Sherlock left a sour taste in many mouths. From where I’m sitting, the Guy Ritchie Sherlock Holmes movies aren’t that spectacular either. However, there’s one fan art that went viral, giving us Sherlock Holmes fans a salve for aching minds. It poses the question: What if Sherlock Holmes and John Watson were played by Dev Patel and Riz Ahmed?
Beka Duke drew this after being inspired by the Oscars appearances of Patel and Ahmed, and the idea definitely has merit. Wouldn’t it be cool to see Victorian England represented as it was—which was certainly more diverse than popular culture would lead you to believe—and gave us a Sherlock and Watson that represented Britain’s colonialist reach through India and the Middle East?
Judging from the response the fan art got, there are tons of people who would love to see a brown Sherlock-John Watson duo. The response has been so overwhelming that fan art has been made of the fan art.
I would hope that if a film was made based on this fan art, that they would also follow Duke’s dissection of Sherlock’s personality, since it lines up with Sherlock’s actual personality shown in Sir Arthur Conan Doyle’s stories, not pop culture’s “brooding, misanthropic” personality that has been grafted onto the character.
To quote her in part:
Ok, so this I feel is a pretty big one that people get wrong! Sherlock Holmes possesses an enormous confidence in his brain and in his work–and it is described as “bordering on arrogance” but not actual arrogance itself (at least most of the time, he does get on Watson’s nerves if he presumes too much, hah). When Holmes’ confidence is misplaced, he is quick to criticize himself, apologize to whomever, and move the heck on, so that he can fix things…which…the more arrogant portrayals of Holmes struggle to do. Also, Holmes is “eager” (probably the most used description in all the books) not because he is compensating, but because he just loves his job. Thusly, he isn’t as concerned with “getting his man” as he is with solving the crime/protecting innocents. You’d be surprised how many villains get away at the end of these books (Holmes believes they get their just desserts eventually).
“‘No, it is not selfishness or conceit,’ said he, answering, as was his won’t, my thoughts rather than my words. ‘If I claim full justice for my art, it is because it is an impersonal thing–a thing beyond myself. Crime is common. Logic is rare.’” (Mystery of the Copper Beeches)
You really need to read her whole post on Sherlock’s personality, because it’s pretty on-point.
What do you think of this fan art? Give your opinions in the comments section below!
Sherlock Season/Series 4 is upon us! I’m sure there are a ton of us excited for Sunday’s first episode of the new season on PBS Masterpiece, which I shall be livetweeting via my personal Twitter handle @moniqueblognet. But before we flip out as we watch the first movie-length episode, I need to flip out about some things I’m already annoyed with.
First, let’s watch the two teasers together.
Okay, so what am I flipping out about, you ask? First, Moriarty’s alive? Come on now. Now, I’m a beginner-to-intermediate fan of the Sherlock Holmes literature, but there are other villains aside from Moriarty, right? I know he’s the biggest big bad Sherlock’s ever faced, but since Sherlock diverges from the canon all the time, why not make some other lesser known villain a supreme big bad for the screen? I don’t know, just some thoughts. I just hate seeing story ideas/plot devices get repeated.
Also, isn’t the basic “Moriarty” character now typecasting Andrew Scott in the ultimate way? Almost every time I see or hear him lately, he’s playing a skeevy character. He’s been so typecast, that even when he was in Garrow’s Law as an actual victim, his character was still lying through his teeth. Sure, he was lying to protect his lover at the time, sure, since this show is set in the 1700s when same-sex relationships were outlawed, but still, the character still painted himself as a skeevy villain.
Anyways, this Moriarty thing isn’t even the biggest concern I have. My ultimate pet peeve right now is when shows decide to queerbait vulnerable audience members, and Sherlock is the British king of queerbaiting.
In the second trailer, you see Sherlock telling someone, “I love you.” Previous to that, you have Toby Jones’ Culverton Smith saying that Sherlock will have to reveal his deepest, darkest secret. For big fans of the show, and particularly big fans who are also well aware of Sherlock‘s gay subtext, the trailer wants you think that Sherlock’s biggest, deepest, darkest secret is that he’s in love with someone so meaningful to him, that if he tells this person his truest feelings, it could wreck their entire friendship and, indeed, Sherlock’s entire world. The only person who fits that description is John.
There was a time when I was quite heavy into exploring the subtextual story in both the original Sherlock Holmes literature and Sherlock the show. A lot of that scholarship (if you wish to call it such) is still available via the Wayback Machine. But the jist of it was discussing why the show indulges in queerbaiting when it doesn’t have to. With the UK being in the 21st century and with Mark Gatiss—a gay man who seems to understand the subtext of the subject matter—as 1/2 of the executive producing/writing duo, there’s no reason why Sherlock has to be coy about asserting the queerer aspects of Sherlock Holmes and John Watson.
The most queerbaitiest of Sherlock episodes ISN’T the first episode ever, in which Sherlock thinks John is asking him out over a candelit Italian dinner, although that’s a popular example. The most queerbaitiest episode is actually the first episode of Season 2, when Irene Adler comes to town.
Irene is used as both a beard for Sherlock (by the writers) and as confirmation for the audience’s belief about/confusion surrounding John’s amorphous feelings over his friend and flatmate. Irene’s purpose as truth-teller to the audience comes when Irene realizes John is obviously jealous over Sherlock’s surprising interest in her.
Thanks to livejournal user bizarremain, we have the transcript of what exactly was said during this scene:
Irene: “You jealous?”
John: “We’re not a couple.”
Irene: “Yes, you are.”
John: “Who the hell knows about Sherlock Holmes? But, for the record, if anyone out there still cares, I’m not actually gay.”
Irene:”Well, I am. Look at the both of us.”
What she’s saying is that she and John are both two people who aren’t attracted to men. Yet, here they are, attracted to one man, not because he’s a man, because he’s this amazing being. What Irene was getting at is that it doesn’t matter what Sherlock is, it’s that he is who he is what’s so attractive and magnetic. It’s not so much that he’s the magical male that can change Irene into a heterosexual–the episode never says she’s changed to a heterosexual woman; it’s that she’s attracted to him, no matter what he is, and that’s what makes the whole thing interesting.
…By alluding to [sexual fluidity], Irene is also saying that John is in the same boat as she is. …Irene is saying to John that he needs to analyze what is going on with him and Sherlock and realize that even though he’s attracted to women (just like she is), he’s just as attracted to Sherlock. In fact, Irene is also intimating that Sherlock might be the one for John. Never once does she say that she’d actually like to have a relationship with Sherlock. She’s mostly just got a mixture of intrigue and lust when it comes to him. To me, Irene summed up John’s relationship with Sherlock in just a few words.
To piggy-back off that, John is getting a lot of hints from the universe that he is meant to be with Sherlock, whether as friends or as more-than-friends. Sherlock is naked in a sheet–John takes a look before even asking Sherlock if he’s naked under it. John’s new girlfriend breaks up with him–the umpteenth girlfriend to do so. She says to his face that he’s a better boyfriend to Sherlock than he is to her. The whole Irene scene I just blabbed on about. And, frankly, I think Irene herself is a big clue to John that there’s more to his relationship with Sherlock than he even realizes yet. By Irene constantly asking him if he’s jealous of her and telling him that he’s in a relationship with Sherlock, coupled with his string of bad relationships due to his dependence on Sherlock, John slowly seems to be mulling over how his relationship with his friend is perceived, which is interesting.
And yet, the season progresses without much mention of this illuminating moment again. After this, probably the most progressive moment in Sherlock, the writing seems to have swung towards a weird place where either the writers, the characters, or both are afraid of admitting that the subtext is more than likely text.
For instance, John’s wife Mary calls John out on treating Sherlock like his boyfriend all the time, such as when she clocks him for getting spruced up more often once Sherlock comes back from the dead. However, Mary is also unnervingly okay with this, which strikes me as a little disingenuous, particularly because her characterization was basically acting as an avatar for the Tumblrites who want to squee over John and Sherlock.
Also, Sherlock acts like he’s completely happy at John’s wedding, but later on, we see that he’s clearly not. That’s keeping with his own dependence on John as his soundboard and wingman-of-sorts, but then we later see him act wildly out of character, even for Sherlock, by “getting a girlfriend,” only to later use said girlfriend’s emotions to crack a case. Even Sherlock of Season 1 would think that was going a little too far. The writing in this season both provides Sherlock and John with beards, as if to say, “SEE, BBC VIEWERS!? THEY’RE TOTALLY NOT GAY!!” But when they are with their respective significant others, nothing about the relationships seem real (and in the case of Sherlock’s, it actually isn’t real).
(If I can go on a tangent—The writing for that season wasn’t particularly strong; it was more about filling out the character beats the Tumblr fans wanted, to me, than it was about properly building character and realistic character moments. Out of that season, the only person who came out looking sane was John, who was rightly frustrated with the fact that everyone around him has lied to him in some way. Talk about gaslighting! The mental abuse John suffered during the third season is another reason why I don’t like it.)
Now here we are with Season 4, with Sherlock telling someone that he loves them. Chances are it’s not John, and that’s not even because John is standing behind him when he says it. For all we know, “I love you” could be another “I am Sherlocked.” (Also: If Irene was worth her salt as a dominatrix hardcore woman, she would never use such teeny-bopper language as “I am Sherlocked” for a cell phone passcode.)
The show loves baiting its audience and has gotten good at raising expectations only to have them tied in knots later on. Gatiss has said that he likes playing with the latent homoeroticism in Sherlock, but there comes a point when playfully exploring a theme becomes hanging a dangling carrot over fans heads, only to yank it away each season. I say either the show decides Sherlock actually loves John, and not in a platonic brother-in-arms kind of way, or it quits using homoeroticism as a crutch to keep people tuned in. At this point in time, the media we ingest, including Sherlock, can no longer have it both ways.
As featured in COLORBLOCK Magazine, February 2016
The patchiness of LGBT representation occurred due to several factors, such as cultural reticence, religious arguments, and entertainment companies worried about their bottom line domestically and internationally. The voids in representation have led to fans coming to their own rescue and creating alternate (and sometimes more accurate) readings of characters and their love lives.
The process of finding alternate interpretations of the characters not only provides fans who feel neglected by the entertainment world–such as LGBT fans and fans who are LGBT allies– the ability to participate in their favorite film or TV fandom, but also eases the anxiety created when an LGBT metatextual reading of a character, especially characters who already have a foothold in discussions surrounding LGBT media, doesn’t get the fair play it should in canonical tellings or retellings of a story. Basically, meta readings, and the subsequent fan creations that result from them, give fans the chance to tell the story from their point of view. They get to create a world that includes them in all of their complexity by allowing the canonical characters to have complexity not originally given to them by their original creators.
Sherlock Holmes and John Watson from Sir Arthur Conan Doyle’s Sherlock Holmes series of mysteries are two great examples of when the canonical and meta worlds collide.
|Want to read more about diverse entertainment? Read the February issue of COLOR BLOCK Magazine!|
Canonically, Sherlock and John are friends, the most classic example of platonic love and partnership. However, the two characters have also been one of the many touchstones of LGBT media theory, especially where it concerns audience interpretation.
“Fans use these parallel worlds to explore what could have been or might be, especially as regards sexualities that have not found mainstream representation,” wrote Ashley O’Mara in her article, “Queering LGBT History: The Case of Sherlock Holmes Fanfic” for the site, Metathesis (metaistheblog.com). “There is no conclusive literary evidence that [Doyle] conceived of his Sherlock and John as ‘homosexual;’ their relationship presents as a romantic friendship although those were going out of fashion when he was writing. Likewise, despite queerbaiting, [BBC’s Sherlock co-writer Steven Moffat] insists that his Sherlock is not gay, let alone [asexual]. In [fanfiction] however, literally any interpretation goes.”
Those interpretations, which explore asexuality, aromanticism, bisexuality, and/or being gay, stem from said queerbaiting, which include suggestive moments in the BBC show, one of the biggest moments being during Irene Adler’s introduction in Series 2, Episode 1, in which Irene basically makes a case as to why John was actually falling in love with Sherlock without realizing it by comparing John to herself. Both John and Irene have considered themselves people who weren’t interested in men, yet, as Irene points out, both of them are very interested in Sherlock. There could also be a level of retroactive queerbating, as it were, happening within the original text itself; as O’Mara noted, Doyle was writing of romantic friendship when it was going out of style, with romantic same-sex friendship being replaced with a higher level of homophobia (at least among men; with women, romantic friendship and full blown same-sex romance was often overlooked by male society). The level of reticence around romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendship during such a societal change.
Meta readings have also occurred with many of today’s popular characters, such as characters in Marvel’s cinematic and TV universe. There are tons of fan creations centering around the close relationship between Captain America and Bucky (aka the Winter Soldier), Captain America’s other close relationship with the Falcon, Iron Man and The Hulk’s friendship (as shown in the Avengers movies), and the friendship between Peggy Carter and waitress/aspiring actress Angie Martinelli in Agent Carter, just to name a few.
Despite canon interpretations falling short of fandom expectation, it’s beginning to be par for the course for actors who are affiliated with the fandom to speak out on behalf of their fans’ want for more inclusive entertainment. For instance, to address the Peggy/Angie fans, Peggy herself, Hayley Atwell, told fans at last year’s Fan Expo Canada what Peggy and Angie’s relationship meant to her. “The thing that stands out for me about Peggy and Angie is it’s seldom that you see on television friendship between two women that isn’t founded on the interest of a man,” she said. “There’s a genuine affection that they have for each other; whether or not you want to project the idea that it’s romantic or sexual is entirely up to you and how you want to view it. I think there’s a mutual respect that’s quite rare that I want to see more of in film and stories.”
As you’ll read in the next article (about the meta pairing of Star Wars: The Force Awakens characters Finn and Poe Dameron), Captain America co-director Joe Russo also states that he welcomes all interpretations of Bucky and Cap’s relationship. Also worth noting about the Star Wars pairing is that John Boyega recently confirmed to ShortList writer Chris Mandle that while the Poe/Finn pairing isn’t canonical, it was definitely something that existed in the mind of Oscar Isaac, who played Poe in the film.
With more and more actors co-signing fandom imagination, the day when there will be a mainstream LGBT couple in genre films and television could be coming soon. Maybe not soon enough, to be honest, but still sooner than originally thought possible.