Don't get me wrong: I have no problem with telling the stories of Holmes and Watson with an emphasis on possible homosexual undercurrents. It's not an angle that's particularly unique to Sherlock: it's hinted at in The Private Life of Sherlock Holmes, which Gatiss and Moffat both love and which I covered in my article last month on Christopher Lee. But as with the previous point, the subtext has become dominant to such a degree that it has pushed the plot to one side, and is in danger of doing so on a permanent basis. Whether the relationship between Holmes and Watson is construed romantically or platonically, the best adaptations of Sherlock Holmes have never been driven solely by their relationship. The cases always come first: they drive the story and through them we learn more about the characteristics of Holmes and Watson and thereby learn about their relationship. Even the Jeremy Paul stage play The Secret of Sherlock Holmes, which popularised the theory that Holmes invented Moriarty, was driven by the sort of deduction that characterises the cases. The earlier series of Sherlock do this masterfully, putting our leads in situations of diabolical complexity from which their true natures emerge in amongst all the mental legwork and joke-making. It may simply be that the writers chose too many romance-filled stories for this series, and that series four will tackle material which has less potential for those sorts of dialogues. In any case, the jokes about John being gay have really outstayed their welcome.
Freelance copywriter, film buff, community radio presenter. Former host of The Movie Hour podcast (http://www.lionheartradio.com/ and click 'Interviews'), currently presenting on Phonic FM in Exeter (http://www.phonic.fm/). Other loves include theatre, music and test cricket.
