Since I'm currently obsessed with the notion that these opening scenes matter intensely, I'm going with the reiteration of one of Sherlock's central motifs here: You wouldn't like me if you knew the real me. The series loves to play with the idea of disguise as an extension of our inner selves (we see this most poetically in "Scandal in Belgravia" with the priest costume and the naked dominatrix) but the two-sided facet to the human mind is an idea oft-reiterated as well (in next episode's Janus Cars, for example).
The creators of Sherlock love the idea that a criminal mastermind could be walking around, just like everybody else, unassuming in disposition until it's too late.
Really, only a few things of significance or note happened in this episode (for me, personally, although I'm sure for others, this episode was their favorite):
1. The Code - we get introduced to the smuggler's code here (the Chinese numbers that correspond to page numbers in the tourist's guidebook). The episode ends with Sherlock commenting that the next code is probably already in play and John watching a Chinese street tagger using white paint to write a new cypher on a mailbox (I think it's a mailbox). If something is going to get taken from this episode and manipulated later, my money is that it's the code.
2. John gets mistaken for Sherlock - I think this one is crucial, actually. John very easily gets mistaken for Sherlock - he has Sherlock's tickets and a check for Sherlock in his wallet. He also was overhead saying "I'm the great Sherlock Holmes!" sarcastically (but we all know how well that translates). It's just that easy. It also makes Moriarty's statement that he is Sherlock/Sherlock is him feel that much more significant. In this world, it is really that simple to become somebody else.
3. The German Tourists - THERE IS SOMETHING GOING ON HERE WITH GERMANY. I DON'T KNOW WHAT. BUT THERE IS SOMETHING.
4. We all get to meet Benedict Cumberbatch's ex-girlfriend and rejoice in her beautiful normalcy, thus giving legions of single women everywhere the hope that they too can snag a sexy otter-faced actor of their own someday. Yay, Cheekbones!
5. Sherlock flirts with Molly. Many people seem to think Sherlock asking Molly for help is "out of character" for him. It's really not, if you watch the early episodes. He even manipulates her best by taking advantage of her known feelings for him. He might employ different tactics later, but Sherlock isn't immune to knowing when someone has feelings for him and exploiting those feelings when it benefits him.
6. Whoever is in charge of the newspapers here deserves a handshake. "Who Wants to be a Million-Hair". HA! But, seriously, the effort put into the newspapers is crucial. Later, they'll sneak by an article about the renovations at St. Bart's. Clue for Reichenbach? Probably.
7. Cinematographic juxtaposition. We get a glimpse of the beauty of "Scandal"'s juxtaposition in the scene of John and Sherlock at the beginning of this episode. While John fights with "a machine", Sherlock squares off with masked assailant. It's quick and campy but hints at greatness to come. These writers love a good foil.
8. Longshot Theory: Chinese acrobatics help Sherlock "fall"
See you next episode.
with regards to #5...it is not that i think sherlock asking molly for help is out of character (hell, the girl let him hit her deceased co-worker with a riding crop after all). it's the way that he asks for help in the last episode that i found out of character. he puts the emphasis on "you" (as do WAY too many other characters in that episode) much stronger than he would have normally.
ReplyDeletebut is it you or U. like when he says to moriarty, catch U later. what if its code?
ReplyDeleteI. O. U.
it's totes code. my vote is U.
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