tumblr? Because that would be fascinating.
Presenting.. the new trailer for Sherlock Series 3!