6. Masters of the Universe? Viewers, the
Media, and Sherlock’s Lead Writers
Benjamin Poore
Abstract
This chapter focuses on the representation of the tabloid press in the
second and third series of Sherlock and, in turn, on the series’ lead writers
and their handling of publicity for Sherlock’s third series in January 2014.
Expectations for the new series were high, as Sherlock’s popularity had
grown and intensified in the two-year hiatus between series two and
three. Gatiss and Moffat became increasingly visible as public figures, as
interest in Sherlock spilled over into press and fan interest in the making
of Sherlock. The chapter raises the question of whether Sherlock itself took
a political stance in response to news events of the time, and whether
its two lead writers acted as political agents, as well as cultural agents.
Key words: Sherlock; Mark Gatiss; Steven Moffat; showrunners; adaptation;
villains
Introduction
During the publicity surrounding the screening of series three of Sherlock, the
BBC’s modernized adaptation of the Sherlock Holmes stories, in January 2014,
a great deal was heard from the show’s co-creators, Mark Gatiss and Steven
Moffat. Moffat in particular appeared in several public fora, defending the
show’s new direction. Series three marked a turning point for Sherlock where
the actors’ off-screen lives suddenly became much more visible on-screen:
in addition to lead writer Gatiss also playing Sherlock’s brother Mycroft,
Martin Freeman (John Watson)’s then-wife in real life, Amanda Abbington,
joined the cast as John’s wife Mary, and the real-life parents of Benedict
Cumberbatch (Sherlock), Timothy Carlton and Wanda Ventham, made cameo
Fehrle, J. and W. Schäfke, Adaptation in the Age of Media Convergence, Amsterdam University
Press, 2019
doi 10.5117/9789462983663_ch06
Media, and Sherlock’s Lead Writers
Benjamin Poore
Abstract
This chapter focuses on the representation of the tabloid press in the
second and third series of Sherlock and, in turn, on the series’ lead writers
and their handling of publicity for Sherlock’s third series in January 2014.
Expectations for the new series were high, as Sherlock’s popularity had
grown and intensified in the two-year hiatus between series two and
three. Gatiss and Moffat became increasingly visible as public figures, as
interest in Sherlock spilled over into press and fan interest in the making
of Sherlock. The chapter raises the question of whether Sherlock itself took
a political stance in response to news events of the time, and whether
its two lead writers acted as political agents, as well as cultural agents.
Key words: Sherlock; Mark Gatiss; Steven Moffat; showrunners; adaptation;
villains
Introduction
During the publicity surrounding the screening of series three of Sherlock, the
BBC’s modernized adaptation of the Sherlock Holmes stories, in January 2014,
a great deal was heard from the show’s co-creators, Mark Gatiss and Steven
Moffat. Moffat in particular appeared in several public fora, defending the
show’s new direction. Series three marked a turning point for Sherlock where
the actors’ off-screen lives suddenly became much more visible on-screen:
in addition to lead writer Gatiss also playing Sherlock’s brother Mycroft,
Martin Freeman (John Watson)’s then-wife in real life, Amanda Abbington,
joined the cast as John’s wife Mary, and the real-life parents of Benedict
Cumberbatch (Sherlock), Timothy Carlton and Wanda Ventham, made cameo
Fehrle, J. and W. Schäfke, Adaptation in the Age of Media Convergence, Amsterdam University
Press, 2019
doi 10.5117/9789462983663_ch06